text:
Talk:BBC Radio 6 Music

Merge?
This needs to be merged with 6 Music... which is the better title? Most BBC stations are at BBC Whatever --rbrwr

 * Oops, I should have done a search before doing this one, though the title of this one makes more sense and has more info on it... --Steinsky

OK, I went with this one, and merged a couple of bits from 6 Music into it. --rbrwr

Someone put the current schedule rather than just presenters/shows
I am not sure the listing of current shows by times is a good idea for an encyclopedia. I think it is better left to an external link to BBC 6 Music. Just having what was there, a list of presenters and shows and past shows and presenters I think is appropriate. -- Wikiklrsc 19:30, 11 November 2005 (UTC)

 * Yes I noticed that with some suprise. I wold have thought WP:ISNOT a listings magazine. It would be great if we had a database which enabled us to find out what was on Radio 4 on 12 October 1955 (The Dreaded Batter-Pudding Hurler of Bexhill-on-Sea), but that is currently unfeasible.  I would suggest that if these schedules become significantly out of date, they are removed (or updated if someone can be bothered), otherwise they can be left.  Rich   Farmbrough 22:49, 11 November 2005 (UTC)

 * I discussed this very point on What Wikipedia is not and TV/Radio schedules are now covered under section 1.7.7. I had to delete the schedules from the ITV Play article for that reason. It would be better to restore the presenters/shows as before. Sonic 17:03, 3 June 2006 (UTC)

 * Well, there's a lot to change. Whoever added the original schedules, added them to most BBC Radio articles (Radio 1, Radio 5, etc.). It was 15:17, 11 November 2005 by 217.33.74.20. --- 17:28, 4 June 2006 (UTC)

When will the warning be lifted or resolved ? It just can't stay there forever ! --- 16:51, 6 June 2006 (UTC)

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BetacommandBot 07:49, 29 September 2007 (UTC)

Incorrect name?
As far as I know, there is no plan to add the word "radio" to the name. Unless anybody knows otherwise, I think we should rename the article to use the correct name of the station, i.e. "BBC 6 Music". Any comments? --DanielRigal 17:10, 23 October 2007 (UTC)

I agree, until the BBC does actually change the name of the station, the article should reflect the current name. quack 14:55, 26 October 2007 (UTC)

 * It got misnamed again so I put it back again. It seems that the station name is actually "6 Music" not "BBC 6 Music" so it is not hard to see why confusion arises. particularly with the current logo. Maybe all the BBC Radio articles would be better off as " (BBC radio)" e.g. "6 Music (BBC Radio)". What does everybody think? --DanielRigal (talk) 19:11, 15 May 2008 (UTC)
 * Not really. The BBC Radio website lists BBC 6 Music as BBC 6 Music, not 6 Music. We need to keep the official title of the station as given by the BBC, as per WP:NAME. I placed a notice about the title of the article at the top of the page to encourage people tempted to move the article again to discuss any changes before implementing them. --tgheretford (talk) 19:58, 15 May 2008 (UTC)

On the BBC website (http://www.bbc.co.uk/6music/) and on the scrolling station identifier on digital radio the station's name is now given as BBC Radio 6Music. I think the title of this article should be changed to reflect this. —Preceding unsigned comment added by Alistair Stevenson (talk • contribs) 04:32, 22 February 2010 (UTC)

 * As of this week the station now announces itself on air as “BBC Radio 6 Music”. In the past is has been very consistently “BBC 6 Music”.
 * A BBC press release from 17 March 2011 consistently uses “BBC Radio 6 Music” and “6 Music”, and not “BBC 6 Music”. A 1 April 2011 press release uses “BBC 6 Music” (only once).
 * The 6 Music website is titled “6music” on the new front page; it uses “BBC Radio 6 Music” on newer programme descriptions ; it's titled “BBC 6 Music” on older pages. The BBC Programmes infrastructure uses “BBC 6 Music”.
 * 5 live uses “BBC Radio 5 live”, “BBC 5 live” and “5 live” interchangeably. 1Xtra uses “Radio” some of the time, like 5 live; BBC Programmes calls it “BBC 1Xtra”. Neither the Asian Network nor the World Service use “Radio”; both have a definite article. Radio 7 got a press release when it added “Radio”; Sports Extra and 1Xtra didn't; 6 Music hasn't had one yet.
 * Radcliffe and Maconie call it “6 Records”; they're alone in that respect.
 * Since supporting media isn't consistent, I suggest we go with the on-air branding, which uses “BBC Radio 6 Music” (and “6 Music” for short). --Gregknicholson (talk) 23:46, 5 April 2011 (UTC)

Uncritical tone
This article reads as though it has been written by the BBC Press Office. Despite mentioning several phone-in scandals (these could hardly be omitted) it is completely uncritical. In particular it lacks information about the controversial recent relaunch and repositioning, which has attracted howls of protest from listeners. I suspect an analysis of the edit history will find quite a few BBC IP addresses. --80.176.142.11 (talk) 20:06, 15 February 2008 (UTC)

Quite agree, the article is ghastly. I've made some minor changes.Keith-264 (talk) 07:32, 8 July 2008 (UTC)

I added a wee bit about the George Lamb thing but it could do with expanding, I'd think - g

Yes 6 music does seem to like to self-promote quite alot & it's controller's do seem to like to homogenise itself with BBC Radio 1 / Radio 2 & other commercial radio stations as much as it can possibly get away with (at odd's with it's spirit), instead of following it's service guidelines of promoting non-mainstream music / artists & also giving former popular artists a platform who don't get radio airplay any more.(on the alternative side I would have thought, though the remit is a bit vague as regards that matter)--Scratchy7929 09:14, 24 May 2012 (UTC)

Campaign against closure
Bearing in mind the discussion above about "uncritical tone" I modified the reference to public support for 6 Music from a Facebook group to a media report in order to make the article more like a neutral encyclopaedia article, and less like a rallying point for campaigners. The Facebook group reference still appears under external links. —Preceding unsigned comment added by Alistair Stevenson (talk • contribs) 19:35, 26 February 2010 (UTC)

 * The very act of creating a sub-heading about a rumour has turned part of the article into a rallying point for campaigners (probably the intention for creating it). It also fails to acknowledge that the future of the station isn't reducible to a binary choice of the status quo, or closing the station.
 * Haskanik (talk) 21:59, 28 February 2010 (UTC)

 * In order to reflect this argument, and the Recentism tag, Should the sub-heading be removed and the "Rumours of closure" section be shortened to:
 * In February 2010, in anticipation of a review by the BBC Trust, rumours were reported that 6 Music might be axed.[25] The review stopped short of recommending closure but suggested that only one in five UK residents were aware the station existed, and that it lacked presenters with credibility as music experts.[26] The Times subsequently claimed that Mark Thompson, Director General of the BBC, proposed closure as part of a bid to scale back BBC operations and allow commercial rivals more room. [27] A high profile campaign to oppose closure of the station attracted media attention and led to "#SaveBBC6Music" quickly becoming a trending topic on Twitter. [28] In the Guardian, BBC Radio 5 Live presenter Chris Addison was quoted as saying: "6 Music serves a minority interest, does it? Then it's heartland BBC. Leave it a-fucking-lone".[29] Ed Vaizey, shadow culture minister, implied that closure of 6 Music would be "intelligent and sensible".[30] Clive Dickens, chief operating officer of Absolute Radio, said that his company would be interested in buying 6 Music and could run it more efficiently than the BBC.[31]
 * then seek consensus for keeping this edit until the rumours are confirmed, denied or otherwise modified? Alistair Stevenson (talk) 22:31, 28 February 2010 (UTC)
 * I don't think every rumour should beget a main sub-heading. The suggested cut-down text, or something similar, could be put under Press coverage (as its focus is quotes to the press, and suchlike) and the Recentism tag disposed of.
 * Haskanik (talk) 23:20, 28 February 2010 (UTC)

Readability
The article contained such gems as "There is a lot of cooperation with the audience, using the World Wide Web, text messaging and emails . Listeners can in vivo decide which songs will be played. Listeners can also use the website to listen again to a show, post feedback to their message boards, find out more about the playlists and presenters and hear breaking music news.

Being able to text or e-mail the station doesn't amount to it offering "a lot of cooperation with the audience".

"Listeners can also use the website to listen again to a show, post feedback to their message boards, find out more about the playlists and presenters and hear breaking music news."

How is this noteworthy? Many, if not most, stations offer this.

If there are playlists, how can "Listeners can in vivo decide which songs will be played"?

"At launch the presenters were regarded as experts in their field."
 * Who* regarded them as experts? —Preceding unsigned comment added by Haskanik (talk • contribs) 20:57, 26 February 2010 (UTC)

Hi Haskanik Your edit certainly improves some sections but the amount of material you've removed - including well sourced citations - doesn't seem cooperative to me, especially without discussion. Expressing issues of fact more clearly would benefit the article, but wholesale deletion of whatever you find irrelevant feels arbitrary to me. Despite its original weakness I feel that overall the article would be stronger if your changes were reverted. —Preceding unsigned comment added by Alistair Stevenson (talk • contribs) 21:04, 26 February 2010 (UTC)

 * The article was more or less unreadable.

 * I'm sure it will be again.

 * The only question is when.

 * The current edit is the "Prague Spring" version of the page, before the BBC Press Office, and its fellow travellers, roll their tanks in.
 * Haskanik (talk) 21:24, 26 February 2010 (UTC)

The reference to a campaign to save 6 Music was noteworthy, factual, perfectly readable and included a reliable citation to the Guardian. You deleted this and the external link to a Facebook support group, editting out at least three other editors' contributions. The only tank being driven through the article is yours. —Preceding unsigned comment added by Alistair Stevenson (talk • contribs) 21:32, 26 February 2010 (UTC)

 * Articles on Wikipedia aren't much use if ordinary people can't read them.
 * Of course, anyone can put the Guardian link back in. That said, it's probably not necessary or helpful to dwell on, or link to, every news outlet that mentioned the possible closure of 6 Music. This is supposed to be Wikipedia, not Wikinews, 'Wikilinks', or 'Wikicampaign'.
 * But it's quite likely that will be forgotten very quickly.
 * Haskanik (talk) 22:15, 26 February 2010 (UTC)

 * "The reference to a campaign to save 6 Music was noteworthy, factual, perfectly readable and included a reliable citation to the Guardian."
 * At the time of writing, the reference added by User: Alistair Stevenson states: "A high profile campaign to oppose closure of the station attracted media attention and led to '#SaveBBC6Music' quickly becoming a trending topic on Twitter.[24]"
 * However, the linked Guardian article doesn't support the assertion - the hashtag mentioned doesn't appear in it.
 * A link was (re-)added to a Facebook group. Links to social networking sites are listed number 10 in ELNO
 * Haskanik (talk) 22:59, 26 February 2010 (UTC)

Thanks for pointing that out, I've supplied a better reference. As the rumours of closure are such a significant development in the station's history and since they've attracted so much public attention, I think they warrant a sub-heading separate from "Press Coverage" Alistair Stevenson (talk) 00:39, 27 February 2010 (UTC)

Playlist Comparison OR?
The OR tag in the introductory section comes with the following explanation: "why=the cites demonstrate only that 1 and 6 both have playlists, the comparison is OR systensis|date=November 2010". This is alongside two citations to the radio 1 playlist and the 6 music playlist. I could remove the radio 1 citation and simply change the article to state "It operates a playlist based on an A/B/C structure", but to my mind, that is less informative, while the suggestion of OR is extremely pedantic. Plus, I'm not convinced that "systensis" is actually a word! With the above in mind, I'm making an initial edit to remove the OR tag, however I'm open to discussion on the subject. GGdown (talk) 10:53, 18 April 2011 (UTC)

Name.
The article has been moved back and forward a couple of times now, without discussion.

Can we establish consensus on whether we should be titled "BBC 6 Music" or "BBC Radio 6 Music" please?

For my tu'pennth's worth, it seems to me that the BBC are now regularly referring to the station as "Radio 6 Music" on air, on the website and in print and that the name change should be restored.-- Fursday 14:39, 28 December 2011 (UTC)

 * In my opinion the only reason keeping the article as "BBC 6 Music" was if that was the name the station was referred to by most, if not all, of the presenters or in BBC Documents. However, ! am now being told (I don't listed to 6 Music myself) that on-air the station is known as "BBC Radio 6 Music". As a result it should be moved back - it is the current name used by the BBC and it also brings the article name into line with the other BBC Radio articles. Rafmarham (talk) 14:48, 28 December 2011 (UTC)

 * Yes, the article should be "BBC Radio 6 Music" as that is how it is referred to on air. Exok (talk) 20:48, 28 December 2011 (UTC)

 * For the record: I've just done a bit of original research :) and both versions still seem to be used: The moderator said "6 Music", whereas jingles said "BBC Radio 6 Music". The livestream in iTunes still says "BBC 6 Music", as does the Radio 6 website. I'm unsure about how to proceed as we are discussing whether it was right to move the page in German Wikipedia to "BBC Radio 6 Music".--Aschmidt (talk) 12:18, 14 March 2012 (UTC)
 * For the record II: I wrote to the BBC, and I've just received their answer – it's now "BBC Radio 6 Music". The BBC website is still inconsistent, but this will be changed soon.--Aschmidt (talk) 16:52, 14 March 2012 (UTC)
 * Well, that settles that then. Thanks. Exok (talk) 16:55, 14 March 2012 (UTC)
 * The Website has a giant banner at the top which clearly says "BBC Radio 6 Music". The HTML Page Title, however, says "BBC - 6Music" [sic]. -- Fursday 01:01, 15 March 2012 (UTC)

Removal of text from History section
An explanatory note to the removal of some text from the article on 6 March 2012. The text stated that the station was moving to MediaCityUK in Salford. However, in this case it was only one programme moving. The station is primarily based at Western House and will soon move into new studios at the revamped Broadcasting House. However the programme referenced was recorded at the BBC's Manchester studios in Oxford Road and so when they moved out, so did the programme. The station itself was not moving to Salford. Rafmarham (talk) 13:09, 6 March 2012 (UTC)
 * Hello. It's not just one show. Chris Hawkins and family moved up there:
 * Slade, Jane, "Weather girl tunes in to better life in the north", Daily Express, Property, February 29, 2012
 * And the original article I cited says 115 BBC Radio 6 Music staff will be moving up north. That's not just one show. Also, many BBC Radio 6 Music shows are already broadcasting from MediaCityUk in Salford. Like Craig Charles, Jarvis Cocker,
 * "BBC 6 Music moves to MediaCityUK", How-Do, Monday, 14 November 2011
 * And other information for different shows:
 * "BBC 6 Music teams move into MediaCityUK", Radio Today, November 2011.
 * --- Wikiklrsc (talk) 15:14, 6 March 2012 (UTC)

In these articles it has stated that these programmes are moving north, not the station itself. The station headquarters are to remain in London while some programmes previously made in the Oxford Road studios and in London are transferring to Salford. It is the same situation for other radio stations. A parallel example is Radio 4; their headquarters will remain in Broadcasting House, London, but some of their programmes, including You and Yours, Woman’s Hour and Front Row (all stated in the Radio Today article) are now being recorded in Salford. This practice is not uncommon: just as TV programmes are produced by each of the BBC's Network Production Centres so are radio programmes. It is just that some of 6 Music's programmes have been transferred from London to Salford.

Final clarification. The station headquarters itself are not moving to Salford, however some of the programmes made for the station are now being made in Salford. Rafmarham (talk) 15:34, 18 March 2012 (UTC)

Article lead
What a complete dog's dinner.

 * Two paragraphs describing the music content (including a very jargonistic list) seems far too much. Do we have any suggestions for a nice succinct paragraph to describe the stations music? Is it perhaps worthwhile considering a section going into more detail as to its content, along with the John Peel reference?

 * Is the closure still relevant in the lead or should this be left to the history section?

-- Fursday 01:15, 20 March 2012 (UTC)

I cleaned up the intro on the 15th, and someone completely undid the whole thing (including my adds to the 2012 Sony Award wins) the following day.

--Nickcolby (talk) 03:03, 17 May 2012 (UTC)

Fursday did you mean setting up a seperate linked page to the 6music page outlining the music they play including John Peel sessions, 6music themes of the month etc. - if you were I agree with that.Putting the information on 6music's front page does clutter things up a bit - I agree with you there Scratchy7929 08:55, 24 May 2012 (UTC)

I added the 2012 Sony Award win back in - removed it by mistake.It sound's a little BBC (along with it's music industry supporters) blowing it's own trumpet a little bit to me - alot of people will realise that though.I read it as very much marketing speak.Who going to add a "succinct paragraph to describe the station's music?" as Fursday above mentions.There is no reference of the type of artist's played at all at the moment.Perhap's I did over do it.But as 6music does seem to cover everything from '50's pop music, some disco to a little bit of alternative metal & experimental music it would be hard to make it succinct.A very strangely diverse / eclectic range of music that seems at odd's with it's remit at times - especially during day time shows i.e. " Its programmes juxtapose current releases outside the mainstream with earlier recordings " " focus on major artists and material which do not receive much support from other radio stations " " It should reflect the breadth of work produced by iconic artists, including a high proportion of less familiar tracks. 6 Music should aim to provide different music to that played on other radio stations. It should minimise the number of tracks played in daytime, including new tracks, which are also played on Radio 1, Radio 2 or comparable commercial radio stations in a typical week." " It should focus on new music, particularly that made by UK artists, prioritising less familiar acts who may become enduring icons in the future but who do not enjoy commercial support, thus demonstrating its independence from commercial interests " " It should significantly extend the range of music available to its audiences and aim to increase understanding through the context it provides for the music it plays " etc. etc. http://www.bbc.co.uk/bbctrust/our_work/service_reviews/service_licences/6_music.shtml http://downloads.bbc.co.uk/bbctrust/assets/files/pdf/regulatory_framework/service_licences/radio/2011/6music_apr11.txt http://www.bbc.co.uk/dna/mb6music/NF1950413?thread=5752756 — Preceding unsigned comment added by Scratchy7929 (talk • contribs) 22:27, 23 May 2012 (UTC)

Genres
I have removed a large list of every possible genre and sub genre that might be marginally connected to this station. Please discuss additions of genres from now on. Ridernyc (talk) 21:05, 23 May 2012 (UTC)
 * For the record there were 46 separate genres listed. Ridernyc (talk) 21:15, 23 May 2012 (UTC)

You do realise I didn't write all of that article, although I did amend it quite alot, Wikipedia does say be bold though.I hope you reached consensus with the other people that wrote that article before removing it.Fursday (above) did mention in this section that the music played was not adequately covered as well. — Preceding unsigned comment added by Scratchy7929 (talk • contribs) 21:42, 23 May 2012 (UTC)
 * Yes I was WP:BOLD and removed it. So do you have an comments on the article or are you going to just post ad hominem attacks? Also once again please learn to sign your posts. Ridernyc (talk) 22:19, 23 May 2012 (UTC)

Without consensus it seems - which you seem to like mentioning.Added a comment above BTW Scratchy7929 22:38, 23 May 2012 (UTC)  — Preceding unsigned comment added by Scratchy7929 (talk • [[Special:Contributions/ScratTemplate:Unsigned -->
 * This will be my last response to if you continue attacking instead of discussing. And once again please learn to sign your posts. Ridernyc (talk) 23:02, 23 May 2012 (UTC)

I'm trying to open up a 'critical' discussion with you (which is part of what Wikipedia is about) but you seem unable do to that.One way traffic it seems with youScratchy7929 00:44, 24 May 2012 (UTC)

I wouldn't categorise 6music as a triple A station
Haven't checked out this Wiki page in a while but noticed the multi-radio formats have been removed - 6music cannot be pigeon holed as a format station / to it's detriment perhaps.6music does play some adult album alternative music - maximum 25% of it's output perhaps (alot of that on the fringes of what could be considered triple A even).Therefore 75% of it's output lay outside of what could be considered triple A.

Alternative pop-rock would be closer output description of the station due to the high level of single releases it plays (no categorisation link on Wiki though) especially during day time hours.6music is definately not a Alternative Rock station (possibly Modern Rock would be a closer radio format description).To call it an Alternative station would be misleading also due to the large amount of music it plays on the divide between mainstream & less mainstream music + the large amount of retro pop & roots influenced music it plays. Scratchy7929 18:31, 9 January 2013 (UTC) — Preceding unsigned comment added by Scratchy7929 (talk • contribs)

Missing - the one most important fact about the station
When I first read an article about a music radio station, probably the most important fact I want to be told is what type of music it plays. This article manages to neglect actually identifying it. Saying it's sort of similar to Radio 1 & 2, but with less chart music, avoids saying what it actually plays instead...

Additionally, the "'A/B/C' structure" thing is baffling (is it explained anywhere?) and certainly doesn't need to be discussed in the second paragraph. The articles for Radio 1 & 2, specifically referred to and linked here, don't even appear to mention the A/B/C playlists.

Could anyone suggest a good way of describing the musical output, so we can make the lead section a bit more useful to readers new to the subject?--David Edgar (talk) 23:15, 21 May 2015 (UTC)

 * I added a paragraph near the top, which I hope goes some way to rectifying this omission. --David Edgar (talk) 23:24, 12 January 2016 (UTC)

External links modified
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Jarvis Cocker
Is it correct to list Jarvis as a current presenter?

I know the show is "Sunday Service with Jarvis Cocker" but I can't think of a single Sunday in the two plus years I've been a listener where he didn't have a guest host sitting in..... 2601:241:8102:221C:9473:E4B7:659B:4294 (talk) 15:37, 20 April 2017 (UTC)

Former presenters
Please can we have a section for former presenters? Off the top of my head: Bob Harris, Adam & Joe (Adam Buxton, Joe Cornish), Liz Kershaw, Phill Jupitus, Shaun Keavney, Jarvis Cocker

How I can this station received on Internet?
How I can this station received by the Internet? Thank for the answer! Wilske (talk) 03:10, 6 June 2024 (UTC)

title: Talk:BBC Radio 6 Music


text:
Harvey Ball

Harvey Ross Ball (July 10, 1921 – April 12, 2001) was an American commercial artist. He is recognized as the inventor of the popular smiley face graphic picture, which became an enduring and notable international icon. He never applied for a trademark for the iconic smiley image and only earned $45 for his efforts. Ball later founded the Harvey Ball World Smile Foundation in 1999, a non-profit charitable trust that supports children's causes.

Early life
Ball was born and raised in Worcester, Massachusetts, by his parents Ernest G. Ball and Christine ("Kitty") Ross Ball. Ball had five siblings, three younger by the names of Merrit, Virginia, and Raymond, and two older by the names of Jessie and Ernest Jr. During his time as a student at Worcester South High School, he became an apprentice to a local sign painter, and later attended the Worcester Art Museum School, where he studied fine arts.

State Mutual and the creation of The Smiley
After World War II, Ball worked for a local advertising firm until he started his own business, Harvey Ball Advertising, in 1959. He designed the smiley in 1963.

The State Mutual Life Assurance Company of Worcester, Massachusetts (now known as Hanover Insurance) had purchased Guarantee Mutual Company of Ohio. The merger resulted in low employee morale. In an attempt to solve this, Ball was employed in 1963 as a freelance artist, to come up with an image to increase morale. Ball started with a sunny-yellow circle containing a smile, however wasn't happy that it could be turned upside down to make a frown. By adding two eyes, he created a smiley face. The whole drawing took 10 minutes to complete, and earned him $45.

State Mutual had planned to hand out 100 button pins containing the design, however demand quickly soared. The aim was to get employees to smile while using the phone and doing other tasks. Research has since taken place confirming Ball's instincts. The buttons became popular, with orders being taken in lots of 10,000. More than 50 million smiley face buttons had been sold by 1971, and the smiley has been described as an international icon.

By 1971 the smiley face was everywhere, so Ball contacted patent attorneys, who told him the design was now in the public domain. Ball said: "It never bothered me. I figured if I make the world a little happier, OK, fine". Ball's son, Charles, is reported to have said his father never regretted not registering the copyright. Telegram & Gazette reported Charles Ball as saying "he was not a money-driven guy, he used to say, 'Hey, I can only eat one steak at a time, drive one car at a time.'"

Popularity of the smiley

The phrase "Have a happy day" became associated with the smiley although it was not part of Ball's original design. Philadelphian brothers Bernard and Murray Spain designed and sold products with the phrase and logo in the early 1970s. They trademarked the combination and later changed the phrase to "Have a nice day", which itself has become a phrase in everyday use in North America.

The smiley was introduced to France in 1972 as a signal of a good news story in the newspaper France-Soir. Frenchman Franklin Loufrani used the image this way and made swift moves to trademark the image. As of 2013, the company turns over $100 million a year and became embroiled in a copyright dispute with Walmart over the image in the 1990s.

The BBC broadcast a radio documentary on February 4, 2012, called Smiley's People that covered the story of the smiley.

Promotion
On July 18, 1998, around the 35th anniversary of the design's inception, Ball appeared at That's Entertainment to meet fans and sign smiley pins and art. At this appearance Ball was shown copies of the graphic novel Watchmen issue number 1, which featured a notorious image of a smiley face with a splatter of blood across it. Store Manager Ken Carson was quoted as saying Ball seemed amused to see it on the cover.

World Smile Foundation
Ball founded the World Smile Foundation in 1999, a non-profit charitable trust that supports children's causes. The group licenses Smileys and organizes World Smile Day, which takes place on the first Friday of October each year and is a day dedicated to "good cheer and good works". The catchphrase for the day is: "Do an act of kindness – help one person smile."

Death and legacy
Ball died on April 12, 2001, as a result of liver failure following a short illness. He was 79. He left behind his wife of 54 years, Winifred Trudell, and four children.

The land that was owned by the Ball family, off Granite Street in Worcester, was purchased by the City of Worcester in June 2007, with help from Mass Audubon and a $500,000 grant from the state Executive Office of Environmental Affairs' Division of Conservation Services. This property links Mass Audubon's Broad Meadow Brook Sanctuary with the developing Blackstone River Bikeway. It is now known as the "Harvey Ball Conservation Area" and is home to the appropriately named "Smiley Face Trail".

Distinguishing features of Ball's smiley face
A Harvey Ball smiley face can be identified by three distinguishing features: Narrow oval eyes (with the one on the right slightly larger than the one on the left), a bright sunny yellow color, and a mouth that is not a perfect arc, which has been claimed to be similar to a "Mona Lisa Mouth". The face has creases at the sides of the mouth, and the mouth is slightly off-center (with the right side a little higher than the left) and the right side of the mouth is slightly thicker than on the left.

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

title: Harvey Ball


text:
Oberammergau

Oberammergau is a municipality in the district of Garmisch-Partenkirchen, in Bavaria, Germany. The small town on the Ammer River is known for its woodcarvers and woodcarvings, for its NATO School, and around the world for its 380-year tradition of mounting Passion Plays.

Passion Play
The Oberammergau Passion Play was first performed in 1634. According to local legend, the play is performed every ten years because of a vow made by the inhabitants of the village that if God spared them from the effects of the bubonic plague then sweeping the region, they would perform a passion play every ten years. A man traveling back to the town for Christmas allegedly brought the plague with him by accident. The man purportedly died from the plague and it began spreading throughout Oberammergau. After the vow was made, according to tradition, not another inhabitant of the town died from the plague. All of the town members that were still suffering from the plague are said to have recovered.

The play is now performed in years ending with a zero, as well as in 1934 which was the 300th anniversary and 1984 which was the 350th anniversary (though the 1920 performance was postponed to 1922 due to postwar economic conditions, and the 1940 performance was cancelled due to the onset of the Second World War in 1939). The 2020 was postponed to 2022 due to the outbreak of COVID-19. It involves over 2,000 actors, singers, instrumentalists and technicians, all residents of the village.

Tongue-twister
The name of the village (as well as that of neighbouring Unterammergau) appears in a well-known German tongue-twister, often sung as a round:

 * German: Heut' kommt der Hans zu mir, / freut sich die Lies. / Ob er aber über Oberammergau, / oder aber über Unterammergau, / oder aber überhaupt nicht kommt, / das ist net g'wiß!
 * English: Hans will come join with me, / rejoices Lies (Lies is most likely the shortened form (pet name) of the name Elizabeth). / If he comes by way of Oberammergau / or by way of Unterammergau, / or if at all he comes, / that is not sure!

Tourism
About half the inhabitants of Oberammergau took part in the once-a-decade Passion Play in 2010.

Over 2,000 villagers performed the story of the Passion of Jesus for the audiences from around the world. This was a labor-intensive community enterprise, in which only natives of the village could participate. Performances have taken place between mid-May and early October.

The play has a major economic impact on Oberammergau. There is a local expression "Die Passion zahlt" ("The Passion Play will pay for it") in explaining how the Oberammergau community financed construction of a new community swimming pool, community centre, and other civic improvements. Since 1930, the number of visitors has ranged from 420,000 to 530,000. Most tickets are sold as part of a package with one or two nights' accommodation.

Traditional art
The village is also known as the home of a long tradition of woodcarving; the Bavarian State Woodcarving School is located there. Among the celebrated former students is the German artist Wolfram Aichele. His processional church staff depicting Christ on a donkey can be seen in the church of St Peter and St Paul. The streets of central Oberammergau are home to dozens of woodcarver shops, with pieces ranging from religious subjects, to toys, to humorous portraits.

Oberammergau is also famous for its "Lüftlmalerei," or frescoes, of traditional Bavarian themes, fairy tales, religious scenes or architectural trompe-l'œil found on many homes and buildings. Lüftlmalerei is common in Upper Bavaria and its name may be derived from an Oberammergau house called Zum Lüftl, which was the home of facade painter Franz Seraph Zwinck (1748–1792).

The village is also known for its religious art. A wooden statue of Our Lady of Good Voyage from Oberammergau stands in the Seaport Shrine in Boston, Massachusetts.

Transport
Oberammergau lies near the Bundesstraße 23, part of the Deutsche Alpenstrasse route. Its single-track, single platform railway station is the terminus of the Ammergau Railway. Several Aerial lifts climb the nearby mountains.

Military
The Conrad von Hötzendorf Kaserne was built just east of the village in 1935–37 as a base for the signals detachment (Gebirgs-Nachrichten-Abteilung 54) of the Mountain Brigade. In October 1943, the barracks were taken over by the Messerschmitt company as a research and development site; 37 km of tunnels were bored into the neighboring Laber mountain for engine production facilities, and a winter sports hotel was also taken over. In all, Messerschmitt had 500 employees in the design department and about 1,300 more in the factory. At the end of the Second World War, the Messerschmitt design department was visited by both U.S. and British scientific missions, as well as by teams from Bell (who stayed for five weeks) and de Havilland. Among the German staff interviewed by the Fedden Mission were Woldemar Voigt, Messerschmitt's chief designer, Hans Hornung, and Joseph Helmschrott.

After the war, the Americans occupied the kaserne, renaming it Hawkins Barracks and making it the primary facility of U.S. Army School Europe; over the next three decades schools in specialties ranging from military police to nuclear weapons handling were located there. The base reverted to German Army control and its original name in 1974.

NATO School, formerly NATO Weapons Systems School, the alliance's principal training and education facility on the operational level, has been located at Hawkins Barracks/Hötzendorf Kaserne since 1953.

Notable people

 * Rochus Dedler (1779–1822), composer
 * Johannes Kirchmayer (1860–1930) immigrated to the US in 1880, leading woodcarvers in Boston USA
 * Maximilian Dasio (1865–1954) painter and medal engraver, died in the town.
 * Ludwig Thoma (1867–1921) author, publisher and editor
 * Alois Lang (1872–1954) immigrated to the US in 1890, a master woodcarver at the American Seating Company
 * Eugen Papst (1886–1956), composer
 * Franz-Zeno Diemer (1889–1954) flight pioneer in Bavaria,
 * Max Streibl (1932–1998) CSU politician, eighth Minister President of Bavaria
 * Erich Ott (born 1944) sculptor, engraver and designer
 * Gregor Betz (born 1948) former swimmer, competed at the 1968 and 1972 Summer Olympics born in the town

title: Oberammergau


text:
Oberammergau Passion Play

The Oberammergau Passion Play (Oberammergauer Passionsspiele) is a passion play that has been performed every 10 years from 1634 to 1674 and each decadal year since 1680 (with a few exceptions) by the inhabitants of the village of Oberammergau, Bavaria, Germany. It was written by Othmar Weis, J A Daisenberger, Otto Huber, Christian Stuckl, Rochus Dedler, Eugen Papst, Marcus Zwink, Ingrid H Shafer, and the inhabitants of Oberammergau, with music by Dedler. Since its first production it has been performed on open-air stages in the village. The text of the play is a composite of four distinct manuscripts dating from the 15th and 16th centuries.

The play is a staging of Jesus' passion, covering the short final period of his life from his visit to Jerusalem and leading to his execution by crucifixion. It is the earliest continuous survivor of the age of Christian religions vernacular drama.

Vow
According to legend: an outbreak of bubonic plague devastated Bavaria during the Thirty Years' War (1618–1648). Bad Kohlgrub was so depopulated that only two married couples remained alive. The village of Oberammergau remained plague-free until 25 September 1633, when a man named Kaspar Schisler returned home after working in the nearby village of Eschenlohe. Over the next 33 days, 81 villagers would die, half of Oberammergau's population. On 28 October 1633, the villagers vowed that if God spared them from the plague, they would perform a play every 10 years depicting the life and death of Jesus. Nobody died of plague in Oberammergau after that vow, and the villagers kept their word to God by performing the passion play for the first time in 1634.

The legend is a distorted account of the actual plague. There was an outbreak of plague in Oberammergau, but it took place from September 1632 to March 1633, when there were a total of 84 deaths from all causes. Deaths followed an epidemic curve instead of ending suddenly. There was one death in September 1632, rising to 20 deaths in March 1633, and ending with one death in July 1633. There is also no record of a man named Kaspar Schisler. Only two couples got married in Bad Kohlgrub in 1634, instead of only two couples surviving the plague. There were 39 marriages in Bad Kohlgrub in 1635, so hundreds of villagers must have survived.

The errors may have been introduced by the retelling of an oral history that was not written down until 1733. The original work has been lost, and only fragments of the oral history survive as quotations in other works. The legend is told in the play The Plague of 1633 (Die Pestnot Anno 1633), which used to be performed the year before the Passion Play. It was retold as recently as the 1999 vow ceremony, which marked the beginning of rehearsals for the 2000 play. The town of Oberammergau now claims that Kaspar Schisler came home for a church festival in 1632 instead of 1633.

Performance
The production involves over 2,000 people: actors, musicians, stage technicians, and others, all residents of the village. The play comprises spoken dramatic text, musical and choral accompaniment and tableaux vivants, which are scenes from the Old Testament depicted for the audience by motionless actors accompanied by verbal description. These scenes are the basis for the typology, the interrelationship between the Old and New Testaments, of the play. They include a scene of King Ahasuerus rejecting Vashti in favor of Esther, the brothers selling Joseph into slavery in Egypt, and Moses raising up the nehushtan (bronze serpent) in the wilderness. Each scene precedes that section of the play that is considered to be prefigured by the scene. The three tableaux mentioned are presented to the audience as prefiguring Christianity superseding Judaism, Judas selling information on the location of Jesus, and the crucifixion of Jesus.

The evolution of the Passion Play was about the same as that of the Easter Play, originating in the ritual of the Latin Church, which prescribes, among other things, that the Gospel on Good Friday should be sung in parts divided among various persons.

Plot synopsis
Prelude

The prologue and chorus greet the audience. Two tableaux are presented. In the first, Adam and Eve, wearing sheepskins are banished from the Garden of Eden by a winged angel who holds a sword in the form of a flame. Behind the angel stands a burst of gilded rays symbolizing the tree of forbidden fruit. The second living picture traditionally showed a number of girls and smaller children surrounding a cross at center stage. The adoration represents the time in 1633 when villagers swore their vow before a huge crucifix bearing a twelve-foot-high Jesus.

Act 1 Jesus and the Money Changers. Jesus enters Jerusalem on a donkey to the shouts and exultation of the people on Palm Sunday. He drives the money changers and traders from the Second Temple then returns to Bethany.

Act 2 Conspiracy of the High Council. In the past, this act began with a tableau showing the sons of the patriarch Jacob conspiring to kill Joseph in the Plain of Dothan; the frieze was deleted from the 1980 presentation. The act consists of discussions between the traders and Sanhedrin, who agree that Jesus must be arrested to preserve Mosaic law.

Act 3 Parting at Bethany. Two tableaux presage the action. In the first, the young Tobias departs from his parents while the angel Raphael, played by another boy, waits, crook in hand, stage left. In the second, the loving bridesmaid from the Song of Solomon laments the loss of her groom. In the play, Christ is anointed by Mary Magdalene, then takes leave of his mother and friends. Judas is angered by the waste of the spikenard oil.

Act 4 The Last Journey to Jerusalem. A controversial tableau (now deleted) showed Queen Vashti dishonored at the court of King Ahasuerus. The old queen (Judaism, explains the Prologue) has been displaced by Esther (Christianity). Jesus sends two disciples to secure a Paschal lamb. He enters Jerusalem for the last time and weeps over the fate of the city. Judas contemplates betraying his master and is tempted by Dathan and other merchants.

Act 5 The Last Supper. The Passover Seder or Last Supper is celebrated in a scene evocative of the famous Da Vinci painting. Jesus washes the feet of his disciples and institutes the mass with wine and thick, brown, leavened bread. Two tableaux show Moses with rays or horns protruding from his head, bringing manna and grapes to the people in the wilderness.

Act 6 The Betrayer. In a tableau, Joseph, a boy nude to the waist, is sold by his brothers to the Midianites for twenty pieces of silver. In accompanying action, Judas appears before the Sanhedrin and promises to deliver Jesus for thirty pieces of silver. After his departure, the Pharisees plan at great length the death of Jesus.

Act 7 Jesus at the Mount of Olives. Two more Old Testament scenes introduce the soliloquy of Jesus in the Garden of Gethsemane. The first, a non-sequitur, which we are told explains that man must earn his food by the sweat of his brow, shows Adam, in sheepskin and assisted by a brood of similarly attired children, drawing a plow across a field. The second frieze more appropriately offers a helmeted Joab, surrounded by soldiers stabbing an unsuspecting Amasa in the ribs. Christ agonizes over his fate while his apostles doze. Judas enters with an armed band and betrays Jesus with a kiss.

Act 8 Jesus before Annas. The Old Testament parallel has Micah slapped on the cheek by Zedekiah, priest of Baal, for daring to predict King Ahab would die in battle. In like manner, Jesus is taken before a waiting, eager Annas and is struck on the face for his insolence. Soldiers also deride Christ as he is led through the streets by a rope.

Act 9 Condemned by the High Council. Two more tableaux emphasize the humiliation of Christ. In one, the aged Naboth is condemned by false witnesses and is stoned to death by the sons of Jezebel. In the other, Job, sitting on a dunghill is railed at by his friends, servants, even his wife and children. Meanwhile, Jesus is questioned by Caiaphas about his messiah-ship and is condemned. A tortured Judas tries to get the Sanhedrin to repeal its verdict. When his efforts prove unsuccessful, he tosses the money back at them and storms off.

Act 10 Despair of Judas. Judas and all who identify with him are linked with Cain in the opening tableau. The battered body of Abel appears at center stage. To the right is Cain, clad in a leopard skin and holding a club in one hand. His other hand is at his brow, attempting to conceal the brand of God. In this short act Judas offers a speech of remorse then hangs himself.

Act 11 Christ before Pilate. Originally there was a frieze that heralded Christ's first appearance before Pilate. The tableau of Daniel in the great pillared hall of Darius was deleted from later twentieth-century productions. Pilate's interrogation, coupled with news of his wife's dream, convinces the governor that Jesus should be prosecuted by Herod Antipas for lese majesty.

Act 12 Christ Before Herod. The scene stands without the original living picture which showed a blinded Samson mocked by the Philistines. Herod treats Christ with scorn, demanding a miracle, then sends him back to Pilate, cloaked in a red mantle of royalty. Responding to the urging of the Sanhedrin, Pilate reluctantly agrees to have Jesus scourged. Roman guards beat Jesus and press a crown of thorns into his scalp.

Act 13 Christ Sentenced to Death on the Cross. Two graphic pictures showing the presentation of Joseph's bloodied coat to Jacob, and Abraham about to stab Isaac on Mt. Moriah have been rejected from contemporary versions of the Passion. Retained, however, are tableaux which show Joseph riding a sedan chair as vizir of Egypt and another which supposedly represents the scapegoat offering of Yom Kippur. Following the tableaux, the stage is swarming with action as priests and Pharisees bring mobs from every direction. Pilate gives Jesus another hearing then offers the people a choice between Jesus and Barabbas. They demand and receive a final judgement on Christ.

Act 14 The Way of the Cross. The final segment of the Passion is introduced by a more sublime image of the Akedah, or binding of Isaac. In this tableau, the boy, like Jesus, carries wood on his back as he and Abraham climb Mt. Moriah. Another frieze, showing Moses and a bronze serpent intertwined about the cross has been deleted. When the chorus withdraws from the stage Christ bears his cross to Golgotha. As he passes through the streets he encounters his mother, Veronica, and Simon of Cyrene. The women of Jerusalem weep for him.

Act 15 Jesus on Calvary. For the first time the chorus appears in black traditional mourning garb. There is no tableau. He is mocked by members of the Sanhedrin and the soldiers and utters his last words. The legs of the criminals are broken. A soldier pierces the side of Christ with a lance and blood gushes forth. Jesus' followers slowly and reverently take down the body and lay it before his mother in a replica of the Pieta. The Sanhedrin insists that guards be posted before the tomb which is to hold Christ's body.

Act 16 Resurrection and Apotheosis. For the first time, action precedes a tableau. Roman guards see a light at the tomb. Mary Magdalene and the other women encounter an angel and recite the same lines as Quem Quaeritis. The final tableau shows Jesus resplendent in white with his apostles, angels, the Virgin Mary, and Moses. The Passion ends with a proclamation by the chorus.

Length
The running time has varied due to the many revisions that have taken place through the years. In 2010 it had a running time of 5 hours, beginning at 2:30 pm and ending at 10:00 pm, with a meal break. It was staged a total of 102 days and ran from May 15 until October 3 that year. According to a record from 1930, the play then had running time of approximately seven hours. It started at 8:00 am and ended at 5:00 pm with a meal break. Audiences come from all over the world, often on package tours, the first instituted in 1870. Admission fees were first charged in 1790. Since 1930, the number of visitors has ranged from 420,000 to 530,000. Most tickets are sold as part of a package with one or two nights' accommodation.

Frequency
The play is performed every ten years. From 1634 to 1674, it was performed in years ending in 4. Since 1680, it has been performed in years ending in the digit zero. There have been several cancellations and off-cycle performances.

The Passion Play Theatre
Oberammergau's original parish church proved to be far too small for performances of the Passion Play, so it was decided to hold the Play in the graveyard of the church, before the graves of the villagers who had died in the plague.

The fame of the Play must have spread quickly to the surrounding towns and villages for as early as 1674 records show that seats were to be provided for the audience.

Over the following years, sets and stage mechanics were added to the simple wooden stage structure. By the middle of the 18th century, it was obvious that the graveyard was also too small and a new venue was found on a field close by; however, the stage had to be specially built every year of the Play.

The first permanent stage seems to have been built in 1815 to a design by the then-local parish priest. In 1830 he was asked to help build a new, larger stage on the site of the present theatre. When it rained the audience got wet: umbrellas would have obscured the view of people sitting behind them.

However, in 1890 a new, purpose-built theatre was built and, apart from some of the scenes on the side of the stage, it would have looked much as it does today. It was ready in time for the 1900 performance, with the six-arched hall capable of holding over 4000 spectators.

The theatre was enlarged in time for the 1930 and 1934 seasons and whilst it was considered ugly and uncomfortable it was praised for its superb acoustics and sight of the stage.

Following the 1990 production both the interior and façade of the theatre were renovated and the stage mechanics modernised.

It has now been transformed – new more comfortable seating has been installed along with under-floor heating; cloakrooms have been extended; the foyer made accessible for wheelchair users; exhibition areas added; safety and toilet facilities improved. In 2010 a retractable glass roof was installed over the stage, which before then had been open to precipitation.

Today the theatre can seat an audience of over 4700.

Antisemitism
Previous versions of the play were considered antisemitic in character, blaming the Jews for the "murder" of Christ. Adolf Hitler indicated, according to Abe Foxman, approval of these allegedly anti-Semitic elements in the Oberammergau Passion Play.

The play had been largely based on a mid-19th century version edited by pastor Alois Daisenberger. After Nazi Germany's defeat in World War II, the passion play came under increasing pressure from American Jews because of its anti-Semitic elements. In 1950, playwright Arthur Miller and composer Leonard Bernstein led a petition to cancel the passion play. However, the townspeople defiantly restaged the 1934 play. In the 1960s, Heinrich Böll, Günter Grass, Paul Celan, and other prominent intellectuals called for a boycott due to the play's antisemitism. In the 1970s, Oberammergau invited representatives from Jewish organizations to revise the play, and revisions were approved by a Christian theological advisor. However, only minor revisions were made in the 1980 play. Change finally came in 1986, when generational turnover in the Community Council resulted in the 24-year-old Christian Stückl becoming director. Stückl narrowly outlasted an attempt by conservative members of the Community Council to fire him in 1989. Stückl, alongside dramaturgist Otto Huber, made considerable changes to the 1990 version to remove antisemitism from the text. The most radical changes came in 2000, when the story was reinterpreted as an inter-Jewish conflict, with some Jews supporting and others opposing the crucifixion of Jesus. Muslims, whose religion was not founded until six centuries after the events of the Passion occurred, were allowed to perform in the Passion Play for the first time in 2000.

A 2010 review in the Jewish newspaper The Forward stated: "It is undeniably true that the play was virulently antisemitic through most of its history, and that it gained an extra dose of notoriety after Hitler endorsed the 1934 production." The review noted that the Anti-Defamation League (ADL) stated that the play "continues to transmit negative stereotypes of Jews" and that even the Catholic Church demanded changes to the play, to bring it more in line with church policies expressed by the Second Vatican Council, 1962–1965, in the Apostolic Constitution, Nostra aetate, 4, October 28, 1965 ("[T]he Jews should not be presented as rejected or accursed by God as if this followed from Sacred Scripture"). 2000 and 2010 director Christian Stückl told "The Forward" that Jesus "lived as a Jew." Therefore, in the revised play, Jesus and his disciples pray in Hebrew. After viewing the play, the reviewer was sympathetic to its artistry and felt less offended by its message than by "Wagner's antisemitic caricatures and religious mysticism". Nonetheless, the review quoted a report from the Council of Centers on Jewish-Christian Relations, which reviewed the 2010 script and objected that the play still makes use of "elements that are historically dubious" from the Gospels. The review stated that "It seems unfair" to accuse the play of anti-semitism when it recounts material in Christianity's sacred texts and noted that the ADL's national director Abe Foxman had said that if the play is "about a Crucifixion in which the Jews kill Christ, you can never clean it up enough" to avoid an anti-semitic message.

For the 2022 play, the American Jewish Committee convened an Academic Advisory Group led by their Director of Interreligious and Relations, composed of experts in the play, Christian-Jewish relations, New Testament studies, and German-Jewish relations. This group was created to recommend, through ongoing dialogue, paths by which the play's leadership can further advance a decades-long process to rid the play of any lingering anti-Jewish tropes. AJC has described the collaborative process with the Oberammergau community as productive: “The Oberammergau leadership desire for ongoing improvement is genuine,” even as “there remain concerns about points within the play that do not properly reflect" the range of first century Jewish opinion on Jesus's leadership. This reflects both the historic progress in Christian-Jewish relations in the past decades and also lingering tensions over the anti-Jewish implications of certain traditional Christian interpretations of the Gospels’ narratives of Jesus's conviction and execution.

The changes to the play since World War II have included the manner in which the play presents the charge of deicide, collective guilt, supersessionism and typology, as well as the following:

 * the role of the Temple traders has been reduced;
 * the "Rabbi" character has been eliminated and his lines given to another character;
 * Jewish priests no longer wear horn shaped hats;
 * Jesus has been addressed as Rabbi Yeshua;
 * Jesus and others speak fragments of Hebrew prayers in the play;
 * Jews are shown disputing with others about theological aspects of Judaism, not just about Jesus;
 * Pilate has been made to appear more tyrannical and threatens Caiaphas, the Jewish high priest, and it is made clear that Caiaphas does not speak for all the Jews;
 * Romans now stand guard at the gates when Jesus makes his entrance to Jerusalem;
 * Jesus' supporters have been added to the screaming crowd outside Pilate's palace;
 * Judas is portrayed as being duped into betraying Jesus;
 * removing the line "His blood is upon us and also upon our children's children" (from Matthew 27:25), and "Ecce homo" (Behold [only] a man);
 * Peter, when questioned by Nathaniel regarding abandoning Judaism replies, "No! We don't want that! Far be it from us to abandon Moses and his law"; and
 * at the Last Supper Jesus recites the blessing over the wine in Hebrew. although Jesus actually spoke Aramaic.

Nazi support of 1934 play
The special jubilee season of the Oberammergau Passion Play in 1934, marking the 300th anniversary of the original vow to stage the play every ten years thereafter, was the first and only performance after the Nazi regime's rise to power the previous year. Among other things, the Ministry of Public Enlightenment and Propaganda ordered the official poster for the jubilee season amended to include the message "Deutschland ruft dich!" ("Germany is calling you!"), and the Kraft durch Freude scheme's discount-travel programme offered special cut-rate packages for the Passion Play, including train fare, tickets and accommodations.

Official propaganda described the Passion Play as "peasant drama ... inspired by the consecrating power of the soil", and Hitler attended a performance. An attempt to rewrite the Passion Play script to bring it into line with Nazi ideology was rejected, however, by the more conservative element.

Catholic Church certification
Missio Canonica is a canonical certification necessary for preaching. In 19th-century Germany, it was extended to teaching as well. In 1922 the Catholic Church gave the play a Missio Canonica. It is a certification that the beliefs of the Catholic Church are being taught or, in this case, being presented.

Scripts

 * Joseph Alois Daisenberger:

title: Oberammergau Passion Play


text:
Talk:Pakkoruotsi

article purpouse
I think we don't need to add much to pakkoruotsi in the way of explaining finnish education. The article "mandatory swedish" serves that purpouse quite well. I just removed the direct link to that article since pakkoruotsi is more just a derrogatory term than a direct synonym (as if nigger would be pointed at black, or something like that).

What should be added in the article is probably more the story about just that specific derrogatory term.

Gillis 21:45, 3 September 2005 (UTC)

 * This matther is right now being discussed on the "Mandatory Swedish" talk-page. Gillis 21:33, 17 January 2006 (UTC)

title: Talk:Pakkoruotsi


text:
Altamira

Altamira may refer to:

People

 * Altamira (surname)

Places

 * Cave of Altamira, a cave in Cantabria, Spain famous for its paintings and carving
 * Altamira, Pará, a city in the Brazilian state of Pará
 * Altamira, Huila, a town and municipality in Colombia
 * Altamira, Puerto Plata, a town in the Dominican Republic
 * Altamira Municipality, Tamaulipas, Mexico, a port city and a municipality
 * Altamira (Caracas) a neighborhood in Caracas, Venezuela
 * Altamira do Maranhão, a city in the Brazilian state of Maranhão
 * A neighbourhood in the district of Basurto-Zorroza in Bilbao, Spain
 * 7742 Altamira, an asteroid

In business

 * Altamira Financial Services, a Canadian mutual fund company now part of National Bank of Canada
 * AltaMira Press, an imprint of Rowman & Littlefield Publishing Group
 * Altamira Software, a computer software developer acquired by Microsoft in 1994

Others

 * Altamira (film), a 2016 film by Hugh Hudson
 * Altamira (album), a 2016 soundtrack album of the film by Mark Knopfler and Evelyn Glennie
 * Altamira oriole, Icterus gularis, a New World oriole
 * Altamira yellowthroat, Geothlypis flavovelata, a New World warbler
 * Viscounty of Altamira, Spanish nobility
 * Marquisate of Altamira, Spanish nobility
 * "Alta Mira", a song by Edgar Winter on their LP They Only Come Out at Night, 1972

title: Altamira


text:
User talk:Bennett

Hello, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and style guide pages are also useful. There is a sandbox which you can use to experiment in. If you have any questions, see the help pages or add a question to the village pump. Angela 19:45, 7 Aug 2003 (UTC)

title: User talk:Bennett


text:
Talk:History of video games

Virtual Reality and motion capture
This article will need to be updated with the recent growing trends in vitual reality (including the HTC vive, oculus rift, playstation vr) and with motion capture technology (microsoft kinect, playstation move, HTC vive motion capture, etc). — Preceding unsigned comment added by 186.155.50.27 (talk) 03:01, 10 May 2016 (UTC)

Semi-protected edit request on 5 July 2023
Please change

"In the early 1990s, advancements in microprocessor technology brought two major technology shifts, including the introduction of optical media via CD-ROMs and real-time 3D polygonal graphic rendering. Both aspects were readily incorporated into personal computers and creating a market for graphics cards,"

to

"In the early 1990s, advancements in microprocessor technology caused a shift towards real-time 3D polygonal graphic rendering. This aspect was readily incorporated into personal computers and creating a market for graphics cards,"

Reasons:
 * CD-ROMS have nothing to do with microprocessor technology, so cannot be responsible for a major technology shift
 * The first commercial CD-ROM game is [|The Manhole] published in 1989, which is before the 1990s ZodmanPerth (talk) 22:45, 5 July 2023 (UTC)

 * But Manhole did not popularize the adaption of CDs as much as Myst and 7th Guest did (both 1990s games). M asem (t) 22:56, 5 July 2023 (UTC)

 * ✅: I was bold and changed it to this: In the early 1990s, advancements in microprocessor technology brought two major technology shifts: the introduction of optical media via CD-ROMs and real-time 3D polygonal graphic rendering. Both aspects were readily incorporated into personal computers and consoles, including Sony's fledgling PlayStation console line, pushing Sega out of the console hardware market while diminishing Nintendo's role. The rise of 3D also created a market for graphics cards used in PCs. Xan747 (talk) 23:51, 5 July 2023 (UTC)
 * [edited] Xan747 (talk) 23:54, 5 July 2023 (UTC)

 * Another try at this: In the early 1990s, advancements in microprocessor technology gave rise to real-time 3D polygonal graphic rendering in game consoles, as well as in PCs by way of graphics cards. Optical media via CD-ROMs began to be incorporated into personal computers and consoles, including Sony's fledgling PlayStation console line, pushing Sega out of the console hardware market while diminishing Nintendo's role. Xan747 (talk) 00:15, 6 July 2023 (UTC)

Wiki Education assignment: Technology and Culture
— Assignment last updated by Agupta703 (talk) 00:55, 8 December 2023 (UTC)

title: Talk:History of video games


text:
HMS Conqueror (S48)

HMS Conqueror was a British Churchill-class submarine nuclear-powered fleet submarine which served in the Royal Navy from 1971 to 1990. She was the third submarine of her class, following the earlier HMS Churchill (S46) and HMS Courageous (S50), all designed to face the Soviet threat at sea. She was built by Cammell Laird at Birkenhead.

Conqueror the only nuclear-powered submarine to have engaged an enemy ship with torpedoes, sinking the cruiser General Belgrano during the 1982 Falklands War.

Construction
Conqueror was ordered on 9 August 1966 and was laid down at Cammell Laird's Birkenhead shipyard on 5 December 1967; she was launched on 28 August 1969. Construction was delayed by slow working by Cammell Laird's workforce, and sabotage of the ship's gearbox, which delayed completion by several months. Conqueror was finally commissioned on 9 November 1971; she was the last nuclear submarine built by Cammell Laird.

Falklands War
Conqueror, commanded by Commander Chris Wreford-Brown, was deployed during the Falklands War, setting sail from Faslane Naval Base on the Gareloch in Scotland on 3 April 1982, one day after the Argentine invasion. Conqueror arrived in the exclusion zone around the Falkland Islands 21 days later and was ordered to scan the area for Argentine shipping, particularly the aircraft carrier Veinticinco de Mayo ("25th of May").

On 30 April she detected, at a range of 100 nautical miles (nm) on long range sonar, a task force of the Armada de la República Argentina (ARA-Argentine Navy). The taskforce was composed of the WWII era ex-USN light cruiser General Belgrano, and two destroyers, ARA Piedra Buena and ARA Bouchard (both also ex-United States Navy vessels). General Belgrano was originally commissioned in 1944 but significantly modernised in 1960–62 with SPS 40 LRAW radar and SQS29 sonar. By the early 1980s the ARA were no longer receiving parts from the USA to maintain these systems, but the destroyers had recently been re-armed with French Exocet anti-ship missiles. The missiles were a real threat, unlike the 6-inch (150mm) guns on General Belgrano which only had a range of 13 mile. The task force was sailing southwest of the Falklands, just outside the exclusion zone imposed by the British on all shipping. With Veinticinco de Mayo approaching the islands from the north, the commander of the British carrier battle group in the South Atlantic, Rear Admiral "Sandy" Woodward, feared a pincer attack, with General Belgrano attacking from the south and Veinticinco de Mayo from the north. Woodward requested permission from his superiors to sink General Belgrano.

After some debate, permission to engage General Belgrano was sent to the submarine from the Commander-in-Chief Fleet and Task Force commander, Admiral Sir John Fieldhouse, at the Royal Navy's command centre in Northwood in the United Kingdom. In the intervening period, General Belgrano had retired from its attack position and turned west, since Veinticinco de Mayo was not yet ready to engage the British fleet. This would cause some controversy, although General Belgrano's captain and the Argentine government acknowledged that the attack was a legitimate act of war.

On 2 May Conqueror became the first nuclear-powered submarine to sink an enemy surface ship using torpedoes, launching three Mark 8 torpedoes at General Belgrano and the destroyers, two of which struck the ship and exploded. Twenty minutes later, the ship was sinking rapidly and was abandoned by her crew. General Belgrano was unable to issue a Mayday signal because of electrical failure; this and poor visibility meant the two escorting destroyers were unaware of the sinking until some hours later. A total of 323 men were killed.

Adding to the confusion, the crew of Bouchard felt an impact that was the third torpedo striking or exploding in proximity to the hull, inflicting more than minor damage with 4 gashes in the hull (an examination of the ship later showed an impact mark consistent with a torpedo). The two ships continued on their course westward and began dropping depth charges. At the time, Conqueror's officers believed they were under attack and continued to regard the two Argentine destroyers  as a serious threat to the British task force and later returned to search for the Argentine warships with the aim of sinking the destroyers  rather than searching for Belgrano survivors. By the time the Argentine destroyers realised that General Belgrano had actually foundered it was already dark and the weather had worsened, scattering the life rafts.

Conqueror's war did not end there. The crew of the submarine had to face the Argentine Air Force which located the submarine's wake and her raised periscope on 7 May, apparently from a C130 Hercules 100 ft overhead at peak light, of midday in the short Falklands sub-antarctic day, and the Argentine Air Force may have attacked the submarine then or later with US-type air-launched anti-submarine torpedoes in the days after the attack, which had shocked the Argentine people and the ruling dictatorship. Conqueror did not fire again for the remainder of the war, but helped the task force by using sophisticated monitoring equipment to track Argentine aircraft departing from the mainland.

After the war, Conqueror returned to Faslane, flying a Jolly Roger, a customary act of Royal Navy submarines after a kill. The flag, now in the Royal Navy Submarine Museum at Gosport, featured an atom for Conqueror being the only nuclear submarine with a kill, crossed torpedoes for the type of weapon used, a dagger indicating a cloak-and-dagger operation, and the outline of a cruiser for what kind of ship was sunk. When asked about the incident later, Commander Wreford-Brown responded, "The Royal Navy spent thirteen years preparing me for such an occasion. It would have been regarded as extremely dreary if I had fouled it up".

Operation Barmaid
Later in 1982, Conqueror completed a raid to acquire a Soviet passive towed sonar array from its Polish-flagged towing vessel. The operation, a joint mission between British and American forces, was conducted on the boundary of Soviet territorial waters. Conqueror used cutters affixed to her bow to shear through the 3 in thick wire before silently returning to her base on the Clyde.

Collision
On 2 July 1988 Conqueror was involved in a collision with the Army Sail Training Association yacht Dalriada south of the Mull of Kintyre. The yacht sank and four crew members were rescued.

Decommissioning
Conqueror was decommissioned in 1990 and the periscopes, captain's cabin and main control panel from the submarine's control room are on display in the Royal Navy Submarine Museum in Gosport. , Conqueror is one of 20 nuclear submarines still held in storage by the Ministry of Defence, awaiting final disposal.

title: HMS Conqueror (S48)


text:
User:B1000

I'm a graduate of Worcester Polytechnic Institute and currently live in Pensacola, Florida. I've taken interest in Wikipedia because I like its open nature, yet it seems to maintain a formality and consistancy which makes it objective and easy to use. Keep up the good work!

title: User:B1000


text:
T-Stoff

T-Stoff ('substance T') was a stabilised high test peroxide used in Germany during World War II. T-Stoff was specified to contain 80% (occasionally 85%) hydrogen peroxide (H2O2), remainder water, with traces (<0.1%) of stabilisers. Stabilisers used included 0.0025% phosphoric acid, a mixture of phosphoric acid, sodium phosphate and 8-oxyquinoline, and sodium stannate.

Uses
The decomposition of T-Stoff into hot steam and oxygen caused by the addition of the catalyst Z-Stoff (an aqueous solution of permanganates) was used to drive the split-tube steam catapults which launched the V-1 flying bomb.

Similarly generated steam was used to drive the turbopump in the German V2 rocket, and the pumps in several other rocket engines. The turbopump was used to transport fuel and oxidizer liquids under pressure to the rocket engine of the V2.

Another of T-Stoff's many uses was to be combined as the oxidizer, with C-Stoff (methanol–hydrazine–water mixture) as the fuel, in the bipropellant Walter HWK 109-509 engine of the Messerschmitt Me 163 and Messerschmitt Me 263, at a ratio of approximately 3.1 parts T-Stoff oxidizer to one part C-Stoff fuel. Because the two substances were so visually similar, a complex testing system was developed to make sure that each propellant was put into the correct tanks of the Messerschmitt Me 163. This was because T-Stoff and C-Stoff are hypergolic propellants: they spontaneously ignite when mixed at normal temperatures. Even slight contamination between the T-Stoff oxidizer and the C-Stoff fuel was likely to cause an explosion.

Catalytic decomposition of T-Stoff by Z-Stoff was also used as a monopropellant in several "cold" Walter rocket engines, including early versions of the engine for the Me 163A, and rocket-assisted takeoff pack engines like the Walter HWK 109-500.

Precautions
Because of its extreme oxidizing potential, T-Stoff was a very dangerous chemical to handle, so special rubberized suits were required when working with it, as it would react with most cloth, leather, or other combustible material and cause it to spontaneously combust. T-Stoff corroded iron and steel, and thus had to be kept in aluminium tanks. Conversely, C-Stoff ate through aluminium and had to be kept in glass or enamel. T-Stoff containers were white, C-Stoff containers were yellow. The tanker trucks carrying T-Stoff and C-Stoff, clearly marked "T" and "C" were forbidden to come within 800 meters of each other.

title: T-Stoff