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Can (band)

Can were a German experimental rock band formed in Cologne in 1968 by Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). They featured several vocalists, including the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). They have been hailed as pioneers of the German krautrock scene.

The founding members of Can came from backgrounds in avant-garde music and jazz. They blended elements of psychedelic rock, funk, and musique concrète on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973). Can also had commercial success with singles such as "Spoon" (1971) and "I Want More" (1976) reaching national singles charts. Their work has influenced rock, post-punk, and ambient acts.

1960s
Can was formed in Cologne, Germany, in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboard), Jaki Liebezeit (drums) and Michael Karoli (guitar). Czukay and Schmidt were from academic backgrounds, students of the composer Karlheinz Stockhausen, and were fascinated by the possibilities of rock and roll. The band initially used the name Inner Space.

In late 1968, the band enlisted the American vocalist Malcolm Mooney. They recorded an album, Prepare to Meet Thy Pnoom, but could not find a recording company to release it. They appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe backing the singer Margarete Juvan.

At Mooney's suggestion, the band changed their name to Can. Mooney suggested the name for its positive meanings in various languages. Liebezeit later suggested the backronym "communism, anarchism, nihilism", after an English magazine claimed this was the intended meaning.

Can accepted an invitation from a friend to move into his castle, Schloss Nörvenich, and use it as a recording studio. There, they recorded their debut album, Monster Movie (1969). It contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Monster Movie received acclaim.

During one live performance, Mooney suffered a mental breakdown, shouting "upstairs, downstairs" for three hours, even after Can had stopped playing. On his psychiatrist's advice, he left Can and returned to the US at the end of 1969. Mooney made his last recordings with Can that December. He was replaced in 1970 by a young Japanese traveller, Damo Suzuki, whom Czukay and Liebezeit found busking outside a Munich café and invited to join their performance that night.

1971–1973
The next few years saw Can release their most acclaimed works. While their earlier recordings were loosely based on traditional song structures, Can band reverted to a fluid improvisational style. The double album Tago Mago (1971) is often seen as groundbreaking, influential and deeply unconventional, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay said it "was an attempt in achieving a mystery musical world from light to darkness and return".

In 1971 the band composed the music for the three-part German-language television crime miniseries Das Messer ("The Knife"), directed by Rolf von Sydow. The track "Spoon" was used as the theme song and, released as a single, reached number 6 in the German singles chart.

Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured "Spoon" and the catchy "Vitamin C". Czukay said, "We could achieve an excellent dry and ambient sound... [Ege Bamyasi] reflects the group being in a lighter mood."

It was followed by Future Days in 1973, an early example of ambient music that also includes the pop song "Moonshake". Czukay said, "'Bel Air' [the 20-minute track that takes up all of side two on the original Future Days LP] showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting."

Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. Vocals were taken over by Karoli and Schmidt, but after Suzuki's departure, fewer of Can's tracks featured vocals, as the band experimented with the ambient music it had begun with Future Days.

1974–1979
Soon Over Babaluma from 1974 continued in the ambient style of Future Days, but with some of the abrasive edge of Tago Mago and Ege Bamyasi. In 1975, Can signed with Virgin Records in the UK and EMI/Harvest in West Germany, appearing the same year on BBC's Old Grey Whistle Test in a memorable performance of Vernal Equinox in which Schmidt played one keyboard section with a series of rapid karate chops. Shortly after the appearance Schmidt suffered a broken leg which led to cancellation of the band's UK tour.

The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as its recording technology improved. The disco single "I Want More" from Flow Motion became its only hit record outside West Germany. Co-written by live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops, where Czukay performed with a double bass. In 1977 Can was joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979).

During this period Czukay was pushed to the fringes of the group's activity due to disagreements about the band's creative direction and his failure as a bass guitarist to keep up with the growth of the other musicians. Bass guitar was something Czukay had "taken up almost by default" and he readily admitted his limitations on the instrument. After Gee joined Can, Czukay made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album.

After the split and reunion
After the split, all the former members were involved in musical projects, often as session musicians for other artists. Czukay recorded several ambient albums and collaborated with David Sylvian among others. Jaki Liebezeit played extensively with bassists Jah Wobble and Bill Laswell, with a drum ensemble called Drums off Chaos and in 2005 with Datenverarbeiter on the online album Givt.

In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland Records' compilation album Pop 2000. In 1999 the four core members of Can: Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006.

Karoli died of cancer on 17 November 2001; Liebezeit died of pneumonia on 22 January 2017; Czukay died of natural causes on 5 September 2017; and Suzuki died of cancer in February 2024.

Archive releases
Can released a compilation album Limited Edition in 1974, and expanded it to a double album Unlimited Edition in 1976 from their unreleased studio recordings. Delay 1968, released in 1981, was a compilation of unreleased 1968–1969 recordings. Cannibalism 2, a compilation album of album and single material, also included one unreleased song, "Melting Away", from the 1960s.

In 1995 The Peel Sessions was released, a compilation of Can recordings at the BBC. In 1999 Can Box was released, with a Can video documentary, a concert recording from 1972 and a double live CD compiled by Michael Karoli and later released separately as Can Live Music (Live 1971–1977). Unreleased live music of Can have been also released on the 40th Anniversary Edition of Tago Mago in 2011 and 17 LP collection box Can in 2014.

The Lost Tapes, released in 2012, was overseen by Irmin Schmidt and Daniel Miller, compiled by Schmidt and Jono Podmore, and edited by Podmore.

Style
Can developed a repetitive, rhythmic style with influences of North African music, Stockhausen, and American minimalists such as Steve Reich and Terry Riley. Czukay and Schmidt were both pupils of Stockhausen, and Can inherited a grounding in his musical theory. Schmidt was trained as a classical pianist, while Karoli brought the influence of gypsy music through his esoteric studies. Liebezeit had strong jazz leanings. The band's sound was originally intended to be based on the sound of ethnic music, so when the band decided to pick up the garage rock sound, original member David Johnson left. This world music trend was later exemplified on albums such as Ege Bamyasi (the name meaning "Aegean okra" in Turkish), Future Days and Saw Delight, and by incorporating new band members with different nationalities. A series of tracks on Can albums, known as "Ethnological Forgery Series", abbreviated to "E.F.S", demonstrated the band's ability to successfully recreate ethnic-sounding music. They constructed their music largely through collective spontaneous composition, sampling themselves in the studio and editing down the results. Czukay referred to Can's live and studio performances as "instant compositions".

The band's early rock influences include the Beatles and the Velvet Underground as well as Jimi Hendrix, Sly Stone and Frank Zappa. The band have admitted that the beginning of Can's "Father Cannot Yell" was inspired by the Velvet Underground's "European Son". Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style, rooted in psychedelic music, drew comparisons with Pink Floyd. Czukay's extensive editing has occasionally been compared to the late-'60s music of trumpeter Miles Davis (such as In a Silent Way and Bitches Brew): Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums. Czukay and Teo Macero (Davis's producer and editor) both had roots in the musique concrète of the 1940s and '50s. Irmin Schmidt stated in a discussion with Michael Karoli in 1996 concerning the various citations of influences upon their music: "You know, it's funny that in spite of all the supposed influences on us that have been written about, the one overriding influence has never been mentioned: Michael von Biel."

Suzuki was a very different singer from Mooney, with a multilingual (he claimed to sing in "the language of the Stone Age") and often inscrutable vocal style. With Suzuki, the band made their most critically and commercially successful albums. The rhythm section's work on Tago Mago has been especially praised: one critic writes that much of the album is based on "long improvisations built around hypnotic rhythm patterns"; another writes that "Halleluhwah" finds them "pounding out a monster trance/funk beat".

Improvisation, recording and live shows
Much of Can's music was based on free improvisation and then edited for the studio albums. For example, when preparing a soundtrack, only Irmin Schmidt would view the film and then give the rest of the band a general description of the scenes they would be scoring. This assisted in the improvised soundtrack being successful both inside and outside the film's context.

Can's live shows often melded spontaneous improvisation of this kind with songs appearing on their albums. The track "Colchester Finale", appearing on the Can Live album, incorporates portions of "Halleluhwah" into a composition lasting over half an hour. Early concerts found Mooney and Suzuki often able to shock audiences. The actor David Niven was asked by Czukay what he had thought of a concert, Niven replied: "It was great, but I didn't know it was music." After the departure of Suzuki, the music grew in intensity without a vocal centre. The band maintained their ability to collectively improvise with or without central themes for hours at a time (their longest performance, in Berlin, lasted over six hours), resulting in a large archive of performances.

Can made attempts to find a new vocalist after the departure of Damo Suzuki, although no one quite fit the position. In 1975, folk singer Tim Hardin took the lead vocal spot and played guitar with Can for one song, at two gigs, performing his own "The Lady Came From Baltimore". Malaysian vocalist Thaiga Raj Raja Ratnam played six dates with the band between January and March 1976. Another temporary vocalist, Englishman Michael Cousins, toured with Can from March (France) to April (West Germany) 1976.

Legacy and influence
In the late 1970s, Can influenced major artists working in the post-punk genre such as Siouxsie and the Banshees, the Fall, Public Image Ltd and Joy Division. In the 1980s, Can were referenced by British new wave acts such as Pete Shelley, Gary Numan, Ultravox, the Jesus and Mary Chain and Primal Scream. The Lumerians and Happy Mondays have cited Can as an influence. Critic Simon Reynolds wrote that "Can's pan-global avant-funk anticipated many of the moves made by sampladelic dance genres like trip hop, ethnotechno and ambient jungle." Brian Eno made a short film in tribute to Can, while John Frusciante of the Red Hot Chili Peppers appeared at the Echo Awards ceremony, at which Can were awarded the most prestigious music award in Germany.

Radiohead cited Can as an influence on their albums Kid A (2000) and Amnesiac (2001). Inspired by Can, they constructed their own studio and worked by recording jams and then editing the recordings. Radiohead covered "The Thief" in live performances in the early 2000s. Mark E. Smith of the Fall paid tribute to Suzuki with the track "I Am Damo Suzuki" on the 1985 album This Nation's Saving Grace. The Jesus and Mary Chain covered "Mushroom" live in the mid-1980s. Mark Hollis of Talk Talk had mentioned Can several times as an influence for their later albums, Spirit of Eden and Laughing Stock.

At least five notable bands have named themselves in tribute to Can: the Mooney Suzuki for Malcolm Mooney and Damo Suzuki; the indie rock band Spoon after the hit "Spoon"; the electronic band Egebamyasi, formed by Scottish musician Mr Egg in 1984, after Can's album Ege Bamyasi; Hunters & Collectors after a song on the Landed album; and Moonshake, named for a track on Future Days, and formed by ex-Wolfhounds frontman David Callahan. The Scottish writer Alan Warner has written two novels in tribute to two different Can members (Morvern Callar to Holger Czukay and The Man Who Walks to Michael Karoli respectively). The Sacrilege remix album features remixes of Can tracks by artists who were influenced by Can, including Sonic Youth and U.N.K.L.E. Their ethnomusicological tendencies pre-date the craze for world music in the 1980s. While not nearly as influential on electronic music as Kraftwerk, they were important early pioneers of ambient music, along with Tangerine Dream and the aforementioned band. Many groups working in the post-rock genre can look to Can as an influence as part of the larger krautrock scene, as can New Prog bands such as The Mars Volta. Rolling Stone called the group a "pioneering space rock band". Kanye West has sampled "Sing Swan Song" on his song "Drunk & Hot Girls" from his 2007 album Graduation. The UK band Loop was deeply influenced by Can for their repetitive polyrhythmic style, covering Can's "Mother Sky" on their Black Sun EP. The Yugoslav progressive/psychedelic rock band Igra Staklenih Perli, heavily influenced by Can, on their self-titled debut album released the song "Pečurka" ("Mushroom") as a tribute to Can.

The band is name-checked as a formative influence in LCD Soundsystem's debut single "Losing My Edge". Oasis' 2008 single "The Shock of the Lightning" was inspired by Can and Neu!.

The Japanese psych/krautrock band Minami Deutsch is heavily influenced by Can, and band member Kyotaro Mitula performed with Damo Suzuki at the Roadburn Festival.

Members

 * Michael Karoli – guitar, vocals, violin (1968–1979, 1986, 1988, 1991, 1999; died 2001)
 * Jaki Liebezeit – drums, percussion (1968–1979, 1986, 1988, 1991, 1999; died 2017)
 * Irmin Schmidt – keyboards, vocals (1968–1979, 1986, 1988, 1991, 1999)
 * Holger Czukay – bass, sound engineer, electronics, vocals, French horn (1968–1977, 1986, 1988; died 2017)
 * David C. Johnson – reeds, winds, electronics and tape manipulation (1968; died 2021)
 * Malcolm Mooney – vocals (1968–1970, 1986–1988, 1991)
 * Damo Suzuki – vocals (1970–1973; died 2024)
 * Rosko Gee – bass, vocals (1977–1979)
 * Rebop Kwaku Baah – percussion, vocals (1977–1979; died 1983)

Additional collaborators

 * Margarethe Juvan - vocals (1968)
 * Manni Löhe – vocals, percussion and flute (1968; died 1978)
 * Duncan Fallowell – lyrics (1974)
 * René Tinner – recording engineer (1973–1979, 1986, 1991)
 * Olaf Kübler of Amon Düül – tenor saxophone (1975)
 * Tim Hardin – vocals & guitar (November 1975) (died 1980)
 * Thaiga Raj Raja Ratnam – vocals (January–March 1976)
 * Michael Cousins – vocals (March–April 1976)
 * Peter Gilmour – lyrics, live sound mixing (later 1970s)
 * Jono Podmore – recording engineer, bass (1999), soundprocessing and editing engineer (1999, 2003, 2011–2012)

Discography
(US labels in parentheses)

 * Monster Movie (Liberty, 1969)
 * Tago Mago (first of four albums on United Artists, 1971)
 * Ege Bamyasi (1972)
 * Future Days (1973)
 * Soon Over Babaluma (1974)
 * Landed (Virgin, 1975)
 * Flow Motion (first of four albums on Harvest, 1976)
 * Saw Delight (1977)
 * Out of Reach (1978)
 * Can (1979)
 * Rite Time (Mercury, 1989)

Videography

 * Romantic Warriors IV: Krautrock (2019)

title: Can (band)


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Tuttlingen (district)

Tuttlingen is a Landkreis (district) in the south of Baden-Württemberg, Germany. Neighboring districts are (from north clockwise) Rottweil, Zollernalbkreis, Sigmaringen, Constance and Schwarzwald-Baar.

History
The district dates back to the Oberamt Tuttlingen, which was created in 1806. After several minor changes it was merged with the Oberamt Spaichingen and converted into the district in 1938. In 1973 it was enlarged by some municipalities from the dissolved districts Donaueschingen and Stockach.

Mining
From an old 3.5 km mine in a Doggererzflöz in Weilheim is wood in the Tuttlinger Fruchtkasten. Steel was produced in Tuttlingen by the Schwäbische Hüttenwerke in Ludwigshal. The furnace in Harras was closed in 1832. By building railways new calculations make the ironore of the area unprofitable. After the Franco-Prussian War mining was stopped.

Geography
The landscape of the district are the hills of the Swabian Alb, with the Danube as the main river.

Coat of arms
The coat of arms show a deer antler in the top part, the symbol of the state of Württemberg. The area of the district became part of Württemberg in the 14th century. The half wheel in the bottom is the symbol of the Lords of Hohenberg, representing an Austrian possession in the district.

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

title: Tuttlingen (district)


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Walking into Clarksdale

Walking into Clarksdale is the only studio album by Jimmy Page and Robert Plant, both formerly of English rock band Led Zeppelin. It was released by Atlantic Records on 20 April 1998. The album was recorded and mixed by Steve Albini at Abbey Road Studios.

The album debuted on the Billboard's Billboard 200 album chart at No. 8, while reaching No. 3 on the UK Album Chart. The single "Most High" was awarded a Grammy Award for Best Hard Rock Performance in 1999, and reached No. 1 on Billboard's Mainstream Rock Tracks chart and No. 26 in the UK.

Plant re-recorded the song "Please Read the Letter" with Alison Krauss for their 2007 collaboration album Raising Sand. This re-recording won the Record of the Year award at the 2009 Grammy Awards. "House of Love" was later re-recorded with different lyrics by Robert Plant and the Sensational Space Shifters for their 2014 studio album Lullaby and the Ceaseless Roar.

The title of the album refers to Clarksdale, Mississippi, a town in the Mississippi Delta considered to be the birthplace of blues music.

Background and recording
Following their successful No Quarter tour and subsequent live album release, Jimmy Page and Robert Plant began writing Walking into Clarksdale. For the new record, Page and Plant pursued a more stripped-down sound, eschewing the heavy orchestration of their live performances in favor of a more traditional four-piece band. The initial demos for the album were written by Page on a Harmony H1260 Sovereign guitar, first used during the recording of Led Zeppelin III.

The band met at RAK Studios in August 1997 where they recorded "Burning Up" and "Shining in the Light". Shortly after, the band left RAK for Abbey Road's EMI Number Two Studio, where they recorded the rest of the album over the course of 35 days in August and September. Page characterized the band's approach as "minimalistic", stating that the band wanted to avoid "embellishments for the sake of it" and that "every note was played in its place to mean something."

The album was recorded and mixed by Steve Albini, known for producing Nirvana's final album In Utero. Plant reported he had long admired Albini's music and recording techniques. Each song was recorded in a single take, with the full band live in the studio, with the exception of guitar layering on the title track and string and keyboard overdubs on "Upon a Golden Horse" and "Most High".

Release
Walking into Clarksdale was released internationally on 20 April 1998, and in North America on 21 April to widespread critical acclaim. The album's launch was preceded by the release of "Most High" as the album's first single on 30 March 1998. "Most High" debuted at No. 10 on Billboard's Mainstream Rock chart.

"Shining in the Light" was released as the album's second single in May 1998.

Atlantic Records promoted the album extensively, with advertising on major U.S. cable channels and national print publications like Rolling Stone, interviews booked on nearly every major talk show, and a "substantial radio buy" in the top 20 radio markets. In addition to more traditional promotional channels, Atlantic signed a deal with Ticketmaster – a first for the label – to upsell the album directly to customers who ordered tickets to the 1998 tour.

The album cover, designed by Martin Callomon, features photography by Anton Corbijn, best known for his work with U2 and Depeche Mode.

Tour
To promote Walking into Clarksdale, Page and Plant kicked off 1998's "Walking into Everywhere" Tour. The tour, consisting of three tours of Eastern Europe, North America, and Western Europe, consisted of 97 tour dates and featured a mix of both new material and Led Zeppelin classics. The band's concert in Bucharest, Romania was professionally filmed for a cancelled home video release, and parts of the concert were broadcast live on the MTV special “Live from the 10 Spot” to promote the album.

Three additional tour legs in Japan, Australia, and South America were planned for 1999. However, following a final appearance in Paris on 10 December 1998 at the Amnesty International “The Struggle Continues…” concert, Robert Plant dissolved the partnership and the planned 1999 tour was cancelled.

Track listing
All songs by Jimmy Page, Robert Plant, Charlie Jones, and Michael Lee.

 * 1) "Shining in the Light" – 4:01
 * 2) "When the World Was Young" – 6:13
 * 3) "Upon a Golden Horse" – 3:52
 * 4) "Blue Train" – 6:45
 * 5) "Please Read the Letter" – 4:21
 * 6) "Most High" – 5:36
 * 7) "Heart in Your Hand" – 3:50
 * 8) "Walking into Clarksdale" – 5:18
 * 9) "Burning Up" – 5:21
 * 10) "When I Was a Child" – 5:45
 * 11) "House of Love" – 5:35
 * 12) "Sons of Freedom" – 4:08

Japanese bonus track
 * 1) "Whiskey from the Glass" – 3:01

Note
 * "Most High" and "Shining in the Light" were released as singles, with a music video for the former. "Most High" was also featured as a CD single with the B-side "The Window".

Personnel

 * Band members
 * Jimmy Page – acoustic and electric guitars, mandolin, co-production
 * Robert Plant – vocals, co-production
 * Charlie Jones – bass guitar, percussion, mixing on "Upon a Golden Horse"
 * Michael Lee – drums, percussion

 * Additional musicians
 * Lynton Naiff – string arrangements on "Upon a Golden Horse"
 * Ed Shearmur – programming and string pads on "Most High"
 * Tim Whelan – keyboards on "Most High"

 * Production
 * Steve Albini – engineering, mixing, recording technician
 * Paul Hicks – assistant engineering
 * Phil Andrews – mixing on "Upon a Golden Horse"
 * Anton Corbijn – photography
 * Martin "Cally" Callomon – design

title: Walking into Clarksdale


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Charles Dow

Charles Henry Dow (November 6, 1851 – December 4, 1902) was an American journalist who co-founded Dow Jones & Company with Edward Jones and Charles Bergstresser.

Dow also co-founded The Wall Street Journal, which has become one of the most respected financial publications in the world. He also invented the Dow Jones Industrial Average as part of his research into market movements. He developed a series of principles for understanding and analyzing market behavior which later became known as Dow theory, the groundwork for technical analysis.

Early life
Charles Henry Dow was born in Sterling, Connecticut, on November 6, 1851. When he was six years old his father, who was a farmer, died. The family lived in the hills of eastern Connecticut, not far from Rhode Island. Dow did not have much education or training, but he managed to find work at the age of 21 with the Springfield Daily Republican, in Massachusetts. He worked there from 1872 until 1875 as a city reporter for Samuel Bowles, who taught his reporters to write crisp, detailed articles. Dow then moved on to Rhode Island, joining the Providence Star, where he worked for two years as a night editor. He also reported for the Providence Evening Press. In 1877, Dow joined the staff of the prominent Providence Journal. George W. Danielson, the editor there, had not wanted to hire the 26-year-old, but Dow would not take no for an answer. Upon learning that Dow had worked for Bowles for three years, Danielson reconsidered and gave Dow a job writing business stories.

Dow specialized in articles on regional history, some of which were later published in pamphlet form. Dow made history come alive in his writing by explaining the development of various industries and their future prospects. In 1877, he published a History of Steam Navigation between New York and Providence. Three years later, he published Newport: The City by the Sea. It was an account of Newport, Rhode Island's settlement, rise, decline, and rebirth as a summer vacation spot and the location of a naval academy, training station, and war college. Dow reported on Newport real estate investments, recording the money earned and lost during the city's history. He also wrote histories of public education and the prison system in the state. Danielson was so impressed with Dow's careful research that he assigned him to accompany a group of bankers and reporters to Leadville, Colorado, to report on silver mining. The bankers wanted the publicity in order to gain investors in the mines.

In 1879, Dow and various tycoons, geologists, lawmakers, and investors set out on a four-day train trip to reach Colorado. Dow learned a great deal about the world of money on that journey as the men smoked cigars, played cards, and swapped stories. He interviewed many highly successful financiers and heard what sort of information the investors on Wall Street needed to make money. The businessmen seemed to like and trust Dow, knowing that he would quote them accurately and keep a confidence. Dow wrote nine "Leadville Letters" based on his experiences there. He described the Rocky Mountains, the mining companies, and the boomtown's gambling, saloons, and dance halls. He also wrote of raw capitalism and the information that drove investments, turning people into millionaires in a moment. He described the disappearance of the individual mine-owners and the financiers who underwrote shares in large mining consortiums. In his last letter, Dow warned, "Mining securities are not the thing for widows and orphans or country clergymen, or unworldly people of any kind to own. But for a businessman, who must take risks in order to make money; who will buy nothing without careful, thorough investigation; and who will not risk more than he is able to lose, there is no other investment in the market today as tempting as mining stock."

Working on Wall Street
In 1880, Dow left Providence for New York City, realizing that the ideal location for business and financial reporting was there. The 29-year-old found work at the Kiernan Wall Street Financial News Bureau, which delivered by messenger hand written financial news to banks and brokerages. When John J. Kiernan asked Dow to find another reporter for the Bureau, Dow invited Edward Davis Jones to work with him. Jones and Dow had met when they worked together at the Providence Evening Press. Jones, a Brown University dropout, could skillfully and quickly analyze a financial report. He, like Dow, was committed to reporting on Wall Street without bias. Other reporters could be bribed into reporting favorably on a company to drive up stock prices. Dow and Jones refused to manipulate the stock market.

The two young men believed that Wall Street needed another financial news bureau. In November 1882, they started their own agency, Dow, Jones & Company. The business' headquarters was located in the basement of a candy store. Charles Bergstresser was the chief financier of the fledgling company, but chose to be a silent partner. Bergstresser's strength lay in his interviewing skills. Jones once remarked that he could make a wooden Indian talk and tell the truth.

In November 1883, the company started putting out an afternoon two-page summary of the day's financial news called the Customers' Afternoon Letter. It soon achieved a circulation of over 1,000 subscribers and was considered an important news source for investors. It included the Dow Jones stock average, an index that included nine railroad issues, one steamship line, and Western Union.

Simultaneously to his work in publishing, in 1885 Dow also served as a Partner in the NYSE brokerage house of Goodbody, Glynn and Dow where he remained until its dissolution six years later. His Partner, Robert Goodbody, was an Irish citizen and thus at that time ineligible to own a seat. By 1891, both men would part ways. Robert would start his own firm entitled Robert Goodbody & Co, which would become the fifth largest brokerage firm in the United States, before being bought by Merrill Lynch in 1971.

Birth of the Wall Street Journal
In 1889, the company had 50 employees. The partners realized that the time was right to transform their two-page news summary into a real newspaper. The first issue of The Wall Street Journal appeared on July 8, 1889. It cost two cents per issue or five dollars for a one-year subscription. Dow was the editor and Jones managed the deskwork. The paper gave its readers a policy statement: "Its object is to give fully and fairly the daily news attending the fluctuations in prices of stocks, bonds, and some classes of commodities. It will aim steadily at being a paper of news and not a paper of opinions." The paper's motto was "The truth in its proper use." Its editors promised to put out a paper that could not be controlled by advertisers. The paper had a private wire to Boston and telegraph connections to Washington, Philadelphia, and Chicago. It also had correspondents in several cities, including London.

Dow often warned his reporters about exchanging slanted stories for stock tips or free stock. Crusading for honesty in financial reporting, Dow would publish the names of companies that hesitated to give information about profit and loss. Soon after that, the newspaper gained power and respect from the reading public. Vermont Royster, a later editor of the Wall Street Journal, said Dow always believed business information was not the "private province of brokers and tycoons".

In 1898, the Wall Street Journal put out its first morning edition. The paper now covered more than just financial news. It also covered war, which it reported without rhetoric, unlike many other papers. Dow also added an editorial column called "Review and Outlook" and "Answers to Inquirers," in which readers sent investment questions to be answered. Edward Jones retired in 1899, but Dow and Bergstresser continued working. Dow still wrote editorials, now focusing on the place that government held in American business. The Wall Street Journal set a precedent in reporting during the election of 1900 by endorsing a political candidate, the incumbent president William McKinley.

Dow Jones Averages
The stock price average was created on July 3, 1884, by Charles Dow as part of the "Customer's Afternoon Letter". At its inception, it consisted of 11 companies—9 railroads and 2 non-rail companies, Pacific Mail Steamship and Western Union Telegraph. On September 23, 1889, the “20 Active Stock” index was introduced. It included 18 railroad and 2 non-rail stocks.

In the 1890s, Dow saw that the recession was ending. In 1893, many mergers began taking place, resulting in the formation of huge corporations. These corporations sought markets for their stock shares. The wildly speculative market meant investors needed information about stock activity. Dow took this opportunity to devise the Dow Jones Industrial Average (DJIA) in 1896. By tracking the closing stock prices of twelve companies, adding up their stock prices, and dividing by twelve, Dow came up with his average. The first such average appeared in the Wall Street Journal on May 26, 1896. Nowadays, the DJIA remains one of the oldest and popular stock indices in the world.

On October 25, 1896, Dow replaced the 2 non-rail stocks in the “20 Active Stock” index with 2 rail stocks and the index became the Dow Jones Railroad Average (DJRA). The DJRA remained a rail average of 20 stocks until January 2, 1970, when the average was changed to the Dow Jones Transportation Average (DJTA)—9 railroad stocks were replaced by 9 airline and trucking stocks.

Theory of stock price movements
In 1899, Dow started an editorial column in his newspaper in order to educate the general reader until his death in 1902. The column dealt mainly with stock market activities and economic matters. It was in this column that he often put forward his ideas of stock price movements, which were the foundation of what was later called the Dow Theory. Unfortunately, his complete editorial writings are not available to the general reader. However, most of his writings can be found in the following books: The basic idea of Dow is that the stock price is affected by various factors interacting at the same time, leading to distinct patterns of stock price movement. The first step is to establish from past data the relationship between these patterns and each important factor. Thereafter, by identifying the main factors which are presently working, we can predict the probable future movement of stock price. One of the most important contributions to stock market thought was his theory of the three movements in the market.
 * 1) Samuel Armstrong Nelson, The ABC of stock speculation 'The A B C of Stock Speculation', 1902
 * 2) George W. Bishop, Charles H. Dow and The Dow Theory, 1960
 * 3) Laura Sether ed., Dow Theory Unplugged: Charles Dow's Original Editorials & Their Relevance Today, 2009

Personal
At age 30, having moved to New York City the prior year to accept a job offer, Dow married his wife Lucy, who had a daughter from a previous marriage. The couple had no children of their own.

Death
In 1902, Dow began to have health problems and Bergstresser wanted to retire. The two sold their shares of the company to Clarence Barron, their Boston correspondent. Dow wrote his last editorial in April 1902. About eight months later, on December 4, 1902, he died at his home at 161 Lefferts Place, Brooklyn, New York, at the age of 51 after suffering a heart attack. Charles Dow is interred in North Burial Ground in Providence, Rhode Island.

title: Charles Dow


text: File:Page & Plant - Walking Into Clarksdale.jpg


text:
Talk:Neodymium

Table "Solar System abundances" appears to be WP:OR
The table of Solar System abundances shows the relative abundance of Neodymium. This table does not appear in the source. No comparison to Neodymium is even made in the article. Thus the selection of rows, the values in the columns, and the implied significance of the comparison are all inventions.

Sources don't report the relative abundance of rare elements because they vary widely with source. Giving the ratio to three significant figures is completely unscientific. Johnjbarton (talk) 16:13, 14 April 2024 (UTC)

 * I'm not well acquainted with the methods of measuring elemental abundances in the solar system - is this a better source, as it states "Only elements with an accuracy of the solar abundance determination of better than 25% were included"? Recon  rabbit  16:25, 14 April 2024 (UTC)
 * Thanks! The study of the abundance of elements is critical to cosmology so there are many studies of various kinds going back nearly a hundred years. The key question here is whether the particulars of the table are significant or just an invention by an enterprising editor. Johnjbarton (talk) 20:33, 15 April 2024 (UTC)

Puzzling change labeled "+ per GAN"?
In this recent change, @Praseodymium-141 changed a sentence related to glass impurities to one related to lanthanide separation. The new sentence seems out of context. I don't understand the change nor the cryptic edit summary. Why this change? Is it still supported by the ref? Johnjbarton (talk) 14:03, 16 April 2024 (UTC)

 * The change was requested because the ref never supported the statements about glass impurities; it never mentions glass in the first place. I recommended the change in order to better reflect the information in the source; it probably needs additional work to put it in context with the rest of the paragraph. Information on historical neodymium glass production was not forthcoming. Recon  rabbit  14:40, 16 April 2024 (UTC)

title: Talk:Neodymium


text:
Elephant shrew

Elephant shrews, also called jumping shrews or sengis, are small insectivorous mammals native to Africa, belonging to the family Macroscelididae, in the order Macroscelidea. Their traditional common English name "elephant shrew" comes from a perceived resemblance between their long noses and the trunk of an elephant, and their superficial similarity with shrews (family Soricidae) in the order Eulipotyphla. However, phylogenetic analysis has revealed that elephant shrews are not properly classified with true shrews, but are in fact more closely related to elephants than to shrews. In 1997, the biologist Jonathan Kingdon proposed that they instead be called "sengis" (singular sengi), a term derived from the Bantu languages of Africa, and in 1998, they were classified into the new clade Afrotheria.

They are widely distributed across the southern part of Africa, and although common nowhere, can be found in almost any type of habitat, from the Namib Desert to boulder-strewn outcrops in South Africa to thick forest. One species, the North African elephant shrew, remains in the semi-arid, mountainous country in the far northwest of Africa. The Somali elephant shrew went unobserved from 1968 to 2020 but was rediscovered by a group of scientists in Djibouti.

Characteristics
The creature is one of the fastest small mammals, having been recorded to reach speeds of 28.8 kph. Compared to other mammalian insectivores, sengis have relatively large brains. They are solitary animals which means that they rely on a combination of vocalizations and scent markings for communication with their vocalizations, which serves the purposes such as territory defense and mate attraction.

Elephant shrews are small, quadrupedal, insectivorous mammals resembling rodents or opossums, with scaly tails, long snouts, and legs quite long for their size, which are used to move from one place to another like rabbits. They vary in size from about 10 to 30 cm, from 50 to 500 g.The body weight of the grey-faced sengi is about 700 g, which is 25–50% greater than any other giant sengi. The new Rhynchocyon is only known from two populations that cover about 300 km2 of montane forest. It has an estimated density of 50–80 individuals km−2 The short-eared elephant shrew has an average size of 150 mm. Although the size of the trunk varies among species, all are able to twist it about in search of food. Their lifespans are about two and a half to four years in the wild. They have large canine teeth, and also high-crowned cheek teeth similar to those of ungulates. Their dental formula is G

Although mostly diurnal and very active, they are difficult to trap and very seldom seen; elephant shrews are wary, well camouflaged, and adept at dashing away from threats. Several species make a series of cleared pathways through the undergrowth and spend their day patrolling them for insect life. If the animal is disturbed, the pathway provides an obstacle-free escape route.

Elephant shrews are not highly social animals, but many live in monogamous pairs, and live in seldom. They share and defend their home territory if another organism were to trespass into their territory they would be violently kicked out, which involves screaming, sparring, snapping and kicking (Simmons, 1991). This territory is marked using scent glands. Rhynchocyon species also dig small conical holes in the soil, bandicoot-style, but others may make use of natural crevices, or make leaf nests. and keep track of each other through scent marking.

Short-eared elephant shrews inhabit the dry steppes and stone deserts of southwestern Africa. They can even be found in the Namib Desert, one of the driest regions of the earth. Females drive away other females, while males try to ward off other males. Although they live in pairs, the partners do not care much for each other and their sole purpose of even associating with the opposite sex is for reproduction. Social behaviors are not very common and they even have separate nests. The one or two young are well developed at birth; they are able to run within a few hours.

Female elephant shrews undergo a menstrual cycle similar to that of human females and the species is one of the few nonprimate mammals to do so. Elephant shrews were used in the 1940s to study the human menstruation cycle. The elephant shrew mating period lasts for several days. After mating, the pair will return to their solitary habits. After a gestation period varying from 45 to 60 days, the female will bear litters of one to three young several times a year. The young are born relatively well developed, but remain in the nest for several days before venturing outside.

After five days, the young's milk diet is supplemented with mashed insects, which are collected and transported in the cheek pouches of the female. The young then slowly start to explore their environment and hunt for insects. After about 15 days, the young will begin the migratory phase of their lives, which lessens their dependency on their mother. The young will then establish their own home ranges (about 1 sqkm) and will become sexually active within 41–46 days.

The thermal characteristics of elephant shrews with similar body size, habitat and distribution are very close in most of the classifications. They can maintain homeothermy in different ambient temperatures where most of the species regulate their body temperature at 35 °C and neither become hyperthermic but they balance the heat offload by increasing the EWL (evaporative water loss).

Feeding habits
Elephant shrews mainly eat insects, spiders, centipedes, millipedes, and earthworms. An elephant shrew uses its nose to find prey and uses its tongue to flick small food into its mouth, much like an anteater. Eating large prey can pose a challenge; an elephant shrew struggling with an earthworm must first pin its prey to the ground with a forefoot. Then, turning its head to one side, it chews pieces off with its cheek teeth, much like a dog chewing a bone. This is a sloppy process, and many small pieces of worm drop to the ground; these are simply flicked up with the tongue. Some elephant shrews also feed on small amounts of plant matter, especially new leaves, seeds, and small fruits.

Evolution
A number of fossil species are known, all from Africa. They were separate from the similar-appearing order Leptictida. A considerable diversification of macroscelids occurred in the Paleogene period. Some, such as Myohyrax, were so similar to hyraxes that they were initially included with that group, while others, such as Mylomygale, were relatively rodent-like. These unusual forms all died out by the Pleistocene. Although macroscelids were classified in the past with many groups, often on the basis of superficial characteristics, considerable morphological and molecular evidence places them within Afrotheria, at the base of Afroinsectivora.

In terms of timing, the divergence between macroscelids and afrosoricidans is thought to have occurred roughly 57.5 million years (Ma) ago, in the late Paleocene, while the diversification of extant macroscelids apparently began when the Rhynchocyon lineage split off about 33 Ma ago, in the early Oligocene. Elephantulus is considered to have separated from Macroscelidini later in the Oligocene, about 28.5 Ma ago.

Classification
The 20 species of elephant shrew are placed in six genera, three of which are monotypic:
 * ORDER MACROSCELIDEA
 * Family Macroscelididae
 * Genus Elephantulus
 * Short-snouted elephant shrew, E. brachyrhynchus
 * Cape elephant shrew, E. edwardii
 * Dusky-footed elephant shrew, E. fuscipes
 * Dusky elephant shrew, E. fuscus
 * Bushveld elephant shrew, E. intufi
 * Eastern rock elephant shrew, E. myurus
 * Karoo rock elephant shrew, E. pilicaudus
 * Western rock elephant shrew, E. rupestris
 * Genus Galegeeska
 * Somali elephant shrew, G. revoilii
 * Rufous elephant shrew, G. rufescens
 * Genus Macroscelides
 * Namib round-eared sengi, M. flavicaudatus
 * Etendeka round-eared sengi, M. micus
 * Round-eared elephant shrew, M. proboscideus
 * Genus Petrodromus
 * Four-toed elephant shrew, P. tetradactylus
 * Genus Petrosaltator
 * North African elephant shrew, P. rozeti
 * Genus Rhynchocyon
 * Golden-rumped sengi, R. chrysopygus
 * Rhynchocyon chrysopygus mandelai
 * Chequered sengi, R. cirnei
 * Rhynchocyon cirnei cirnei
 * Rhynchocyon cirnei shirensis
 * Rhynchocyon cirnei reichardi
 * Rhynchocyon cirnei hendersoni
 * Rhynchocyon cirnei macrurus
 * Black and rufous sengi, R. petersi
 * Rhynchocyon petersi petersi
 * Rhynchocyon petersi adersi
 * Stuhlmann's sengi, R. stuhlmanni
 * Grey-faced sengi, R. udzungwensis

title: Elephant shrew


text:
Talk:Quaker Tapestry

Panel amount
The intro says 77, but the list has only 68. --Menchi 11:56 23 Jun 2003 (UTC)

Great Hunger
The WP article Irish Potato Famine does not mention Quaker relief efforts. === Vernon White (talk)  00:44, 9 March 2007 (UTC)

Panel F6 - Relief Work
Panel says "Relief work:Britain", and refers to the Peterloo massacre in 1849, and refuge being sought in Manchester. I changed the text but an anon IP reverted and said that the "official name" was "Relief Work: British Isles". Where is the list of official names? --Bardcom (talk) 11:15, 3 May 2008 (UTC)
 * Just a follow-up. I emailed the Quaker Tapestry folks and received a helpful response = "the titles of the panels were decided in 1998 by the Publications Committee  before the book 'The Pictorial Guide to the Quaker Tapestry' was published.  The  idea was to standardise the titles which had varied slightly before that  depending on which source you looked at.".  --Bardcom (talk) 18:00, 19 May 2008 (UTC)

title: Talk:Quaker Tapestry


text:
Talk:Pavement (band)

Spit on a Stranger classification?
Is Spit on a Stranger an EP?

Yourlocallordandsavior (talk) 03:07, 27 March 2021 (UTC)

Pavement ended in 1999 or 2000?
1999 seems to be the commonly accepted consensus but there's an argument to be made that Pavement broke up in 2000. The Britannica article, also the Wikipedia article, mentions that Malkmus broke the band up around 2000, even if they did their last performances in 1999. On their Colbert Report appearance in 2010, Stephen Malkmus mentioned that it "felt like 2000" when they broke up. I somewhat see a case made for it. Yourlocallordandsavior (talk) 20:09, 4 September 2021 (UTC)

'Was'
Why does the article say Pavement 'was' a band, when they're active and touring right now, and they've suggested that new material could be on the way? As of writing this, their last live performance was less than 2 weeks ago... 86.18.238.52 (talk) 16:00, 29 September 2023 (UTC)

Influence
Pavement is a band that has gone undergone influences from so many other bands and musicians in history. Why doesn't the article go into this more? Some argue that one of the most notable quality of the band is the attention that they have paid to other impactful artists that came before them. Fburke 5378 (talk) 19:38, 3 October 2023 (UTC)

Wiki Education assignment: University Writing 1020 Communicating Feminism TR 1 pm
— Assignment last updated by Fburke 5378 (talk) 16:07, 5 October 2023 (UTC)

title: Talk:Pavement (band)


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title: User:Stone


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Talk:Can (band)

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Requested move 27 May 2021

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Not moved as the primary topic. There is consensus to move Can (South Korean band) → Can (duo). (non-admin closure) Polyamorph (talk) 08:30, 7 June 2021 (UTC)

Can (band) → Can (German band) – Can (South Korean band). In ictu oculi (talk) 18:06, 27 May 2021 (UTC)
 * Support The German Can is without a doubt the overwhelmingly more notable band, and were we to be only looking at a primary topic among bands it would be an easy decision. However, as it is certainly not the primary for just "Can," we shouldn't use a disambiguation that doesn't actually disambiguate.--Yaksar (let's chat) 18:24, 27 May 2021 (UTC)
 * Oppose. Normally I agree with partial disambiguation, but I think it is dubious to call a group of two singers a "band". The title for the band seems fine as it is, but the other should be revisited. Nohomersryan (talk) 18:42, 27 May 2021 (UTC)
 * Excellent point, Can (South Korean band) → Can (duo) would work fine, and remove any ambiguity. See WP:BANDDAB. 162 etc. (talk) 21:05, 27 May 2021 (UTC)
 * No objection to this, and solves the nonsense of the current situation. In ictu oculi (talk) 10:06, 28 May 2021 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Support per nom, I don't think I know of plenty 2-man bands. I think this probably a better disambiguation.--Ortizesp (talk) 22:53, 27 May 2021 (UTC)
 * Oppose. |Can_(band) Pageviews show 99% of readers want this band and there's already a hatnote for the tiny minority who are looking for the Korean duo, which works better than a redirect to a dab page for those readers. WP:PRIMARYTOPIC allows for cases like this with such overwhelming numbers. No objection to moving the Korean group to Can (duo). Station1 (talk) 23:56, 27 May 2021 (UTC)
 * Support per nomination and Yaksar. "Can (band)" for the German band is certainly incomplete disambiguation if there is also "Can (South Korean band)". If consensus coalesces around Can (South Korean band) → Can (duo), I would also support such an option per 162 etc., Ortizesp and Station1. There are certainly naming inconsistencies — parent Category:Musical duos lists such entries as Age of Consent (band), B21 (band), Balloon (band), The Beloved (band), Blancmange (band), The Davis Sisters (country band), Fitness (band), Fried (band), Ki&Ki (band), Kingston (country music band), My Darling Clementine (band), The Sisterhood (band), Van Zant (band), Ward Thomas (band), etc, but also As One (musical duo), December (duo), Dirty Money (duo), Erato (duo), Faya (duo), HOCKET (duo), Snakehips (duo), Voice (duo), etc, as well as Blue County (music group), Changing Faces (group), Natural Selection (group), etc. —Roman Spinner (talk • contribs) 02:08, 28 May 2021 (UTC)
 * Comment move the South Korean article to Can (duo), per the above.  Lugnuts  Fire Walk with Me 07:17, 28 May 2021 (UTC)
 * Oppose but I'd support a Can (South Korean band) → Can (duo) move, per above. Itsfullofstars (talk) 04:37, 5 June 2021 (UTC)

Opening phrase
Shouldn't it be "Can was" rather than "Can were?" 47.18.39.208 (talk) 15:39, 8 February 2024 (UTC)

 * Although not marked as such, the article seem to be consistently written in British English. So we have "were" and "they" etc., as British English treats a band as plural. Martinevans123 (talk) 16:04, 8 February 2024 (UTC)

title: Talk:Can (band)


text:
Talk:Pia Kjærsgaard

Extreme makeover
Structure: organized the material into a more standard bio format, with a short intro paragraph, followed by a chaptered structure (‘background’, ‘political career’, etc.). References: split the original references section into ‘Notes’ (for footnotes and specific references), ‘’References’ (an alphabetic listing of all references used, general or specific, in making the article), and ‘External links’. The ‘Notes’ section uses the Cite.php footnote system.

Content: I added some material on Kjaersgaard’s background, but it could use more. I also filled in some details about her parliamentary record from the Folketing.dk bio, but there is quite a bit more info there that I didn’t incorporate. That’s about it. The ‘Views, postions, goals’ section is pretty empty (and the title is just a suggestion, by the way. Also, I’m sure there are some juicy controversies that have not been touched on. This woman has been spewing bile for years – maybe integrate some of the material under WikiQuotes….? --wormcast 23:46, 26 September 2006 (UTC)

Politician of the year
I removed Pia Kjærsgaard was named Danish Politician of the Year in 1989. because it didn't mention WHO named her the politician of the year, which makes the quote worthless. (I could decide to name bananas the tastiest fruit ever, that doesn't mean it belongs in wikipedia.)
 * She was named by "Landsforeningen for Erhvervsinteresser" (National Organisation of Business Interests) which I, as a dane, never have heard about. 217.157.45.53 20:57, 1 February 2006 (UTC)

Her fine for illegal weapon procession
Should we mention her 3,000 kr. fine for illegal weapon procession? Here I am thinking of the court ruling from March 2003 regarding the pepper spray she used in November 2002. It's not a huge fine, but it is rather unique for a Danish politician to get such a fine, sepcially while they are in office (I don't know of any other Danish politician thtat has happened to). --Kristjan Wager 19:01, 11 April 2006 (UTC)
 * I think its significant, as did the British and Danish media. Particularly for a politician running on the ‘law and order’ platform. I added it, with a source --wormcast 23:46, 26 September 2006 (UTC)

The need of sources
I've been looking at this article, and it looks like a fair view on the history of the DPP. However, it is said to need sources. Which parts of the article would need sourcing? I'll gladly help find the sources, if I know what I'm looking for. --Jakob mark 17:31, 25 April 2006 (UTC)
 * added a source for “Her view on immigration has often led to her being compared to politicians such as Jean-Marie Le Pen in France and Pim Fortuyn in The Netherlands…”. Its not a perfect fit, but close. --wormcast 23:46, 26 September 2006 (UTC)

Euro referendum
Quote: "Other euro-sceptic organisations of Denmark formed an anti-racist coalition opposed to the arguments though not the goals of Pia Kjærsgaard and her party". Eh what? What coalition? Anti-racist? Reliable source needed urgently!! Medico80 14:30, 11 August 2006 (UTC)

On the subject of 'ism's
These days, few political parties wish to be pigeonholed as rigidly conforming to a general political ideology or 'ism'. However, 'ism" labels are used for a reason - such generalizing words serve to describe/capture a large, often somewhat inconsistent, set of actions, policies, and positions in a reasonable space. To completely avoid the use of such labels simply because they may have acquired negative reputations is not NPOV.

That said, I offer general definitions of 'nativism' and 'nationalism', and submit that these 'ism's reasonably describes the core philosophy and positions of the DPP:

nativism (1) A sociopolitical policy, especially in the United States in the 19th century, favoring the interests of established inhabitants over those of immigrants. (2) The reestablishment or perpetuation of native cultural traits, especially in opposition to acculturation.

nationalism: the doctrine that your national culture and interests are superior to any other (ant: multiculturalism, internationalism) -  wormcast 13:13, 16 December 2006 (UTC)

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title: Talk:Pia Kjærsgaard


text:
Talk:Icosidodecahedron

Cyclic Permutation
Two things, the article for cyclic permutation has 3 definitions (and a poor description of each) so it is difficult to know exactly what this article means by cyclic permutation since it defers to that article. Second, there are two given coordinates with several "plus or minus" in them. This makes it doubly difficult to understand what is meant I think. I would suggest that somebody who understands what this means just list out all 30 coordinates or at least explain better how to derive them from the rather terse description. -- User:74.192.27.195, 22:33, April 4, 2011.

Picture
This article would be much better with a picture. Any takers? Theresa knott 12:03 23 Jun 2003 (UTC)

 * Well, I guess I might consider the possibility of creating a picture, some time... كسيپ Cyp 14:24 23 Jun 2003 (UTC)

 * It's beutiful! Theresa knott 14:54 23 Jun 2003 (UTC)

 * Should we use the svg or the jpg? Here's a comparison.

I prefer the jpg, but have no objections against changing to svg. Professor M. Fiendish 05:14, 23 August 2009 (UTC)

Pronunciation Key?
Maybe we should add a pronunciation key of some sort? Is it pronounced Iso-side-o-decahedron?

 * I think it's icosidodecahedron with a hard "c" and a short second "i". (The first "i" is probably pronounced as in "iso-".) Professor M. Fiendish 05:11, 23 August 2009 (UTC)

 * I think it's i-KO-see-doh-DEK-a-HEE-dron, either with a long or short O in the second syllable. But definitely the "icosi" part is separate from the "dodeca" part. —The Doctahedron, 68.173.113.106 (talk) 22:07, 22 November 2011 (UTC)

Use in first nuclear designs?
Should it be mentioned this was the shape of the Trinity Test Design of nuclear device? —Preceding unsigned comment added by 99.1.35.250 (talk) 17:44, 30 January 2009 (UTC)

 * Sounds interesting if you have references. I've not seen that. Tom Ruen (talk) 23:54, 30 January 2009 (UTC)
 * The same claim is already made on the Truncated_icosahedron article. Tom Ruen (talk) 23:59, 30 January 2009 (UTC)
 * Ah thanks, I had seen the Opera Doctor Atomic and in the libretto they described it a dodecahedron inscribed by a icosahedron with 32 vertices equidistance from the center of the shape. That is just a truncated icosahedron then —Preceding unsigned comment added by 99.1.35.250 (talk) 00:45, 31 January 2009 (UTC)
 * If it has 32 vertices, it might be the dual of the truncated icosahedron: Pentakis_dodecahedron. Tom Ruen (talk) 23:34, 31 January 2009 (UTC)
 * That is the shape. I checked the libretto again and it matches exactly the numerical data of that shape. I edited it and included a source of the libretto. —Preceding unsigned comment added by 99.1.35.250 (talk) 00:03, 2 February 2009 (UTC)

Icosadodecahedron
Icosadodecahedron redirects here. Is this a pure synonym for Icosidodecahedron? --Abdull (talk) 21:40, 9 July 2010 (UTC)

 * Probably a common misspelling. Why, did you find another meaning of the term?—Tetracube (talk) 03:20, 10 July 2010 (UTC)

Cyclic Permutation
Two things, the article for cyclic permutation has 3 definitions (and a poor description of each) so it is difficult to know exactly what this article means by cyclic permutation since it defers to that article. Second, there are two given coordinates with several "plus or minus" in them. This makes it doubly difficult to understand what is meant I think. I would suggest that somebody who understands what this means just list out all 30 coordinates or at least explain better how to derive them from the rather terse description. -- User:74.192.27.195, 22:33, April 4, 2011.

Related polytopes
The icosidodecahedron occurs as a cell of three uniform polychora and eighteen uniform hyperbolic honeycombs ... i think —Tamfang (talk) 01:18, 28 July 2012 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 18:07, 18 May 2019 (UTC)
 * Rhombictriacontahedron.jpg

The largest finite collection of lines in ℝ$$^3$$ with rational angles
The lines from the center to each vertex form the largest finite set of lines with rational angles between all pairs of lines.

https://arxiv.org/pdf/2011.14232.pdf

96.241.52.107 (talk) 12:58, 4 February 2021 (UTC)

title: Talk:Icosidodecahedron


text:
Talk:The Elements (song)

Lehrer added the missing elements
I corresponded with Tom Lehrer a few years ago and suggested an arrangement for the missing elements for inclusion in a game I was making for a charity.

Tom replied with his own arrangement. https://peterlesliemorris.com/tom-lehrer-adds-newly-discovered-elements-to-his-song-the-elements/

I tried adding this information to the wiki page but it is locked. If anyone would like to contact me to prove this information, please contact me @PeterLeslieMorris PeterLeslieMorris (talk) 12:28, 24 September 2023 (UTC)

 * Wikipedia only includes information that can be verified by published, WP:Reliable sources. We do not accept private correspondence or conversations as sources.  The philosophy is, basically, that if information is of encyclopedic importance, it will be published, critiqued, etc. See our key content policies: WP:V and WP:OR. -- Ssilvers (talk) 18:05, 24 September 2023 (UTC)
 * It obviously can't go in the article either, but I must say that I'm disappointed by Lehrer's version. 's version in the archives is clearly better: it scans and rhymes perfectly without splitting any eighth notes. :) Double sharp (talk) 08:53, 16 December 2023 (UTC)
 * In case you're interested. :) Double sharp (talk) 08:58, 16 December 2023 (UTC)

Infobox
As per Lehrer's other songs, I have added an infobox for this one. There is no reason to remove it, as including it satisfies the purpose of an infoxbox -- Rockstone Send me a message!  22:57, 20 November 2023 (UTC)
 * From usertalk: I'm really not sure why you would remove the infobox I added to The Elements (song), or why you did so in a way that did not generate a notice that you had reverted my edit (so I didn't actually notice you did this until now). The song being in the public domain and therefore available means that an infobox is appropriate, as with the other songs by Tom Lehrer. As other songs by Tom Lehrer have an infobox without any issue, consensus favors this article also having one. There was no reason to remove it. Please review the purpose of an infobox. Thank you. -- Rockstone Send me a message!  23:01, 20 November 2023 (UTC)

In violation of the ArbCom cases concerning infoboxes, you have added an infobox to an existing article without first establishing a WP:CONSENSUS to add it. Then, when I removed it, you WP:EDIT WARred to put it back in, when you should, instead, have used the WP:BRD process. Further, the IB that you added is just an audio file and repetition of the songwriter's name, so it would be more efficient to simply add the audio file (below the table of elements) with a caption that would include Lehrer's name anyhow, which I suggest that you do. -- Ssilvers (talk) 02:36, 21 November 2023 (UTC)

 * Well, it isn't an edit war (no 3RR), but I'm fine with removing the infobox and just having a caption with the song. When I get to my desktop I'll make that change, or you can. My apologies for being overbearing.  --  Rockstone  Send me a message!  17:23, 21 November 2023 (UTC)

 * Thank you. I am looking forward to your change. All the best, -- Ssilvers (talk) 17:54, 21 November 2023 (UTC)
 * Thanks. I added the "Listen" box. -- Ssilvers (talk) 00:44, 22 November 2023 (UTC)
 * Perfect! Thank you so much. Again, apologies if I sounded rude at first. -- Rockstone  Send me a message!  02:04, 22 November 2023 (UTC)
 * No worries. I'm glad that we could reach a satisfactory compromise!  -- Ssilvers (talk) 02:33, 22 November 2023 (UTC)

Bit confused with Ssilvers' comment.
@Ssilvers, I made an edit to the short description, changing it from "Song by Tom Lehrer and Arthur Sullivan" to "Song by Tom Lehrer". Your rationale for reverting was " I disagree. Lehrer wrote the lyrics, but he merely arranged Sullivan's music.", which I agree with, but that does insinuate they worked together on the song, but Arthur Sullivan didn't work on this song, he worked on Modern Major General, which is then taken by Lehrer and used for this song. Along with that, the song was public domain by then, so it debatably doesn't even have an owner. I don't really know the solution to this, but I think it is incorrect to list Arthur Sullivan as the co-creator of the song in the shortdesc. Thank you for your time, I can do stuff !  (talk) 03:11, 15 May 2024 (UTC)

 * A song is by a lyricist and a composer. The composer of this song is Sullivan.  It is not true that they need to "work together" on a song to be credited as the songwriters.  It has nothing to do with copyright.  Sullivan was one of the songwriters of this song, even though his estate is not entitled to any royalties. -- Ssilvers (talk) 04:59, 15 May 2024 (UTC)
 * @Ssilvers
 * Okay, is there any policy about the cutoff between this and something like sampling when it comes to credits within the article?
 * Thank you for the explanation, I can do stuff !  (talk) 19:35, 15 May 2024 (UTC)
 * Your question is above my pay grade, but I would suggest that you ask about it on an appropriate Wikiproject's Talk page, maybe WikiProject Songs and/or WikiProject Pop music. You might also ask, as part of your question, whether the "short description" should be treated different from the text of the article when identifying the songwriters, given its space constraints. -- Ssilvers (talk) 23:07, 15 May 2024 (UTC)
 * Okay, just didn't know whether there was an obvious policy I missed.
 * Thanks again for the explanation. I can do stuff !  (talk) 02:18, 16 May 2024 (UTC)

title: Talk:The Elements (song)