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Turbonegro

Turbonegro (Turboneger in Norway) is a Norwegian rock band, active from 1989 to 1998 and from 2002 to the present. The band combines glam rock, punk rock, and hard rock into a self-described "deathpunk" musical style.

Early years (1989–1994)
Turbonegro formed in Oslo during the winter of 1988–1989. The initial lineup consisted of Thomas Seltzer (a.k.a. Happy-Tom), Vegard Heskestad, Pål Bøttger Kjærnes, Rune Grønn, Pål Erik Carlin and Tor-Kristian "TK" Jenssen. Seltzer and Heskestad had formerly performed in a band called "De Dype" – a noisy and subversive ensemble inspired by American rock band Butthole Surfers. Early Turbonegro continued that conceptional style.

Turbonegro played their first show in March 1989 at Ungdomshuset in Copenhagen, Denmark. In April, they played their home town of Oslo for the first time. In the following weeks, they recorded their debut single Route Zero and additional songs for their Turboloid 12" EP. Both records were released by Thomas Seltzer's label, Straitjacket Records, which he started in 1983 to release the EP of his first band Akutt Innleggelse. The first session was recorded at Nesodden Musikkverksted by Christian Calmeyer. Seltzer played bass and drums on Route Zero. An initial pressing of 50 copies came with an exclusive demo tape called Computech, featuring a cover of The Stooges' song 1970.

The early pre-deathpunk Turbonegro sound featured fairly tormented and distorted noise rock (contemporary reviews compared the band's sound to Halo of Flies or early Mudhoney). Turboloid was the second and last release by the original lineup. Drummer Carlos Carrasco left to play guitar for Anal Babes.

In 1990, Route Zero was reissued by Sympathy for the Record Industry with two additional songs from the Turboloid EP. In September of that year, Turbonegro left for a three-week tour of the United States. Hours after their arrival in Minneapolis, Grønn was beaten by local denizens and, as a result, hospitalized. The band continued touring without him, but the tour was unsuccessful. Three weeks after the tour began, the band returned to Oslo.

In the winter of 1990, Seltzer reformed Turbonegro with Kjærnes and Grønn. Norwegian punk veteran Harald Fossberg, who had gained fame in the late 1970s with Norwegian punk pioneers Hærverk, was recruited as the new singer. Bengt "Bingo" Calmeyer soon joined the band on bass guitar. In the summer of 1991, the new lineup released the Vaya Con Satan 7" in the U.S., followed by their 1992 debut album of Hot Cars and Spent Contraceptives on Big Ball Records. Both the single and the CD introduced the world to deathpunk, Turbonegro's self-acclaimed genre.

The musical pre-settings were anticipating later Ass Cobra era – dark death-driven punk rock with occasional excursions into hardcore and metal, as well as a tendency to disruptive and sarcastic lyrics. Swedish broadcasting DJ Lars Aldman once described their sound as, "Radio Birdman meets Venom in an institution for sexually abused retards," and Danish Moshable magazine wrote, "One great big hunk of an album that simply barfs up the best in Scandinavian punk rock - and then slam it into overdrive. So fucking punk that it will tear you a new asshole - and then some!"

In December 1992, Turbonegro began a ruinous tour outside Norway. With money left from a grant, they went for one gig confirmed in Ålborg, Denmark, then headed south to Hamburg, Germany, where they became stranded in an unsuccessful search for an opportunity to play. After five days, the band ran out of money, but then they were able to make contacts with Gravy Train Agency, who organized several tours for Turbonegro outside Scandinavia in later years, as well as people from Crypt Records.

In late March 1993, Fossberg played his last show with Turbonegro at Sentrum Scene in Oslo. He quit for health reasons and was replaced by Hans Erik Husby (a.k.a. Hank von Helvete), who would become their best known vocalist. With the new singer, the band was renamed Stierkampf (German for "bullfight"). They opened up for Poison Idea in Oslo and Denmark, as well as the Ramones in August 1993 at the Oslo Rock Festival.

The band's only professional release as Stierkampf was the Grunge Whore EP on Sympathy for the Record Industry. All songs on this release would resurface on their next album, with the exception of "Six Pack". Their second album Never Is Forever (1994) was recorded by Christian Calmeyer at Nesodden Musikkverksted, and was self-released (limited to 1,200 copies) with a friend at Oslo Musikk Distribusjon. In their own words, this second album was "a tribute to Blue Öyster Cult", an attempt to dissociate from the lo-fi aesthetics of the garage. "When the rest of the punk oriented world tried hard to be lo-fi and 'real', Turbonegro as usual went the opposite way, creating a miniature suburban deathpunk opera. Seldom have pop culture, darkness and desperation blended so well." The release of this album followed their first full European Tour, which was nicknamed "Nihil Jung" and had 17 shows in Denmark, Germany, Switzerland, Belgium and the Netherlands.

By the winter of 1994–1995, the band had reclaimed the name Turbonegro, but had a new look referred to as the "Al Jolson schtick", though it did not last long. Happy-Tom summed it up with an anecdote, "So there we were backstage with our black faces and wigs and little hats, smoking pot with our all-time heroes the Bad Brains, and the absurdity just didn't cross our minds. I mean, those guys didn't mention it, they were probably just embarrassed on our behalf."

New look and new sound, rise to success (1995–1997)
The gag was long gone by May 1995 when they debuted the denim and moustache look. Happy-Tom said, "We feel that denim out-rocks leather at all levels. Leather is for empty, little people. Denim is for us big guys! And the kids love it!" With a new look came a new sound. Calmeyer, their engineer at the time, said, "We decided to make things more raw, trying to convey the power of the live performance, if not the sound."

The first recordings of the new and improved Turbonegro were the "Denim Demon" and "Bad Mongo" singles in the spring of 1995. That summer, Turbonegro left for their second attempt at a U.S. tour, "Namblin in the 90's". They played only 11 shows. In the words of Happy-Tom, "at least we didn't get the shit kicked out of us like we did the last time we were in the USA". In the fall of 1995, Bingo and Pål left the band, putting Turbonegro on hold. Pål wanted to travel, while Bingo didn't like the new musical direction ("less Slayer, more rock'n'roll.") Happy-Tom, at the same time, was suffering from stress injuries to his arms after the U.S. tour. Therefore, agreements were made to put the band on hold for a while.

In that same year, Anthony Martin started his new label, Boomba Records, in order to release Turbonegro's third album Ass Cobra. It did not come out until the spring of 1996 and, by September, they were touring Europe again with a new lineup. Anders Gerner from Angst was added as the new drummer, so Happy-Tom returned to playing bass. Pål was replaced by Knut Schreiner, with whom Happy-Tom had played in The Vikings. Knut (a.k.a. Euroboy) was added to the band to help reshape their sound. The "Prince of the Rodeo" 7" was Euroboy's recording debut with Turbonegro.

Also at this time, Pamparius returned from traveling in Thailand to open his "Pamparius" pizza parlor outside Oslo in Kolbotn. He decided to rejoin the band as the keyboard player and dancer. His return would be the final touch in the latest incarnation of the band. The new look, sound and album irritated and fascinated the European underground. People were starting to pay attention to Turbonegro.

In December and January, Turbonegro continued touring with 14 more dates in Spain, Portugal, France, Germany and Denmark. The insignia of their stage performance – the bulging denim, make-up, Hank's routine of sticking a lit Roman candle in his butt-crack, Happy-Tom's sailor hat, Euroboy's lithesome and sultry guitar choreography, and Hank's attempts at addressing the audience in their broken native tongue – became Turbonegro's trademarks.

Apocalypse Dudes, popularity boom and disbanding (1997–1998)
In spring 1997, Turbonegro had another lineup change. Christer Engen (a.k.a. Chris Summers, from BigBang) took over on drums, and they were ready to tour Europe again. This time, they opened up with a modified version of a Grand Funk song, "We are a Norwegian Band". With their next album, Apocalypse Dudes, the band made a musical move into mid-1970s punk and glam territory in the spirit of proto-punk pioneers á la The Dictators, The Ramones or late Iggy & The Stooges, plus a bit of New York Dolls travesty thrown in. As Euroboy explained, "When I came into the band, that added a ’70s rock-n-roll feel that wasn't there before...Turbonegro was just as dirty, but they were certainly more punk rock-driven than (before). We brought the Rolling Stones into the Ramones." It was time to take the new and improved Turbonegro back across the Atlantic with the "Summer of Head" U.S. tour. They were more warmly received this time, but still played only a few shows that were plagued with problems. Nonetheless, after years of stumbling through lineup changes, name changes and various shticks, they finally found themselves.

In the autumn of 1997, their next album Apocalypse Dudes – the first part of the so-called Apocalypse trilogy – was recorded at Endless Sound studios in Oslo with producer Pål Klaastad. When Happy-Tom was asked if their new sound and album had anything to do with Euroboy's entry into the band, he replied, "Yep, he's a genius, and so is our new drummer Chris Summers, The Prince of Drummers. We released the punk album of the millennium with 'Ass Cobra,' and didn't want to make an 'Ass Cobra' part two, plus we spent two years writing new stuff, so as to make sure that every song is a hit, so we ended up making the rock album of the next millennium."

The album was released in March 1998 by Boomba Records. However, it was released in Norway exclusively by Virgin. It is regarded among many fans and critics as their best and most successful album. Moshable magazine wrote, "Apocalypse Dudes is the perfect mix of classic 70's US punk / rock'n'roll like Dictators, Heartbreakers & Ramones... every tune on this release is fucking brilliant". Jello Biafra said, "The new Turbonegro record is possibly the most important European record ever."

Turbonegro supported the album by touring the US in the spring and playing 24 sold-out shows throughout Europe. Kåre João Pedersen of Kåre and the Cavemen substituted for Hank on the US tour as the singer was hospitalized in a mental facility. By fall, the band returned for another 16 European dates on the "Darkness Forever" tour, which was for a long time their last, and ultimately the end of Turbonegro. According to Happy-Tom, "Turbonegro broke up in the waiting room of a psychiatric emergency ward in Milan, Italy." Hank's mental indisposition became a serious problem and, as a result, the remainder of the tour was cancelled. They bid their farewell on 18 December 1998, at Mars in their hometown of Oslo. The last song they performed onstage before they broke up was the final encore "I Am in Love with the Destructive Girls".

On hiatus (1999–2002)
On the threshold of what was expected to be a major breakthrough for the band, Turbonegro withdrew from the music business and appeared unlikely to ever return. While there were several reasons, Hank von Helvete's drug addiction made it impossible for him to continue. Leaving the band to undergo treatment for heroin dependency, as well as his struggle with depression, von Helvete returned to his childhood town in northern Norway. There, he worked at a Local radio station and as a guide at a Fishing Village Museum. Another reason for Turbonegro's hiatus was that the band was stuck in an oppressive record deal with Boomba. The band saw very little money from the arrangement, and cancelling their tour with Nashville Pussy after playing only half the dates added to their financial problems.

In 1999, Bitzcore Records out of Hamburg bought the contracts from Boomba and began to reissue Turbonegro's entire back-catalogue of albums. The year 1999 also saw the release of a posthumous live album entitled Darkness Forever! It released selections from two of the band's shows in Hamburg and Oslo, documenting Turbonegro's larger-than-life stage antics. Their appreciation among contemporary artists from diverse musical genres as rock, pop, punk and even black metal was displayed on Alpha Motherfuckers, a tribute album to Turbonegro that was compiled over a span of two years and released by Bitzcore in May 2001. The lineup included, among others, Queens of the Stone Age, Nashville Pussy, Therapy?, HIM, Bela B. & Denim Girl (a.k.a. German technopop star Blümchen).

During these four years, the band members would rarely speak; however, the momentum from their previous albums (especially Ass Cobra and Apocalypse Dudes) continued to grow as more and more music fans turned to their music. Unbeknownst to the band, Turbonegro was becoming a cult phenomenon. Fan clubs were established all over the world (see Turbojugend).

The immense following and the tribute album revealed a huge interest that, by audience numbers, hadn't existed before they had quit. When Turbonegro was approached by the organizers of the Norwegian Quart Festival about possible participation in 2002, Turbonegro agreed to the reunion. What was initially meant to be a one-off event to provide an opportunity to the many new fans to witness a Turbonegro performance, finally resulted in the band's reunion. The festival shows received tremendous response.

Reforming: new albums, new tours and greater fame (2003–2009)
Shortly after the Bizarre Festival, the band announced that they signed a record deal for two new albums with Burning Heart Records, an independent record company from Sweden with a long tradition in the punk & hardcore sector. Burning Heart also licensed Turbonegro's most successful albums Ass Cobra and Apocalypse Dudes from Bitzcore and reissued them as digipak CDs with additional video footage from the recent Res-erection show at Quart. Turbonegro appeared in an episode of Viva La Bam during Season 1. The band plays their concert at Bam's West Chester home. Their single, "All My Friends Are Dead", was also used in some episodes of the show.

Turbonegro played 22 U.S. dates in the spring of 2003, culminating in two U.S. shows at The Troubadour in Los Angeles, the first of which sold out in under an hour.

The band released its highly anticipated album, the second installment of the Apocalypse trilogy, Scandinavian Leather in 2003, complete with artwork of a skull Ouroboros from legendary Revolver-designer Klaus Voormann. A U.S. tour with Queens of the Stone Age proved that the American Turbojugend contingent had grown completely out of control, and almost 150 shows later, Turbonegro finished the Scandinavian Leather campaign by selling out the House of Blues in Los Angeles two days in a row in December 2004.

While Scandinavian Leather was recorded at their own Crystal Canyon Studio in Oslo, Turbonegro decided to bring in Steven Shane McDonald as co-producer for Party Animals. This follow-up to 2003s Scandinavian Leather and the last installment in the Apocalypse trilogy was released throughout Europe on 9 May (in Norway 2 May). It continued the 1970s and 1980s glam metal and hard rock-influenced party-oriented deathpunk sound that was first introduced on Apocalypse Dudes. Party Animals was followed by intense touring throughout Europe and, in October, they visited the U.S. A collection of remixes and rarities appeared in 2005 as Small Feces.

Turbonegro went on tour again in 2006 to mostly European locations. In summarizing the band, Happy-Tom said, "Most rock 'n' roll bands start as a riot but end up as a parody. We started up as a parody but ended up as a revolution." On 8 March 2007, the new single "Do You Do You Dig Destruction" was released in Norway. The single was from the album, Retox, released on 13 June 2007.

On 10 July 2007, Turbonegro was one of the warmup bands, alongside HIM, at Metallica's headlining concert at Valle Hovin Stadium in Oslo, Norway.

The band toured Europe in late summer in 2007, including an appearance at Download Festival and 10 intimate gigs in the United Kingdom.

The Turbonegro official site was completely redesigned for the new album release, and the new site debuted on 11 June 2007.

On 27 October 2007, Rune Rebellion played his last live show with Turbonegro in Stavanger, Norway, and subsequently left the band. He said, "The decision was made this summer, realizing I hadn't had time off at all from work or touring for three years." Despite his departure from the position of rhythm guitar, he was still closely collaborating with the band by running their label, Scandinavian Leather Recordings and managing their itinerary.

On 3 March 2008, it was announced that Chris Summers had been asked to leave the band. He had already been gone from the band for six months due to a broken foot. On the band's website, they announced that, "[due to] personal problems and a focus on other projects, we have been forced to ask drummer Chris Summers to resign from Turbonegro." Chris' replacement was announced to be The Vikings drummer Thomas Dahl, who had been filling in for Chris since he broke his foot.

In early 2008, guitarist Euroboy also announced that he and Happy-Tom were working on a new album tentatively titled Tumours. They continued their Retox album tour throughout 2008 and 2009, and on 7 August 2008, Turbonegro celebrated the 10-year anniversary of Apocalypse Dudes by performing the entire album at the Øya Festival in Oslo, Norway.

After finishing their Retox world tour, the band announced through the Turbojugend-Forum that they were going on hiatus for an unknown amount of time.

Hank von Helvete's departure and replacement (2010–2011)
On 9 July 2010, Norwegian newspapers announced that Hank had left the band. Subsequently, in early December 2010, news broke that a new band featuring Hank von Helvete on vocals had been formed, called Doctor Midnight & the Mercy Cult, with an album to be released in 2011.

Euroboy stated in an interview with "Lydverket" that Turbonegro would appear with Tony Sylvester as the replacement for Hank von Helvete for the first time in Hamburg on 15 July. Former member Rune Rebellion also rejoined the band as rhythm guitarist, while Rune's replacement and former keyboardist Pål Pot went on to become a part-time member, due to family and working commitments.

Release of new album and tour (2012–present)
In May 2012, social networks announced that a new Turbonegro album was about to be released. The new album would be titled Sexual Harassment, and would be released on 13 June 2012, on the Universal Music label for Norway, Sweden and Finland, and Volcom Entertainment for the rest of the world. This announcement was followed by the release of the album's first single "You Give Me Worms" on 4 May. The Album is produced by Matt Sweeney.

In an interview with the Swedish Newspaper Värmlands Folkblad in April 2015, Tony Sylvester says that the band is currently working on new material, but that he can not say when and how the music becomes available.

A later update revealed the album, titled "Rock N' Roll Machine", would be released in February 2018.

Former frontman Hank von Helvete passed away on 19 November 2021, at the age of 49. His former bandmate Happy-Tom paid tribute to him on social media, as did current Turbonegro frontman Tony "Duke of Nothing" Sylvester, who wrote "I never tried to fill your shoes as that would have been impossible." . Since then, Turbonegro remains inactive.

Musical style
Turbonegro's lyrics often attack political correctness. For example, the cover of the single "Bad Mongo" depicts Adolf Hitler as mentally retarded, and in the song "Hobbit Motherfuckers", they complain that there is "not enough suffering" and "not enough natural selection". Their genre of punk has been self-described as deathpunk. The band has stated that their music superseded existing genres, so they dubbed it "deathpunk" as a way to avoid being pigeonholed into musical groupings they felt they were above. Lyrics referencing the genre choice include "gimme deathpunk baby, and I like it" from the song "Get It On". Sharing characteristics with certain musical predecessors, (Sex Pistols wearing swastikas, etc.), Turbonegro has been praised by some as playing the most up-to-date form of punk with an anarchic blend of humour, shock and sexuality.

In the Turbonegro – The Movie DVD extras, Happy-Tom says that, early on, festival-goers expected Turbonegro to be gothic metal or black metal in the vein of other Norwegian bands. They are notorious for their on-stage gimmicks. An early version of the band wore blackface and wigs onstage in an effort to challenge those watching their shows. On The Reserection DVD, the band states that early on they were often driven away from shows they were to play because they were not edgy enough or did not fit the look that the crowd wanted. As a result, the onstage schticks started to become as much of the Turbonegro experience as the music. Following several tours in blackface, the band started an oddball theme of tight denim pants, nautically themed stage props and homosexual innuendo, stylistically similar to the characters of Tom of Finland. A tongue-in-cheek joke, the homosexual/transvestite stage presence found its way into the band's music, including songs such as "Prince of the Rodeo" and "Rendezvous with Anus". Levi's jeans endorsements soon followed, and the trucker-cut jacket soon became standard fare among fans.

The band's first break-out album, Ass Cobra (1996), was widely acclaimed. Jello Biafra would later comment that it was one of the best punk albums of the 1990s. Following Ass Cobra, was Turbonegro's most critically acclaimed release Apocalypse Dudes (1998). Apocalypse Dudes introduced a combination of 1970s arena rock, irreverent lyrics, and punk stylings, which brought the band a level of notoriety that they had not achieved at any other point in their career.

Among the band's main influences are Black Flag, the Rolling Stones, KISS, Venom, Radio Birdman, AC/DC, Iggy Pop & James Williamson, Circle Jerks, David Bowie, Ramones, the Lewd, Hanoi Rocks, Alice Cooper, Negazione, the Dictators and the Stooges.

Band name
Initially, the band had two running ideas for band names: Nazipenis and Turbonegro. They were advised that a band named Nazipenis would never sell records, so they chose Turbonegro as a more consumer-friendly choice. The band's name raised some eyebrows and, for that reason, their first releases were sometimes branded "TRBNGR", perhaps to preclude backlash against what some consider to be a racist name. However, the band's stated motivations are anti-racist, an attempt to change the attitude of racism and nationalism perceived as prevalent in parts of Scandinavia.

According to lead guitarist Euroboy, the band name also has a peculiar origin. "I think Pål saw it spray-painted on a brick wall in a tube-station in a suburb of Oslo back in the day. It's actually two Latin words. It means 'fast' and 'black,' and we thought that was a cool name for a band. Because our music is very fast and very dark. And also, it's a name for a color. In the car industry, it's the name for the paint, for the darkest paint. If you want to paint your car black, the most black colour of all is Turbonegro."

Turbojugend

A feature of Turbonegro's fan base is the Turbojugend (Turbo Youth), the band's fan club. In explaining Turbojugend's beginnings, Euroboy said, "We thought about how Kiss had the Kiss Army so we thought that Turbonegro should have our own Navy. It started as a joke in Happy-Tom’s apartment. We put his address on the album sleeves and it was all just for laughs. The Jugend blossomed into something way bigger than we ever expected." The first Turbojugend chapter started in St Pauli, Hamburg, Germany, with later chapters appearing throughout the world, St. Pauli being the unofficial capital. Chapter members identify themselves by wearing specially made denim jackets with the Turbonegro logo and "Turbojugend [name of chapter]" stitched on the back.

The logo of Turbojugend Oslo can be found on almost every album Turbonegro has ever released.

Welt-Turbojugend-Tage
Once a year, Turbojugends from all over the world meet in St. Pauli, Germany, to celebrate Turbonegro, themselves, and punk rock in general during a two-day event, called "Welt-Turbojugend-Tage" (in English: "World Turboyouth Days"), with concerts and meetings in different clubs. Welt-Turbojugend-Tage 7, in July 2011, featured the comeback of Turbonegro. The eighth annual event was held in July 2012, and another was scheduled for August 2013.

Current members

 * Thomas Seltzer (a.k.a. "Happy-Tom", also "Tom of Norway", "Bongo" and "Bongo Neger") – bass (1989–1990, 1996–1998, 2002–2010, 2011–present), drums (1990–1996)
 * Knut Schreiner (a.k.a. "Euroboy") – guitar (1996–1998, 2002–2010, 2011–present)
 * Rune Grønn (a.k.a. "Rune Rebellion", also "Rune Protude", "Loonie", "Thee Oi Boy!", "Brune" and "Brune Neger") – guitar (1989–1998, 2002–2007, 2011–present)
 * Anthony Madsen-Sylvester (a.k.a. "The Duke of Nothing", also "Ceasar Proud") – vocals (2011–present)
 * Tommy Akerholdt (a.k.a. "Tommy Manboy") – drums (2011–present)
 * Haakon-Marius Pettersen (a.k.a. "Crown Prince Haakon-Marius") – keyboards (2015–present)

Former members

 * Pål Erik Carlin – vocals (1989–1990)
 * Vegard Heskestad – guitar (1989–1990)
 * Tor Kristian Jenssen (a.k.a. "TK") – drums (1989)
 * Carlos Carrasco – drums (1989–1990)
 * Harald Fossberg (a.k.a. "Harry Neger", also "Hare Neger" and "Harold Neger") – vocals (1990–1993)
 * Ole Martin Martinsen – bass (1990–1991)
 * Bengt Calmeyer (a.k.a. "Bingo", also "Bingo Neger", "Bingo El Bailar" and "Panky") – bass (1991–1996)
 * Hans Erik Dyvik Husby (a.k.a. "Hank von Helvete", also "Hank Herzog von Helvete", "Hank from Hell", "Hertugen", "Herr Tugen", "Hertis", "Hanky El Magnifico", "Frank Hank" and "Hanky") – vocals (1993–1998, 2002–2010; died 2021)
 * Anders Gerner (a.k.a. "André Grandeur") – drums (1996)
 * Christer Engen (a.k.a. "Chris Summers", also "The Rolex of Drummers" and "The Prince of Drummers") – drums (1997–1998, 2002–2008)
 * Tomas Dahl (a.k.a. "Caddy" and "T.D.") – drums (2008–2010; touring member 2007–2008)
 * Pål Bøttger Kjærnes (a.k.a. "Pål Pot Pamparius", also "L. Ron Bud", "Bod El Stud", "Toonie", "Herr Würst Neger" and "Max Neger") – guitar/keyboards/percussion (1989–1998, 2002–2010, 2011–2012)

Others

 * Kåre João Pedersen – vocals (live) (1998)

Studio albums

 * Hot Cars and Spent Contraceptives (1992)
 * Never Is Forever (1994)
 * Ass Cobra (1996)
 * Apocalypse Dudes (1998)
 * Scandinavian Leather (2003)
 * Party Animals (2005)
 * Retox (2007)
 * Sexual Harassment (2012)
 * RockNRoll Machine (2018)

Live albums

 * Darkness Forever! (1999)

Compilation albums

 * Love It to Deathpunk (2001)
 * Small Feces (2005)

Tribute albums

 * Alpha Motherfuckers: A Tribute to Turbonegro (2001)
 * Los Suaves Negroes: A Lounge and Bossa Tribute to Turbonegro (2007)
 * Omega Motherfuckers: A Tribute to Turbonegro (2013)

Studio EPs

 * Turboloid (1990)
 * (He's a) Grunge Whore (1993)

Side projects

 * The Vikings – 1990s project that featured Thomas Seltzer, Knut Schreiner and Tomas Dahl.
 * Oslo Motherfuckers – early 2000s project that featured Christer Engen and Thomas Seltzer.
 * Kåre and the Cavemen (formerly known as Euroboys) – sideproject of Knut Schreiner.
 * Mirror Lakes – project that featured Knut Schreiner and members of Euroboys, Serena Maneesh, I Was a King, Heroes & Zeros and Hello Goodbye.
 * SCUM – sideproject featuring Thomas Seltzer and members of Amen, Emperor, and Mindgrinder.
 * Black Diamond Brigade – a one-off collaboration between Knut Schreiner, Billy Gould (Faith No More), Sigurd "Satyr" Wongraven (Satyricon), Torgny Amdam (Amulet) and Tarjei Strom (Ralph Myerz).
 * Doctor Midnight & The Mercy Cult – short-lived Scandinavian supergroup that featured Hank Von Helvete and members of Marilyn Manson, Cadaver, The Kovenant and Extol.

title: Turbonegro


text:
Kalidas (disambiguation)

Kālidāsa was a Sanskrit writer.

Kalidas or Kalidasa may also refer to:
 * Kalidas (film), a 1931 Tamil language film
 * Kālidāsā (crater), a crater on Mercury
 * Kalidasa, a genus of planthoppers
 * Kalidas Samman, an Indian civilian award
 * Kalidasa Akademi

People with the name

 * Kalidás Barreto (1932-2020), Português accountant and unionist, son of Goan intellectual Adeodato Barreto
 * Kalidas Roy (1889–1975), Bengali poet
 * Kalidas Shetty, Indian food scientist
 * Kalidas Shrestha (1923–2016), Nepali artist
 * Preeya Kalidas (born 1980), British singer
 * R. Kalidas (died 2005), Indian politician

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

title: Kalidas (disambiguation)


text:
Kalidasa

Kālidāsa (कालिदास, "Servant of Kali"; 4th–5th century CE) was a Classical Sanskrit author who is often considered ancient India's greatest poet and playwright. His plays and poetry are primarily based on Hindu Puranas and philosophy. His surviving works consist of three plays, two epic poems and two shorter poems.

Much about his life is unknown except what can be inferred from his poetry and plays. His works cannot be dated with precision, but they were most likely authored before the 5th century CE during the Gupta era.

Early life
Scholars have speculated that Kālidāsa may have lived near the Himalayas, in the vicinity of Ujjain, and in Kalinga. This hypothesis is based on Kālidāsa's detailed description of the Himalayas in his Kumārasambhava, the display of his love for Ujjain in Meghadūta, and his highly eulogistic descriptions of Kalingan emperor Hemāngada in Raghuvaṃśa (sixth sarga).

Lakshmi Dhar Kalla (1891–1953), a Sanskrit scholar and a Kashmiri Pandit, wrote a book titled The birth-place of Kalidasa (1926), which tries to trace the birthplace of Kālidāsa based on his writings. He concluded that Kālidāsa was born in Kashmir, but moved southwards, and sought the patronage of local rulers to prosper. The evidence cited by him from Kālidāsa's writings includes:

 * Description of flora and fauna that is found in Kashmir, but not in Ujjain or Kalinga: the saffron plant, the deodar trees, musk deer etc.
 * Description of geographical features common to Kashmir, such as tarns and glades
 * Mention of some sites of minor importance that, according to Kalla, can be identified with places in Kashmir. These sites are not very famous outside Kashmir, and therefore, could not have been known to someone not in close touch with Kashmir.
 * Reference to certain legends of Kashmiri origin, such as that of the Nikumbha (mentioned in the Kashmiri text Nīlamata Purāṇa); mention (in Shakuntala) of the legend about Kashmir being created from a lake. This legend, mentioned in Nīlamata Purāṇa, states that a tribal leader named Ananta drained a lake to kill a demon. Ananta named the site of the former lake (now land) as "Kashmir", after his father Kaśyapa.
 * According to Kalla, Śakuntalā is an allegorical dramatization of Pratyabhijna philosophy (a branch of Kashmir Shaivism). Kalla further argues that this branch was not known outside of Kashmir at that time.

Another old legend recounts that Kālidāsa visits Kumāradāsa, the king of Lanka and, because of treachery, is murdered there.

Period
Several ancient and medieval books state that Kālidāsa was a court poet of a king named Vikramāditya. A legendary king named Vikramāditya is said to have ruled from Ujjain around the 1st century BCE. A section of scholars believe that this legendary Vikramāditya is not a historical figure at all. There are other kings who ruled from Ujjain and adopted the title Vikramāditya, the most notable ones being Chandragupta II (r. 380 CE – 415 CE) and Yaśodharman (6th century CE).

The most popular theory is that Kālidāsa flourished during the reign of Chandragupta II, and therefore lived around the 4th-5th century CE. Several Western scholars have supported this theory, since the days of William Jones and A. B. Keith. Modern western Indologists and scholars like Stanley Wolpert also support this theory. Many Indian scholars, such as Vasudev Vishnu Mirashi and Ram Gupta, also place Kālidāsa in this period. According to this theory, his career might have extended to the reign of Kumāragupta I (r. 414 – 455 CE), and possibly, to that of Skandagupta (r. 455 – 467 CE).

The earliest paleographical evidence of Kālidāsa is found in a Sanskrit inscription dated c. 473 CE, found at Mandsaur's Sun temple, with some verses that appear to imitate Meghadūta Purva, 66; and the ṛtusaṃhāra V, 2–3, although Kālidāsa is not named. His name, along with that of the poet Bhāravi, is first mentioned the 634 CE Aihole inscription found in Karnataka.

Theory of multiple Kālidāsas
Some scholars, including M. Srinivasachariar and T. S. Narayana Sastri, believe that works attributed to "Kālidāsa" are not by a single person. According to Srinivasachariar, writers from 8th and 9th centuries hint at the existence of three noted literary figures who share the name Kālidāsa. These writers include Devendra (author of Kavi-Kalpa-Latā), Rājaśekhara and Abhinanda. Sastri lists the works of these three Kalidasas as follows:

 * 1) Kālidāsa alias Mātṛgupta, author of Setu-Bandha and three plays (Abhijñānaśākuntalam, Mālavikāgnimitram and Vikramōrvaśīyam).
 * 2) Kālidāsa alias Medharudra, author of Kumārasambhava, Meghadūta and Raghuvaṃśa.
 * 3) Kālidāsa alias Kotijit: author of Ṛtusaṃhāra, Śyāmala-Daṇḍakam and Śṛngāratilaka among other works.

Sastri goes on to mention six other literary figures known by the name "Kālidāsa": Parimala Kālidāsa alias Padmagupta (author of Navasāhasāṅka Carita), Kālidāsa alias Yamakakavi (author of Nalodaya), Nava Kālidāsa (author of Champu Bhāgavata), Akbariya Kalidasa (author of several samasyas or riddles), Kālidāsa VIII (author of Lambodara Prahasana), and Abhinava Kālidāsa alias Mādhava (author of Saṅkṣepa-Śaṅkara-Vijayam).

According to K. Krishnamoorthy, "Vikramāditya" and "Kālidāsa" were used as common nouns to describe any patron king and any court poet, respectively.

Epic poems
Kālidāsa is the author of two mahākāvyas, Kumārasambhava (Kumāra meaning Kartikeya, and sambhava meaning possibility of an event taking place, in this context a birth. Kumārasambhava thus means the birth of a Kartikeya) and Raghuvaṃśa ("Dynasty of Raghu").

 * Kumārasambhava describes the birth and adolescence of the goddess Pārvatī, her marriage to Śiva and the subsequent birth of their son Kumāra (Kārtikeya).
 * Raghuvaṃśa is an epic poem about the kings of the Raghu dynasty.

Minor poems
Kālidāsa also wrote the Meghadūta (The Cloud Messenger), a khaṇḍakāvya (minor poem). It describes the story of a Yakṣa trying to send a message to his lover through a cloud. Kālidāsa set this poem to the mandākrāntā metre, which is known for its lyrical sweetness. It is one of Kālidāsa's most popular poems and numerous commentaries on the work have been written.

Kalidasa also wrote the shyamala Dandakam descripting the beauty of Goddess Matangi.

Plays
Kālidāsa wrote three plays. Among them, Abhijñānaśākuntalam ("Of the recognition of Śakuntalā") is generally regarded as a masterpiece. It was among the first Sanskrit works to be translated into English, and has since been translated into many languages.

 * Mālavikāgnimitram (Pertaining to Mālavikā and Agnimitra) tells the story of King Agnimitra, who falls in love with the picture of an exiled servant girl named Mālavikā. When the queen discovers her husband's passion for this girl, she becomes infuriated and has Mālavikā imprisoned, but as fate would have it, Mālavikā is in fact a true-born princess, thus legitimizing the affair.
 * Abhijñānaśākuntalam (Of the recognition of Śakuntalā) tells the story of King Duṣyanta who, while on a hunting trip, meets Śakuntalā, the adopted daughter of the sage Kanu and real daughter of Vishwamitra and Menaka and marries her. A mishap befalls them when he is summoned back to court: Śakuntala, pregnant with their child, inadvertently offends a visiting Durvasa and incurs a curse, whereby Duṣyanta forgets her entirely until he sees the ring he has left with her. On her trip to Duṣyanta's court in an advanced state of pregnancy, she loses the ring, and has to come away unrecognized by him. The ring is found by a fisherman who recognizes the royal seal and returns it to Duṣyanta, who regains his memory of Śakuntala and sets out to find her. Goethe was fascinated by Kālidāsa's Abhijñānaśākuntalam, which became known in Europe, after being translated from English to German.
 * Vikramōrvaśīyam (Ūrvaśī Won by Valour) tells the story of King Pururavas and celestial nymph Ūrvaśī who fall in love. As an immortal, she has to return to the heavens, where an unfortunate accident causes her to be sent back to the earth as a mortal with the curse that she will die (and thus return to heaven) the moment her lover lays his eyes on the child which she will bear him. After a series of mishaps, including Ūrvaśī's temporary transformation into a vine, the curse is lifted, and the lovers are allowed to remain together on the earth.

Translations
Montgomery Schuyler, Jr. published a bibliography of the editions and translations of the drama Śakuntalā while preparing his work "Bibliography of the Sanskrit Drama". Schuyler later completed his bibliography series of the dramatic works of Kālidāsa by compiling bibliographies of the editions and translations of Vikramōrvaśīyam and Mālavikāgnimitra. Sir William Jones published an English translation of Śakuntalā in 1791 CE and Ṛtusaṃhāra was published by him in original text during 1792 CE.

False attributions and false Kalidasas
According to Indologist Siegfried Lienhard:"A large number of long and short poems have incorrectly been attributed to Kalidasa, for instance the Bhramarastaka, the Ghatakarpara, the Mangalastaka, the Nalodaya (a work by Ravideva), the Puspabanavilasa, which is sometimes also ascribed to Vararuci or Ravideva, the Raksasakavya, the Rtusamhara, the Sarasvatistotra, the Srngararasastaka, the Srngaratilaka, the Syamaladandaka and the short, didactic text on prosody, the Srutabodha, otherwise thought to be by Vararuci or the Jaina Ajitasena. In addition to the non-authentic works, there are also some 'false' Kalidasas. Immensely proud of their poetic achievement, several later poets have either been barefaced enough to call themselves Kalidasa or have invented pseudonyms such as Nava-Kalidasa, 'New Kalidasa', Akbariya-Kalidasa, 'Akbar-Kalidasa', etc."

Influence
Kālidāsa's influence extends to all later Sanskrit works that followed him, and on Indian literature broadly, becoming an archetype of Sanskrit literature.

Notably in modern Indian literature Meghadūta 's romanticism is found in Rabindranath Tagore's poems on the monsoons.

Critical reputation
Bāṇabhaṭṭa, the 7th-century CE Sanskrit prose-writer and poet, has written: nirgatāsu na vā kasya kālidāsasya sūktiṣu, prītirmadhurasārdrāsu mañjarīṣviva jāyate. ("When Kālidāsa's sweet sayings, charming with sweet sentiment, went forth, who did not feel delight in them as in honey-laden flowers?").

Jayadeva, a later poet, has called Kālidāsa a kavikulaguru, 'the lord of poets' and the vilāsa, 'graceful play' of the muse of poetry.

The Indologist Sir Monier Williams has written: "No composition of Kālidāsa displays more the richness of his poetical genius, the exuberance of his imagination, the warmth and play of his fancy, his profound knowledge of the human heart, his delicate appreciation of its most refined and tender emotions, his familiarity with the workings and counterworkings of its conflicting feelings - in short more entitles him to rank as the Shakespeare of India."

"Willst du die Blüthe des frühen, die Früchte des späteren Jahres,

Willst du, was reizt und entzückt, willst du was sättigt und nährt,

Willst du den Himmel, die Erde, mit Einem Namen begreifen;

Nenn’ ich, Sakuntala, Dich, und so ist Alles gesagt."

"Wouldst thou the young year's blossoms and the fruits of its decline

And all by which the soul is charmed, enraptured, feasted, fed,

Wouldst thou the earth and heaven itself in one sole name combine?

I name thee, O Sakuntala! and all at once is said."

"'Here the poet seems to be in the height of his talent in representation of the natural order, of the finest mode of life, of the purest moral endeavor, of the most worthy sovereign, and of the most sober divine meditation; still he remains in such a manner the lord and master of his creation.'"

Philosopher and linguist Humboldt writes, "Kālidāsa, the celebrated author of the Śākuntalā, is a masterly describer of the influence which Nature exercises upon the minds of lovers. Tenderness in the expression of feelings and richness of creative fancy have assigned to him his lofty place among the poets of all nations."

Later culture
Many scholars have written commentaries on the works of Kālidāsa. Among the most studied commentaries are those by Kolāchala Mallinātha Suri, which were written in the 15th century during the reign of the Vijayanagara king, Deva Rāya II. The earliest surviving commentaries appear to be those of the 10th-century Kashmirian scholar Vallabhadeva. Eminent Sanskrit poets like Bāṇabhaṭṭa, Jayadeva and Rajasekhara have lavished praise on Kālidāsa in their tributes. A well-known Sanskrit verse ("Upamā Kālidāsasya...") praises his skill at upamā, or similes. Anandavardhana, a highly revered critic, considered Kālidāsa to be one of the greatest Sanskrit poets. Of the hundreds of pre-modern Sanskrit commentaries on Kālidāsa's works, only a fraction have been contemporarily published. Such commentaries show signs of Kālidāsa's poetry being changed from its original state through centuries of manual copying, and possibly through competing oral traditions which ran alongside the written tradition.

Kālidāsa's Abhijñānaśākuntalam was one of the first works of Indian literature to become known in Europe. It was first translated into English and then from English into German, where it was received with wonder and fascination by a group of eminent poets, which included Herder and Goethe.

Kālidāsa's work continued to evoke inspiration among the artistic circles of Europe during the late 19th century and early 20th century, as evidenced by Camille Claudel's sculpture Shakuntala.

Koodiyattam artist and Nāṭya Śāstra scholar Māni Mādhava Chākyār (1899–1990) of Kerala choreographed and performed popular Kālidāsa plays including Abhijñānaśākuntala, Vikramorvaśīya and Mālavikāgnimitra.

The Kannada films Mahakavi Kalidasa (1955), featuring Honnappa Bagavatar, B. Sarojadevi and later Kaviratna Kalidasa (1983), featuring Rajkumar and Jaya Prada, were based on the life of Kālidāsa. Kaviratna Kalidasa also used Kālidāsa's Shakuntala as a sub-plot in the movie.V. Shantaram made the Hindi movie Stree (1961) based on Kālidāsa's Shakuntala. R.R. Chandran made the Tamil movie Mahakavi Kalidas (1966) based on Kālidāsa's life. Chevalier Nadigar Thilagam Sivaji Ganesan played the part of the poet himself. Mahakavi Kalidasu (Telugu, 1960) featuring Akkineni Nageswara Rao was similarly based on Kālidāsa's life and work.

Surendra Verma's Hindi play Athavan Sarga, published in 1976, is based on the legend that Kālidāsa could not complete his epic Kumārasambhava because he was cursed by the goddess Pārvatī, for obscene descriptions of her conjugal life with Śiva in the eighth canto. The play depicts Kālidāsa as a court poet of Chandragupta who faces a trial on the insistence of a priest and some other moralists of his time.

Asti Kashchid Vagarthiyam is a five-act Sanskrit play written by Krishna Kumar in 1984. The story is a variation of the popular legend that Kālidāsa was mentally challenged at one time and that his wife was responsible for his transformation. Kālidāsa, a mentally challenged shepherd, is married to Vidyottamā, a learned princess, through a conspiracy. On discovering that she has been tricked, Vidyottamā banishes Kālidāsa, asking him to acquire scholarship and fame if he desires to continue their relationship. She further stipulates that on his return he will have to answer the question, Asti Kaścid Vāgarthaḥ" ("Is there anything special in expression?"), to her satisfaction. In due course, Kālidāsa attains knowledge and fame as a poet. Kālidāsa begins Kumārsambhava, Raghuvaṃśa and Meghaduta with the words Asti ("there is"), Kaścit ("something") and Vāgarthaḥ ("spoken word and its meaning") respectively.

Bishnupada Bhattacharya's "Kalidas o Robindronath" is a comparative study of Kalidasa and the Bengali poet Rabindranath Tagore.

Ashadh Ka Ek Din is a Hindi play based on fictionalized elements of Kalidasa's life.

title: Kalidasa


text:
Darlene Quaife

Darlene Alice Quaife (née Barry) (born September 1, 1948, in Calgary, Alberta) is a Canadian novelist. Her first novel, Bone Bird, won a 1990 Commonwealth Writers Prize, for Best First Book, Canada and the Caribbean.

Quaife was educated at the University of Alberta, from which she received a Master of Arts degree in 1986. She is a past president of the Writers' Guild of Alberta, and a former director and founding member of Wordfest.

She lives in Priddis, Alberta.

Selected bibliography

 * Bone Bird, Turnstone Press, 1989, ISBN 978-0-88801-133-6
 * Days and Nights on the Amazon, Turnstone Press, 1994, ISBN 9780888011831
 * Death Writes: A Curious Notebook - 1997; Arsenal Pulp Press, 2002, ISBN 978-1-55152-038-4
 * Polar Circus, Turnstone Press, 2001, ISBN 0-88801-253-5

title: Darlene Quaife


text:
Microsoft Foundation Class Library

Microsoft Foundation Class Library (MFC) is a C++ object-oriented library for developing desktop applications for Windows.

MFC was introduced by Microsoft in 1992 and quickly gained widespread use. While Microsoft has introduced alternative application frameworks since then, MFC remains widely used.

History
MFC was introduced in 1992 with Microsoft's C/C++ 7.0 compiler for use with 16-bit versions of Windows as an extremely thin object-oriented C++ wrapper for the Windows API. C++ was just beginning to replace C for development of commercial application software at the time. In an MFC program, direct Windows API calls are rarely needed. Instead, programs create objects from Microsoft Foundation Class classes and call member functions belonging to those objects. Many of those functions share their names with corresponding API functions.

One quirk of MFC is the use of "Afx" as the prefix for many functions, macros and the standard precompiled header name "stdafx.h". During early development, what became MFC was called "Application Framework Extensions" and abbreviated "Afx". The name Microsoft Foundation Classes (MFC) was adopted too late in the release cycle to change these references.

MFC 8.0 was released with Visual Studio 2005. MFC 9.0 was released with Visual Studio 2008. On April 7, 2008, Microsoft released an update to the MFC classes as an out-of-band update to Visual Studio 2008 and MFC 9. The update features new user interface constructs, including the ribbons and associated UI widgets, fully customizable toolbars, docking panes which can either be freely floated or docked to any side and document tabs.

MFC was initially a feature of the commercial versions of Visual Studio. As such, it is not included in the freeware Visual C++ Express. The Community edition of Visual Studio, introduced in 2014, however, includes MFC.

Object Windows Library (OWL), designed for use with Borland's Turbo C++ compiler, was a competing product introduced by Borland around the same time. Eventually, Borland discontinued OWL development and licensed the distribution of the MFC headers, libraries and DLLs from Microsoft for a short time, though it never offered fully integrated support for MFC. Borland later released Visual Component Library to replace the OWL framework.

Features
MFC is a library that wraps portions of the Windows API in C++ classes, including functionality that enables them to use a default application framework. Classes are defined for many of the handle-managed Windows objects and also for predefined windows and common controls.

At the time of its introduction, MFC provided C++ macros for Windows message-handling (via Message Maps ), exceptions, run-time type identification (RTTI), serialization and dynamic class instantiation. The macros for message-handling aimed to reduce memory consumption by avoiding gratuitous virtual table use and also to provide a more concrete structure for various Visual C++-supplied tools to edit and manipulate code without parsing the full language. The message-handling macros replaced the virtual function mechanism provided by C++.

The macros for serialization, exceptions, and RTTI predated availability of these features in Microsoft C++ by a number of years. 32-bit versions of MFC, for Windows NT 3.1 and later Windows operating systems, used compilers that implemented the language features and updated the macros to simply wrap the language features instead of providing customized implementations, realizing upward compatibility.

The MFC ribbon resource editor allows the developer to design the ribbon graphically instead of having to use the XML-based declarative markup like the RibbonX API. Optionally, ribbon components may be programmed directly by calling a new set of ribbon class methods. The developer may mix graphical and programmatic ribbon development as is convenient. The MFC application wizard has also been upgraded to support the new features, including a check-box to select whether the application will use the ribbon or the docking panes. The new functionality is provided in new classes so that old applications still continue to run. This update builds on top of BCGSoft’s BCGControlBar Library Professional Edition. Microsoft has imposed additional licensing requirements on users of the ribbons. These include a requirement to adhere to Microsoft UI Design Guidelines, and an anti-competition clause prohibiting the use of the UI in applications which compete with Microsoft Office.

MFC can be used by linking a static library or by adding the MFC DLL.

title: Microsoft Foundation Class Library


text:
User:ChrisCroome

I dunno how much time I will have to add stuff here but I have made all my photos available under the GNU Free Documentation License so that they can be used here, my site is linked to from the GNU Free Documentation License resources and Public domain image resources pages, see the Image use policy, the Image description page and Alternate text for images pages for more info on adding images.

Pages illustrated with my photos
I have added image to these pages:

 * Notting Hill Carnival — Image:Notting Hill Carnival 2002.jpg
 * Sheffield — Image:Sheffield Town Hall and The Peace Gardens.jpg
 * Rock climbing in the Peak District — Image:Rock Climbers on Stanage Edge.jpg
 * Upper Derwent Valley — Image:Pack horse bridge small.jpg

If you use any images from my site please follow the style on the pages above for the attribution.

There is some more copyright info and advice on my site.

Contact info
You can contact me at this address [mailto:chris@croome.net chris@croome.net].

Other wikis
I have accounts on some other wiki sites: Wikitravel | Indymedia

title: User:ChrisCroome


text:
Talk:Data Link Control

Copyright violation removed
The following appears to be a copyvio lifted from CSGNetwork.Com:

Every network interface card (NIC) has a DLC address or DLC identifier (DLCI) that uniquely identifies the node on the network. Some network protocols, such as Ethernet and Token-Ring use the DLC addresses exclusively. Other protocols, such as TCP/IP, use a logical address at the Network Layer to identify nodes. Ultimately, however, all network addresses must be translated to DLC addresses. In TCP/IP networks, this translation is performed with the Address Resolution Protocol (ARP). For networks that conform to the IEEE 802 standards (e.g., Ethernet ), the DLC address is usually called the Media Access Control (MAC) address. -- Stan Shebs

Name for multiple technologies
I wikified this article as per the Wikipedia Manual of Style. It was unclear to me whether "Data Link Control" referred to more than one technology. The old version of the article seemed to lean towards two different technologies, so that is what I went with in the new version. I would just like someone to confirm that this is the case and to state in the article what relationship the technologies have to each other, if any. If they are completely unrelated, then there should be separate articles on the topics, unless one of them cannot support its own article. -- Kjkolb (talk) 00:26, 12 March 2011 (UTC)

Need Netbios reference
There is an obscure Microsoft KB article about adding Netbeui protocol to bind DLC to the network card. Similar to DLC, Netbeui is a lookup table of netbios names and MAC addresses. Because they are MAC address oriented these protocols are considered not routable and article should note that. The Token Ring protocol can be routed using extended addresses/forwarding however requires additional equipment. TaylorLeem (talk) 21:30, 8 June 2020 (UTC)

title: Talk:Data Link Control


text:
MFC

MFC may refer to:

Companies

 * Manulife Financial Corporation, a Canadian multinational insurance company
 * MicroFinance Centre social finance network based in Poland co-funded by the European Union
 * MyFreeCams, an American website providing live webcam performances by models

Computing

 * Mel-frequency cepstrum, a representation of sounds used in applications such as automatic speech recognition
 * Memory flow controller, a part of a computer architecture, e.g. in the Cell Broadband Engine
 * Merged From Current, a term in a development model of FreeBSD
 * Microsoft Foundation Class Library, a programming library for C++
 * Michael F. Cowlishaw, a computer scientist with a 'difficult' surname and so widely known by his 'handle', mfc
 * Multi-Function-Centre, a series of multifunction printers made by Brother Industries
 * Multi Format Codec, an intellectual property core present within the Samsung Exynos SoCs to offer hardware accelerated encoding and decoding of video formats such as MPEG-2, MPEG-4, H.263, H.264, VC-1 and VP8
 * Multicast forwarding cache, ip addresses and routes for IGMP and IGMP-proxy

Industry

 * Mass flow controller, a device that controls gas flow
 * Melamine faced chipboard, construction material usually used internally for shelving
 * Micro fibrillated cellulose, a type of nanocellulose

Military

 * Lockheed Martin Missiles and Fire Control, a business unit
 * Medical Forces Command, a specialist corps in the Ukrainian Armed Forces

Science

 * Microbial fuel cell, a bio-electrochemical system that drives a current by mimicking bacterial interactions

Sports

 * M'lang F.C., an association football club from the Philippines
 * Macarthur FC, an Australian association football club in the A-League
 * Macclesfield F.C., an English football club in the Northern Premier League
 * Makati F.C., an association football youth club from the Philippines
 * Malaysia Futsal Cup, a sport competition in Malaysia
 * Maghull F.C., an English football club in the West Cheshire League Division One
 * Magwe F.C., an association football club from Myanmar
 * Manawmye F.C., an association football club from Myanmar
 * Marine F.C., an English football club in the Northern Premier League Premier Division
 * Maximum Fighting Championship, formerly Mixed Fighting Championship, a Canadian mixed martial arts promotion
 * Melbourne Football Club, an Australian rules football club in the Australian Football League (AFL)
 * Mendiola F.C. 1991, an association football club from the Philippines
 * Meridian F.C., an English football club in the Kent Invicta League
 * Middlesbrough F.C., an English football club in the Football League Championship
 * Millwall F.C., an English football club in Football League Championship
 * Montrose F.C., a Scottish semi-professional football team in the Scottish Football League
 * Morecambe F.C., an English football club in Football League One
 * Motherwell F.C., a Scottish professional football club in the Scottish Premier League

Other uses

 * Machine finished coated paper, a type of coated paper that has a basis weight of 48–80 g/m2
 * Manual fare collection in transport
 * Marginal factor cost
 * Master of Finance and Control, a course in finance run by the Department of Financial Studies of the University of Delhi
 * "MFC" (song), a Pearl Jam song
 * Music for Cars, an EP from The 1975

title: MFC


text:
Paul Quarrington

Paul Lewis Quarrington (July 22, 1953 – January 21, 2010) was a Canadian novelist, playwright, screenwriter, filmmaker, musician and educator.

Background
Born in Toronto as the middle of three sons in the family of four of Bruce Quarrington, he was raised in the district of Don Mills and studied at the University of Toronto but dropped out after less than two years of study.

He wrote his early novels while working as the bass player for the group Joe Hall and the Continental Drift and as the guitar accompanist for Cathy Stewart, a Canadian singer who was popular at the time. One of his novels, Whale Music, was called "the greatest rock'n'roll novel ever written" by Penthouse magazine. His non-fiction books and journalism were also highly regarded – he earned or co-earned more than 20 gold awards for his magazine articles alone.

Quarrington's most consistent musical colleague has been Martin Worthy; their friendship began in high school. He was also a high school friend of songwriter Dan Hill, with whom he reunited toward the end of his life to collaborate on musical projects. Quarrington collaborated with many artists (a defining element of his overall body of work) who achieved recognition in their respective disciplines. These include Nino Ricci, Joseph Kertes, Dave Bidini, Jake MacDonald, John Krizanc, Christina Jennings, Judith Keenan, Michael Burke, Peter Lynch, Ron Mann, Robert Lantos and many others.

Between the publication of his first and second novels, Quarrington also competed in the 1981 Three-Day Novel Contest, writing an unpublished manuscript called The Man Who Liked to Fall in Love.

Novels
Quarrington's novels are characterized by their humour (King Leary received the Stephen Leacock Award for Humour in 1988), although they address serious subjects; reviews of his writing have often noted that his books regularly contain elements of both tragedy and comedy. During the promotional push for his 2008 novel The Ravine, Anne Collins, his longtime editor at Random House Canada, told Quill & Quire that "Paul uses a comic approach to deal with incredibly sad and troubling and tragic material."

His protagonists are often faded former celebrities in the worlds of sports, music or film, emotionally crippled antiheroes whose personal demons have led them to withdraw from society. Typically, in Quarrington's work, an outside agent of some sort – a young woman in Whale Music, ghosts in King Leary, a hurricane in Galveston, an overtime hockey game in Logan in Overtime – challenges the structures of the protagonist's life and sets them on a path to moral, spiritual and personal redemption.

His novel The Ravine was published in March 2008. At the time of his death, Quarrington had completed a short film adaptation of the work (Pavane, 2008) and was collaborating on a television series adaptation of that novel, which he claimed to be semi-autobiographical. "It's about a writer who squanders his talents in television, drinks too much, screws around and ruins his marriage," Quarrington has said. "The reason it's 'semi-autobiographical' is the guy's name is 'Phil.'"

Influences
During his time, Quarrington has been an influential figure in Canadian literature, not only as an author, but also through his participation in teaching (Humber College and University of Toronto), publishing circles, organizations and events. He befriended many Canadian writers, including Timothy Findley. Quarrington and Findley held a mutual admiration for each other; when asked to provide a review quote for Home Game, Findley blurbed that Quarrington was "an extraordinary writer with a rare gift for pulling unique characters out of funny hats".

As a youngster, Quarrington came from a very musical background, and this showed consistently in his writing. Although most of Quarrington's biggest successes were as a writer, he reportedly considered himself a musician who also wrote rather than a writer who also made music.

While writing a review blurb for Leonard Cohen's book, The Favourite Game, he admired Cohen's "poetic craftsmanship." Another time, in typical whimsical Quarrington fashion, he declared, "I seem to like authors named John – John Fowles, John Gardner, John Irving. John Gardner is my favourite – he's sadly not so well known these days."

Cinema and television
Quarrington's film adaptation of Whale Music, cowritten with director Richard J. Lewis, was nominated for numerous Genie Awards, including Best Picture and Best Adapted Screenplay, in 1994. Actor Maury Chaykin won best actor for his portrayal of the drug-addled Desmond Howl.

He won the Genie Award for Best Original Screenplay in 1991 for Perfectly Normal, a comedy that combined ice hockey and grand opera. Perfectly Normal opened the Toronto International Film Festival, at that time called Festival of Festivals, in 1990.

Quarrington has also worked in the television industry, acting as writer and/or producer on such shows as Due South, Power Play and Moose TV, the latter winning Best Comedy from the CFTPA Indie Awards 2008.

Stage
Quarrington's work for the stage includes Dying is Easy, The Invention of Poetry, Three Ways from Sunday and Checkout Time. He was a long-time board member of the Toronto Fringe Festival.

Music
In their teens, Quarrington and Hill also occasionally performed together as a folk music duo, billed as Quarrington/Hill. Hill had also auditioned for Quarrington's garage band PQ's People.

Quarrington/Worthy, a duo with musician Martin Worthy, had a #1 hit on RPM's Adult Contemporary charts the week of January 12, 1980 with their song "Baby and the Blues".

Quarrington collaborated with the band Rheostatics on the Whale Music film soundtrack, including a songwriting credit on the band's most successful hit single, "Claire".

Quarrington was also the lead singer/guitarist for the blues/roots/country ensemble Porkbelly Futures. Their first CD, Way Past Midnight was released in late 2005 by Wildflower Records, and spent six months on the "Americana" charts. Their second CD, Porkbelly Futures, was released by Cordova Bay Records in April 2008. It contains many of Quarrington's original compositions. His songwriting was also featured on the last CD put out by Porkbelly Futures, titled The Crooked Road which was recorded and released after his death, and features a photograph of Quarrington on the back cover. Quarrington's solo CD called The Songs was recorded just prior to his death and was released posthumously in June 2010, also on Cordova Bay Records.

He participated in the collaborative "Canadian Songbook" tour in 2008 with Murray McLauchlan, Stephen Fearing and Catherine MacLellan.

Final months
After being diagnosed with lung cancer in May 2009, Quarrington continued his plans to embark on various concert tours with Porkbelly Futures, while continuing to produce his own solo CD and the Porkbellys third release; complete his non-fiction memoir Cigar Box Banjo: Notes on Life and Music (Greystone Books, May 2010), deliver multiple screenplays for episodes of a television series for Shaftesbury Films (Notes on Euphoria, dir. John L'Ecuyer) as well as star in a documentary film initiated by friend and colleague Judith Keenan; the film, Paul Quarrington: Life in Music, is an adaptation tied to his written memoir.

Rheostatics, who had broken up in 2007, reunited for a live tribute show to Quarrington produced by Humber College for Toronto's International Festival of Authors. Also appearing to celebrate his body of work in multiple genres were Christina Jennings, John Krizanc, Michael Burns, Wayson Choy, Nino Ricci, Paul Gross, Alistair McLeod, Joe Hall, Porkbelly Futures with David Gray, and talented family members Christine Quarrington, Tony Quarrington and Joel Quarrington. Michael Burke announced the launch of Quarrington Arts Society / Société des Arts Quarrington, to provide support for working and emerging artists committed to multi-disciplinary practices.

Quarrington's final collaboration with Hill and Worthy, a song about his journey with cancer called "Are You Ready", was completed just ten days before Quarrington's death. The song was conceived by Quarrington and film producer Keenan as the focal point for their feature documentary. Many other songs were also conceived and produced by Quarrington during this fertile creative time, including "All the Stars" (created just days after the diagnosis) and "Wherever You Go," all of which are included on the posthumously released CD.

Quarrington died of lung cancer in Toronto on January 21, 2010, aged 56. His final book, a memoir titled Cigar Box Banjo: Notes on Music and Life, was posthumously published later the same year. He wrote a short story, "The Conversion" which he recited with music some time before his death. That recitation was presented on radio by the CBC Radio show Tapestry.

Awards
King Leary won the Stephen Leacock Award in 1988, and Whale Music won the 1989 Governor General's Award for Fiction. Quarrington was also nominated for the Leacock Award in 1984 for Home Game, in 1986 for The Life of Hope, in 1990 for Whale Music and in 1998 for The Boy on the Back of the Turtle.

Galveston, published in the United States as Storm Chasers, was nominated for the prestigious Giller Prize. He lost to Alice Munro – which, Quarrington stated afterward, "was hard to feel upset about. It's like losing to Chekhov."

In February 2008, King Leary was put forward by Dave Bidini as one of the five books considered on CBC Radio's Canada Reads. Bidini ultimately prevailed, and King Leary was named the book that everyone in the nation should read.

His short film Pavane, adapted from his novel The Ravine, garnered a Remi Platinum Award Houston's WorldFest, was juried in several other US festivals, and was broadcast in Canada on Bravo!FACT Presents and CBC Television's Canadian Reflections. He and the creative team for ShowCase earned the CFPTA Indie Award for Comedy for the series Moose TV.

In 2009, the Writers' Trust of Canada awarded Quarrington its Matt Cohen Prize for a distinguished lifetime contribution to Canadian literature.

On June 10, 2010, Quarrington was posthumously awarded an honorary Doctorate of Letters by Nipissing University. His daughter Carson accepted the award on his behalf.

Novels

 * The Service (1978)
 * Home Game (1983)
 * The Life of Hope (1985)
 * King Leary (1987)
 * Whale Music (1989)
 * Logan in Overtime (1990)
 * Civilization (1994)
 * The Spirit Cabinet (1999)
 * Galveston (2004)
 * The Ravine (2008)

Non-fiction

 * Hometown Heroes: On the Road with Canada's National Hockey Team (1988)
 * Fishing with my Old Guy (1995)
 * ''Original Six: True Stories From Hockey's Classic Era (1996)
 * The Boy on the Back of the Turtle (1997)
 * Fishing for Brookies, Browns and Bows: The Old Guy's Complete Guide to Catching Trout (2001)
 * From the Far Side of the River (2003)
 * Cigar Box Banjo: Notes on Music and Life (2010)

Drama

 * The Second (1990)
 * The Invention of Poetry (1989)
 * So You Think You're Mozart (1991)
 * Checkout Time (1996)
 * Dying is Easy (1997)
 * Heart in a Bottle (2001)
 * Three Ways from Sunday (2007)

Edited work

 * 1989 Leacock Limerick Awards Collection (1990)

Short films

 * A Man's Life
 * Mann Over Moon
 * Mump and Smoot in the Princess Who Wouldn't Smile
 * Angel Takes All: No Limit Texas Hold 'Em (2006)
 * Pavane (2008)
 * Seventh Seal (2010)

Feature film screenplays

 * Perfectly Normal (1990)
 * Giant Steps (1992)
 * Whale Music (1994)
 * Camilla (1994)
 * Men with Brooms (2002)
 * Vulnerable (2010)

Television writing

 * Due South
 * John Woo's Once a Thief
 * Power Play
 * Tom Stone
 * Chilly Beach
 * 1-800-MISSING
 * Moose TV
 * Men with Brooms
 * The Don Cherry Story
 * Puck Hogs

title: Paul Quarrington


text:
Lancastrian

Lancastrian may refer to:
 * Avro Lancastrian, an airliner
 * Lancastrian, a native or inhabitant of Lancashire, England
 * Lancastrian, a native or inhabitant of Lancaster, England
 * Lancastrian, a partisan on the side of the House of Lancaster in the Wars of the Roses
 * Lancastrian, a system of education devised by Joseph Lancaster
 * Lancastrian, a person or thing associated with Lancaster University

title: Lancastrian


text:
Herbert Haupt

Herbert Haupt (born 28 September 1947) is an Austrian politician and former party chairman of the Austrian Freedom Party. Haupt was Minister of Social Affairs from 2000 until 2005 in a coalition government headed by Wolfgang Schüssel. He was also Vice Chancellor of Austria from 28 February 2003 until 20 October 2003.

He is still a member of the National Council of Austria, now representing the Alliance for the Future of Austria (BZÖ) party founded by Jörg Haider in April 2005.

He stepped down as Minister of Social Affairs on 25 January 2005 and was succeeded by Ursula Haubner.

title: Herbert Haupt


text:
Talk:Spoke–hub distribution paradigm

Spoke-hub model
I don't know if I picked the right name for this... Should it be spoke-hub model?

 * When I clicked to this page from UPS, I was hoping to see an indication of the alternatives to the spoke-hub model. I have heard this referred to as a star network.  See network topology.  And I guess I have answered my own question with that link, although I don't know what names the shipping industry might use for the other models.  Jim Winters 19:25, 28 Apr 2005 (UTC)

why is this efficient?
This method is continually discussed as efficient, yet no despcription of the root of its efficiency is addressed. Its shortcomings are also clearly left unmentioned.

Delta "pioneering" something when it already existed
Its inaccurate to claim Delta pioneered something that existed since day one of airline travel. They may have done it for *domestic* travel, but as far back as the birth of non-seaplane transatlantic crossings, Shannon and Gander were hubs. — Preceding unsigned comment added by 109.78.99.23 (talk) 19:41, 17 December 2011 (UTC)

"Drawbacks"
I think we should reconsider the bullet that reads "Two flights are required to reach most of the destinations." The whole section is about the system in general, but this bullet jumps exclusively to aviation. Perhaps it'd be better to either introduce it with a phrase like "In aviation..." or "In air travel...". It might be even better, though, to introduce the statement in more general terms: "Traveling from one spoke to another will require two trips.  For passengers on airlines...". Billiam1185 (talk) 21:31, 14 July 2012 (UTC)

Source
This paper makes an argument that P2P is more effective than H&S. Some of the information could probably go here, as well as in the related article. 69.165.196.103 (talk) 14:36, 24 September 2017 (UTC)

title: Talk:Spoke–hub distribution paradigm


text:
HMS

HMS or hms may refer to:

Education

 * Habib Medical School, of the Islamic University in Uganda
 * Hartley–Melvin–Sanborn Community School District of Iowa, United States
 * Harvard Medical School of Harvard University
 * Heidelberg Middle School, a former American school in Heidelberg, Germany
 * Hongwanji Mission School, in Hawaii, United States
 * Horley Methodist School, Teluk Intan, in Malaysia

Medicine and science

 * Hartford Medical Society, an American professional association based in Hartford, Connecticut
 * Health management system
 * Hexose monophosphate shunt, an alternative name for the pentose phosphate pathway
 * Highly migratory species, a classification of fish
 * Hypermobility spectrum disorder, formerly hypermobility syndrome or HMS
 * HMS, a brand name of medrysone

Technology

 * Huawei Mobile Services, proprietary apps and services from Huawei bundled with Android devices
 * HMS Networks, a company in the field of industrial communications
 * Heavy melting steel
 * Helmet mounted sight
 * Hybrid Management Sub-Layer, in networking
 * Munter hitch (German: Halbmastwurfsicherung), a type of knot
 * Handheld, Manpack, Small Form Factor, in the US Joint Tactical Radio System

Other uses

 * Her or His Majesty's Ship, a ship prefix
 * Hellenic Mathematical Society, a Greek learned society
 * Helmsdale railway station, Scotland, station code
 * Helsinki Motor Show
 * Hendrick Motorsports, a NASCAR racing team
 * Hind Mazdoor Sabha, an Indian trade union
 * Historical Maritime Society, UK
 * HMS Group, Russian industrial and engineering holding
 * Hours, minutes, seconds, sometimes "h:m:s", dividing hours into smaller units

title: HMS


text:
Talk:HMS

Untitled
Er.. the disambiguation of this page seems a bit bizarre, given the fact that most of these supposed users of HMS are quite obscure (Harvard Medical School perhaps being an exception) to the extent that as of yet none of them have a page on Wikipedia. Surely such disambiguation of a TLA should only be considered when new articles warrant such moves and not before (I'm tempted to add Hairy Man's Stubble to the list), and even then when the TLA is overwhelmingly associated with one particular concept (and I'm thinking BBC here) that should take precedence for ease of linking if nothing else. Mintguy 22:00, 9 Aug 2003 (UTC)

"Hans Majestäts Skepp (His Majesty's ship) or Hennes Majestäts Skepp (Her Majesty's Ship), the prefix of Royal Swedish Navy ship names", shouldn't this be on the Swedish wikipedia only? Pipatron (talk) 08:02, 27 November 2007 (UTC)

The designation is part of a ships name and should be used world wide thus should stay.(86.31.190.183 (talk) 02:43, 18 October 2008 (UTC))

title: Talk:HMS


text:
User talk:Diem

My name is Dr. Peter Diem. I am a political scientist and presently active as a consultant for Online Research for Austria's leading market research firm GfK Austria. My main private interest is political symbols of Austria.

For further details please go to: my personal homepage, the GfK Austria websiteand the Austrian Information Portal

title: User talk:Diem


text:
Virusoid

Virusoids are circular single-stranded RNA(s) dependent on viruses for replication and encapsidation. The genome of virusoids consists of several hundred (200–400) nucleotides and does not code for any proteins.

Virusoids are essentially viroids that have been encapsulated by a helper virus coat protein. They are thus similar to viroids in their means of replication (rolling circle replication) and in their lack of genes, but they differ in that viroids do not possess a protein coat. Both virusoids and viroids encode a hammerhead ribozyme.

Virusoids, while being studied in virology, are subviral particles rather than viruses. Since they depend on helper viruses, they are classified as satellites. Virusoids are listed in virological taxonomy as Satellites/Satellite nucleic acids/Subgroup 3: Circular satellite RNA(s).

Definition
Depending on whether a lax or strict definition is used, the term virusoid may also include Hepatitis D virus (HDV). Like plant virusoids, HDV is circular, single-stranded, and supported by a helper virus (Hepatitis B virus) to form virions; however, the virions possess a much larger genome size (~1700 nt) and encode a protein. They also show no sequence similarity with the plant virusoid group.

History
The first virusoid was discovered in Nicotiana velutina plants infected with Velvet tobacco mottle virus R2 (VTMOV). These RNAs have also been referred to as viroid-like RNAs that can infect commercially important agricultural crops and are non–self-replicating single stranded RNAs. RNA replication of virusoids is similar to that of viroids but, unlike viroids, virusoids require specific "helper" viruses.

Replication
The circular structure of virusoid RNA molecules is ideal for rolling circle replication, in which multiple copies of the genome are generated in an efficient manner from a single replication initiation event. Another advantage to circular RNAs as replication intermediates is that they are inaccessible and resistant to exonucleases. Additionally, their high GC content and high degree of self-complementarity make them very stable against endonucleases. Circular RNAs impose constraints on RNA folding by which secondary structures that are favored for replication differ from those assumed during ribozyme-mediated self-cleavage.

Plant satellite RNAs and virusoids depend on their respective helper viruses for replication, while the helper viruses themselves are dependent upon plants to provide some of the components required for replication. Therefore, a complex interaction involving all three major players including satellites, helper viruses and host plants is essential for satellite / virusoid replication.

satLTSV replication has been shown to occur through the symmetric rolling circle mechanism, wherein the satLTSV self-cleaves both (+) and (-) strands. Both the (+) and (-) strands of satLTSV were found to be equally infectious. Nevertheless, since only the (+) strand is packaged in the LTSV particles, the origin of assembly sequence (OAS) / secondary structure is assumed to be present on the (+) strand only.

Gellatly et al., 2011 demonstrated that the entire satLTSV molecule possesses sequence and structural significance wherein any mutations (insertions / deletions) causing disruption in the overall rod-like structure of the virusoid molecule are lethal to its infectivity. Foreign nucleotides introduced into the molecule will only be tolerated if they preserve the overall cruciform structure of the satLTSV. Furthermore, the introduced foreign sequences are eliminated in successive generations to ultimately reproduce the wild-type satLTSV.

Therefore, in satLTSV RNA, the entire sequence seems to be essential for replication. This contrasts with satRNA of TBSV or the defective-interfering RNAs, in which only a small portion of their respective sequences / secondary structures were found to be sufficient for replication.

Role of ribozyme structures in the self-cleavage and replication of virusoids
Virusoids structurally resemble the viroids as they possess native secondary structures that form double-stranded rod-like molecules with short terminal branches. They also contain hammerhead ribozymes that are involved in autocatalytic cleavage of satRNA multimers during rolling circle replication. It was proposed that the hammerhead ribozyme structure of satLTSV is formed only transiently, similar to that observed by Song & Miller (2004) with satRPV (Cereal yellow dwarf polerovirus serotype RPV) RNA. This hammerhead structure contains a short stem III that is stabilized by only two base-paired nucleotides. This unstable conformation thus suggests that a double hammerhead mode of cleavage takes place. These structures are similar to those reported for CarSV and newt ribozymes, which implies an ancient relationship between these divergent RNAs. The observation by Collins et al., 1998 that the dimer of the satRYMV RNA is more efficiently self-cleaved than the monomer is consistent with the double hammerhead mode of cleavage. The self-cleavage of the satRYMV in the (+) strand and not in the (-) strand implies that the satRYMV replicates through an asymmetric mode of rolling circle replication, similar to other sobemoviral satellites with the exception of satLTSV.

Evolutionary origin
Considering properties such as their diminutive size, circular structure and the presence of hammerhead ribozymes, viroids may have had an ancient evolutionary origin distinct from that of the viruses. Likewise, the lack of any sequence similarity between the satellite RNAs and their host viruses, host plants and insect vectors implies that these satellite RNAs have had a spontaneous origin. Alternatively, the siRNAs and microRNAs generated during viral infections may have been amplified by helper virus replicases, whereby these molecules assembled to form satellite RNAs.

Virusoids and viroids have been compared to circular introns due to their size similarity. It has been proposed that virusoids and viroids originated from introns. Comparisons have been made between the (-) strand of viroids and the U1 small nuclear ribonucleoprotein particle (snRNPs), implicating that viroids could be escaped introns. Dickson (1981) also observed such homologies within both the (+) and (-) strands of viroids and virusoids. In particular, virusoids and viroids exhibit several structural and sequence homologies to the group I introns such as the self-splicing intron of Tetrahymena thermophila.

A phylogeny based on a manually-adjusted alignment in 2001 suggests that virusoids may form a clade of their own as a sister group to Avsunviroidae, which also possess hammerhead ribozymes. However, the said alignment is not available, making the results hard to reproduce.

Virusoids and other circular RNAs are ancient molecules that are being explored with renewed interest. Circular RNAs have been shown to possess a number of functions, ranging from modulation of gene expression, interactions with RNA binding proteins (RBPs) acting as miRNA sponges and have been linked to a number of human diseases, including aging and cancer.

Developments
Abouhaidar et al., 2014 demonstrated the only example of protein translation and messenger RNA activity in the Rice yellow mottle virus small circular satellite RNA (scRYMV). This group suggested that the scRYMV be designated as a virusoid satelliteRNA that could serve as a model system for both translation and replication.

The most promising application of these subviral agents is to make specific vectors that can be used for the future development of biological control agents for plant viral diseases. The vector system could be applied for the overexpression and silencing of foreign genes. The unique example of a foreign expression vector is Bamboo mosaic virus satellite RNA (satBaMV), which possesses an open reading frame that encodes a 20-kDa P20 protein. It was observed that when this nonessential ORF region was replaced with a foreign gene, expression of the foreign gene was enhanced or overexpressed. In the case of gene silencing, various satellite RNA-based vectors can be used for sequence-specific inactivation. Satellite Tobacco Mosaic Virus (STMV) was the first subviral agent to be developed as a satellite virus-induced silencing system (SVISS).

title: Virusoid


text:
User talk:ChrisCroome

Hello Chris, welcome to Wikipedia and thanks for letting us know about the copyleft pictures on your website.

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 16:52, 8 Aug 2003 (UTC)

Your picture database certainly is impressive -- you even got a couple of photos of me! Here is one (I'm the guy on the left). Oekonux was interesting (I only was there the first day to meet Alan Toner).—Eloquence 06:11, Aug 12, 2003 (UTC)

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If you have any questions please see Help:Image page. Thank you. Sfan00 IMG (talk) 23:52, 27 April 2009 (UTC)

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File source problem with File:Rock Climbers on Stanage Edge large.jpg
Thanks for uploading File:Rock Climbers on Stanage Edge large.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, their copyright should also be acknowledged.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following this link. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 10:21, 25 May 2009 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. Papa November (talk) 10:21, 25 May 2009 (UTC)

title: User talk:ChrisCroome