text:
Dublin (disambiguation)

Dublin is the capital city of the Republic of Ireland.

Dublin may also refer to:

Ireland

 * Dublin Airport, the international airport serving Dublin city
 * Dublin Bay
 * County Dublin, one of the 32 traditional counties of Ireland, and a NUTS Level III region of Ireland
 * South Dublin, a county within the traditional County Dublin
 * Dublin County (Dáil constituency), a former constituency which sent deputies forward to Dáil Éireann
 * County Dublin (UK Parliament constituency), a former constituency which sent deputies forward to the parliament of the United Kingdom
 * Dublin City (Parliament of Ireland constituency)
 * County Dublin (Parliament of Ireland constituency)
 * Dublin University (Parliament of Ireland constituency)
 * Dublin (European Parliament constituency)
 * Dublin (barony), a barony in Ireland

United States

 * Dublin, Alabama, an unincorporated community
 * Dublin, California
 * Dublin, Florida
 * Dublin, Georgia
 * Dublin, Indiana
 * Dublin, Kentucky
 * Dublin, Maryland
 * Dublin, Missouri
 * Dublin, New Hampshire
 * Dublin, Paterson, New Jersey, a neighborhood
 * Dublin, North Carolina
 * Dublin, Ohio
 * Dublin, Pennsylvania
 * Dublin, Texas
 * Dublin, Virginia
 * Dublin Township (disambiguation)

Other places

 * Dublin, Banana Islands
 * Dublin, Belarus
 * Dublin, Ontario, Canada
 * Dublin, South Australia, Australia
 * Dublin, Suffolk, a location in England
 * York, Toronto, Canada, surveyed in 1791 as Dublin

People

 * Dublin (surname)
 * Marquess of Dublin, Robert de Vere, 9th Earl of Oxford

Transportation

 * HMS Dublin, any of several ships of war
 * Dublin Metro, a light rail transport system
 * Dublin (1784 EIC ship)

Other uses

 * Dublin Regulation, the asylum accord of the European Union
 * Dublin Accord, an agreement for the international recognition of Engineering Technician qualifications
 * Dublin Core, a metadata standard
 * Dublin GAA, representative teams in Gaelic games
 * Dublin Philharmonic Orchestra, an orchestra

title: Dublin (disambiguation)


text:
Corbett

Corbett may refer to:

 * List of Corbetts (mountains), 222 mountains in Scotland between 2500 and 3000 ft, with prominence over 500 ft
 * Corbett, New York, a hamlet in New York State
 * Corbett, Oklahoma, a ghost town in Oklahoma
 * Corbett, Oregon, a community in Oregon
 * Corbett Award, US award for athletics administrators
 * Corbett (surname), people with the surname Corbett
 * Corbett family, a family named Corbett
 * Corbett Price (born 1950/1951), an American political donor and health care business and financial consultant

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

title: Corbett


text:
Talk:Hawaiian Islands

Hurricane Season
June-November

Spelling Edit
"Māui" in the Main Hawaiian Islands table should be spelling "Maui" [i.e. without the macron; the macron only applies to the Hawaiian god the island was named after]. But I don't know how to edit tables. Could someone please make the correction? Thank you. —Preceding unsigned comment added by Heszy (talk • contribs) 22:05, 12 March 2009 (UTC)
 * Done. Mahalo. --Ali'i 13:44, 13 March 2009 (UTC)

A Helpful Table to Add
A helpful table to add to this article would be one of the land areas (in square miles and square kilometers) of the major islands, from the largest to the smallest.72.146.42.76 (talk) 19:01, 31 October 2008 (UTC)

Also, the tally of the island areas do not add up to the total square miles given in the article. 144.39.6.3 (talk) 15:45, 28 March 2017 (UTC)

Question
Does anyone know how many of the islands are actually inhabited? RickK 19:04, 2 Aug 2003 (UTC)

Yes I do. What is the question? Marshman 02:59, 3 Aug 2003 (UTC)

 * Could you include that information in the article? RickK 04:36, 4 Aug 2003 (UTC)

 * I essentially put the information in the list of islands. But if you think I need to make ity clearer, let me know. Marshman 08:09, 4 Aug 2003 (UTC)

 * Maybe I'm dense, but nothing in the article conveys that information to me. Why are you being so difficult? RickK 01:07, 5 Aug 2003 (UTC)

 * People often communicate implicitly but some of us prefer the precision of being explicit. The difference will always cause problems. If someone asks, do you mind if I have a seat, then the implicit question is may I sit and so most people would say yes but those of us that prefer to be explicit would say no, we don't mind. A question beginning with "Does anyone know how many" is actually just a yes/no question. I totally understand the feeling of frustration of someone that thrives on precision that must exist with so much imprecise communication. The irony is that the question expects precision. — Preceding unsigned comment added by Sam Tomato (talk • contribs) 01:22, 7 May 2018 (UTC)

 * Smile when you say that partner 8^). Fortunately for you, I'm a Rick (actually Ric) also.  But you are partly correct. I had failed to include a line to indicate that all islands in the first or upper list are inhabited (lower list states all listed are uninhabited). Two (one in each list) are exceptions in that they have facilities for habitation, but no permanent residents.Marshman 01:30, 5 Aug 2003 (UTC)

The link for "Gardner" is misleading (i.e. to nowhere)
 * It is. I will try and fix shortly. - Marshman 17:53, 8 Mar 2004 (UTC)

Maybe I'm dense as well. I see that only 7 of the 8 "islands in the first or upper list are inhabited". (Kaho`olawe, in Māui county, appears to be uninhabited - was that the first "exception" you referred to?) What's more, while O`ahu shows a population of 876,151 for the 2000 census, Wikipedia's listed population for Honolulu county is 876,156 (which matches the 2000 census figure as well and are necessary to get the state census total of 1,211,537). Where did the other 5 people come from? I know Honolulu county extends for about 1,600 miles (2,600 km), so perhaps Midway Island? Is that the other "exception"? Sorry, but I'd like to see this mystery resolved before the upcoming 2010 census. 8-) Glenn L (talk) 09:15, 10 January 2009 (UTC)

Never mind. I found it. They live on Necker Island. THAT was the exception. Silly me. 8-) Glenn L (talk) 09:50, 10 January 2009 (UTC)

Total number of Islands
When I was working in Hawaii a long time ago, I was administering a database of all islands and atolls. The database contained 132 total. The article claims there are 19 total. Because those numbers are practically a power of 10 off, I was wondering what source could be used to find the proper number of islands. Also, is it a range based on opinion. I can see one guy claiming, "That's an island." Then another guy says, "Nope, that's just a rock." Kainaw 20:59, 8 Nov 2004 (UTC)

 * Answering my question... I continued further down the article and saw the entry about 137 islands. Of course, it came from the University, which is where the database of islands I was working on was located. Kainaw 21:01, 8 Nov 2004 (UTC)

 * Probably from the state. The university should know better. The number of islands is infinite if you are going to start counting every "offshore" rock, which is what 137 is a good ways towards. Any such "listing" needs first a good set of definitions to have meaning. Maybe the data base did, but then

using the raw numbers is "out of context" - Marshman 03:32, 9 Nov 2004 (UTC)

 * is there a definition of the term island or islet that we can determine the minimum requirements to be called one of these things? I'm thinking of the stereotypical person stranded on a one-palm tree desert island that is only big enough to contain him and the tree. Would a rock count? would there need to be sand? Valley2city 17:41, 4 January 2007 (UTC)

Length of the Island Chain
This needs to be fact checked, the only source i have for this being a nautical mile is that 1500*1.8 =~ 2700, but 1500*1.6 !=~ 2700, furthermore, the image I inserted is broken for unknown reasons.
 * According to Macdonald, Abbott, and Peterson (1983) the length of the archipelago is 2400 km, or 1500 miles (not nautical miles). - Marshman 18:55, 9 Mar 2005 (UTC)

Plate moves how slowly?
My back of the envelope calculation shows about 50 miles/million-years: from Midway (28mya) to Kauai (5mya) at 1300 miles and from Kauai to Oahu (3mya) at about 100 miles. Anybody have a more accurate number? Jolomo
 * I suppose any number of papers will have estimates of what you are looking for; I'm not a geologist. However, I found this right away on the web at:
 * "The NUVEL-IA predicted rate of motion of the Pacific plate relative to a fixed North American plate [-] 52 mm/yr".."
 * Not quite the motion over the hotspot (which may not be fixed), but works out to 52 km (32 miles) per million years, certainly not a bad fit to your estimate. - Marshman 23:34, 10 January 2006 (UTC)

Information inappropriate
Try and put information in appropriate articles. The administration of Palmyra has nothing to do with the geography of the Hawaiian Islands. It is a fact already discussed elsewhere where appropriate. - Marshman 02:18, 14 January 2006 (UTC)

Categorization
This article was placed in the Category:Human geography without explanation. Why this set of islands and not every other island in the world, say Tahiti or Greenland? The notion of human geography doesn't seem to be mentioned in the text of the article... -- Malepheasant 11:15, 24 January 2006 (UTC)

Northwestern Hawaiian Islands National Monument
Will information about this be added? Northwestern Hawaiian Islands National Monument Badagnani 12:16, 23 June 2006 (UTC)

Creation?
Does anyone know what created the volcano hotspot that created the hawaiian islands? Could it have been a comet or any other similar event? Thanks. A stroHur  ricane  00  1 (Talk+Contribs+Ubx) 14:28, 2 February 2007 (UTC)
 * The origin of hotspots is uncertain, but impacts are among the ideas. I'd say the  idea of inhomogeneities within the mantle has a greater following, but this is not my specialty. Cheers Geologyguy 15:22, 2 February 2007 (UTC)

Karakakooa Bay
I was editing an article on the ship Tonquin and discovered they had put in at the above bay. But I can't find it anywhere, and I'm guessing the spelling is wrong anyway. Anybody know what bay this might be? Thanks. Aboutmovies 01:48, 21 February 2007 (UTC)

Likely to be Kealakekua Bay, the same bay Cook visited. Arjuna 08:12, 29 May 2007 (UTC)

Geology/USGS
The 17km stated by the USGSseem to result from a wrong addition. The mountain measures about 9km from sea-floor to summit, 4km above an 5km below sea-level. AFAIK one cannot add the 8km depression, since the whole mountain itself is depressed with the tectonic plate. --mmg 10:47, 23 February 2007 (UTC)

Photograph
The NASA photograph is horrible. It just looks like a big black rectangle. I really think we should get rid of it. It's tacky. —Preceding unsigned comment added by 63.95.64.254 (talk) 18:54, 26 September 2007 (UTC)

 * I added a note to click on the image for a larger view. If that is OK, then leave it.  Otherwise, I'm not emotionally attached to the image in any way. --  k a i n a w ™ 22:21, 26 September 2007 (UTC)

45° bend in island chain
Anyone know why the island chain turns northwards about half way along, if you follow east to west? — PhilHibbs | talk 16:15, 20 August 2008 (UTC)

It's understood to have been a result of a major shift in the direction of the Pacific plate relative to the Asian and N. American plates, and in which the Hawaiian 'hotspot' remained stationary. See Hawaiian-Emperor seamount chain for details. Aloha, Arjuna (talk) 08:28, 21 August 2008 (UTC)

Spelling Edit
"Māui" in the Main Hawaiian Islands table should be spelling "Maui" [i.e. without the macron; the macron only applies to the Hawaiian god the island was named after]. But I don't know how to edit tables. Could someone please make the correction? Thank you. —Preceding unsigned comment added by Heszy (talk • contribs) 22:05, 12 March 2009 (UTC)
 * Done. Mahalo. --Ali'i 13:44, 13 March 2009 (UTC)

Disputed section
See here.

"Mokupâpapa" is "Flat [pâpapa] Islet [moku, cf. motu ]", FWIW.

"Kânemiloha'i" is not clear to me; as per to Pukui & Elbert pocket dict., "kâne" denotes "male" in all flavours (as noun, adjective, and up to and and including Tane), "milo-ha'i" could mean "some other place, with Portia Trees" or "some other place with waves breaking on reef" or "fractured (is)land(s)/islets" or "swirling (nearshore) waters" or whatnot. Dysmorodrepanis (talk) 01:53, 19 August 2009 (UTC)

 * A search in Google Books finds sources for both names referring to both atolls - the U.S. Board on Geographic Names only has "Moku Papapa" as a name for Kure Atoll. I've changed this article for consistency with the other articles as those edits haven't been reverted or disputed. Peter E. James (talk) 14:54, 19 January 2011 (UTC) Maybe a note could be added explaining that these names may be used differently. Peter E. James (talk) 14:56, 19 January 2011 (UTC)
 * Why not connect with a Kānaka 'olelo speaker? Contact someone at Kamehameha schools or at UofH? Kikila mai Tawhiti (talk) 03:55, 4 May 2024 (UTC)

Sandwich Islands
Sandwich Islands redirects to here. On the one hand, I think that's understandable as that was the former name of the Hawaiian Islands. But on the other hand, it seems a bit odd. Shouldn't there be a separate article? Explaining how, when, why and for how long the islands were called the Sandwich Islands? Setwisohi (talk) 10:07, 8 September 2009 (UTC)

 * From here it looks like Sandwich Islands is now a disambig page that points to this article and others. At one time it was a separate short stub, but in the conversion it looks like the info in it about who called it that, why and when got lost. It should probably be added back here, if someone can find a relable source. The info was:

 * The Sandwich Islands was the name given to the Hawaiian Islands by Captain James Cook on his discovery of the islands on January 18, 1778. The name was made in honor of one of his sponsors, John Montagu, 4th Earl of Sandwich, who was at the time the First Lord of the Admiralty and Cook's superior officer. During the late 19th century, the name fell into disuse, replaced by Hawaii.

 * I think the disambig page makes sense. One reason is that several articles on old Hawaiian history copy and paste from old texts (expired copyright) and just link to Sandwich Islands when they should link here or to Hawaii. W Nowicki (talk) 15:14, 8 September 2009 (UTC)

I did as proposed, just moved the mention of the Earl both here and in the Hawaii article (with source).

Climate section needs sources
There is a fair amount of text in the climate sections with no sources. There was one wb link to a sailing video that did not seem relevant nor encylopedic quality. A quick dig into history could not find who added all of the text. It seems reasonable to talk about here, but needs someone to add citations and make sure it still matches theories, etc. Also should be put a "main" pointer from the climate section of the state article here? Now it just points to the list of tornadoes. It seems Climate of Hawaii goes to this section in this article. W Nowicki (talk) 03:15, 10 December 2009 (UTC)
 * I believe I have a list of primary sources that point to this data, but I need to clear my desk. Give me a day or so. :) Viriditas (talk) 03:37, 10 December 2009 (UTC)
 * ✅ Added a source. --Kubanczyk (talk) 13:00, 16 January 2013 (UTC)

Most isolated ?
This article says that Hawaii is the most isolated archipelago on earth, at 1860 miles from the nearest continent, but the article about the Marquesas Islands says these other islands are 3000 miles away from the nearest continent. So I wonder which is right. In doubt, should the sentence in the Hawaiian Islands be removed, or more precise? DomiAllStates (talk) 00:32, 4 October 2010 (UTC)

 * The reference for that claim states the distance to the nearest continent, but makes absolutely no claim about remoteness (this book is on Google Books here). The actual quote is: Across the face of the central Pacific Ocean, 3,000 km from the nearest continent and 800 km from any other land, lies the row of islands known as the Hawaiian Archipelago."  Then, it goes on about volcanoes for the rest of the book. --  k a i n a w ™ 15:46, 19 January 2011 (UTC)

File:Hawaje-NoRedLine.jpg to appear as POTD soon
Hello! This is a note to let the editors of this article know that File:Hawaje-NoRedLine.jpg will be appearing as picture of the day on August 21, 2011. You can view and edit the POTD blurb at Template:POTD/2011-08-21. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page so Wikipedia doesn't look bad. :) Thanks!  howcheng  {chat} 07:47, 20 August 2011 (UTC)

Distant future
The Big Island is losing height by about 1 foot every 100 years. By 80 million years from now, the Big Island will be the last of the current Hawaiian Islands to sink beneath the surface of the ocean. http://www.sfgate.com/news/article/Kiss-that-Hawaiian-timeshare-goodbye-Islands-2468202.php • Sbmeirow  •  Talk  • 21:38, 15 September 2015 (UTC)

Assessment comment
Substituted at 17:16, 29 April 2016 (UTC)

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history section
why isn't there more Kanaka history in the history section? there's a gap of like 1600 years and then a bunch of stuff about europeans? can more be added to the much more expansive period of time the islands were inhabited without centring europeans? Kikila mai Tawhiti (talk) 03:58, 4 May 2024 (UTC)

 * there are also no citations in the history section for the early arrival of Polynesians, and a good deal of the info on dating Polynesian arrival is old and problematic and will be revised as i (a euro-descended settler living on Turtle Island) can get to it. Kikila mai Tawhiti (talk) 18:40, 6 May 2024 (UTC)

 * Seems a valid question, why don't you find some reliable sources and add the missing content ... Vsmith (talk)

title: Talk:Hawaiian Islands


text:
Talk:Daddy Wouldn't Buy Me a Bow Wow

Public domain lyrics
What is the copyright status of these lyrics? RickK 19:06, 2 Aug 2003 (UTC)
 * If they're the originals from 1892 they should be fine. - Hephaestos 19:09, 2 Aug 2003 (UTC)

Double meanings
I've removed the sentence about the possible double meaning of "pussy", because the word doesn't in fact appear in the lyric, as we can see, since it is reproduced in the article. (Which is not to deny that some music hall songs really were near the knuckle!) — Tim riley (talk) 17:08, 11 August 2010 (UTC)

title: Talk:Daddy Wouldn't Buy Me a Bow Wow


text:
User talk:Palestine liberator

Please review Wikipedia's policy on Neutral point of view before making massive and potentially abusive changes to articles. Please note that your deletion of the Israel article has been revised, and just the name you use has perked up ears and will cause people to watch your changes with suspicion. RickK 19:08, 2 Aug 2003 (UTC)

Wikipedia adheres to a NPOV policy. You can try http://www.internet-encyclopedia.org to further your views. You should be welcome there. --Jiang

--- NPOV sounds like a code word for zionism. None of your articles are "neutral." They are all from the Zionist perspective. My articles are neutral.

Knock it off with the "NO ZIONIST" comments -- Its a certain way to get yourself blocked. As for not deleting articles -- improving your behaviour, thats fine -- just be rational (and in some cases, patient) about it.

I dont think there is any such thing as Israeli-Palestinian neutrality myself, but just be respectful, and keep a cool head. The stronger argument will get support, provided you have minimal rhetorical artifacts in the record. As a general rule, I'd suggest add more, rather than focus on cutting away -- back up your material, and be prepared with clarity, reason, and facts to any challenges that will certainly come your way. You will eventually learn (as everyone does) that there is no ownership to any wikipages, and that there is no ownership of history. Welcome to Wikipedia. I hope you enjoy your time here and decide to stay. -- 戴&#30505sv 06:34, Aug 4, 2003 (UTC)

-- I can see that you're a mature and articulate advocate of your cause, laying out very convincing arguments involving poo poo and wee wees. 172 08:20, 4 Aug 2003 (UTC)

-

Please read the NPOV policy again. We are neither pro- nor anti-Zionist, nor pro- or anti-Palestinian.

-- Karada 11:35, 4 Aug 2003 (UTC)
 * Where there is universal consensus, we say "X is so".
 * Where there is some dissent from general consensus, we say "Most people think X, A says Y".
 * Where this is little or no consensus, we way "A says X is so, B says Y is so, C says Z is so"... Issues such as Israel/Palestine belong to this third case.

By the way, is it just me, or does User:Palestine liberator sound a bit like Michael? -- Karada 11:35, 4 Aug 2003 (UTC)

Dear Palestine liberator, just so we're clear you don't actually own either your user page or your user talk page, the idea that I can edit this page only after agreeing to your rules is silly. I'm not sure who does own this page, I guess either the Wikimedia foundation or Bomis.com but one thing's for sure, it's not you.

As you've probably noticed by now anything that you add is quite quickly removed. It might just be me but if in a weeks time no articles contain any material added by you then aren't you just wasting your time? If you sincerely believe that the project has a pro-Israeli stance and that a fair version of events isn't being told then why not add some facts to balance things out a bit. I'm sure there have been atrocities committed by the Israelis and UN resolutions passed against Israel which they are ignoring which are not reported here. I'm also sure that the same could be said of the Palestinians but my point is that if you truly think there is an imbalance then you have the ability to try and change that. Which would presumably be less of a waste of your time.

Perhaps what I've just written will have changed your opinion, or perhaps like with most of the vandals we get here it won't make a blind bit of difference. Anyway, the choice is yours -- Ams80 11:52, 4 Aug 2003 (UTC)

-- I will stop messing with pages without permission. I will stop making rules on my page. However, I still want to be able to have others sign the list I'm starting agreeing that Zionism is racism.

I agree Zionism = racism
 * user Palestine liberator

Dear Palestinian: i sympathize with your views, i also think you would do them better justice if you invest your time and inteligence in writing serious articles instead of trying to input POV setences in others. Best wishes, Muriel Gottrop 12:20, 4 Aug 2003 (UTC)

- I agree that wiki doesn't always have NPOV, but just don't willfully vandelize pages. user:131.216.163.203 - See User talk:Palestinian liberator/ban page. Long live Palestine.

title: User talk:Palestine liberator


text:
LEL

Lel or LEL may refer to:

People

 * Lehel, also known as Lél (died 955), Magyar chieftain
 * Katya Lel (born 1974), Russian pop singer
 * Martin Lel (born 1978), Kenyan athlete
 * Letitia Elizabeth Landon (1802–1838), English writer better known as L.E.L.

Places

 * Lel, Alicante, Valencian Community, Spain
 * Lel, Gaynsky District, Perm Krai, Russia
 * Lel (river), Perm Krai, Russia

Religion

 * Lel, a Polish divine twin; see Lel and Polel
 * Mount Lel, abode of the deity Ēl in the Ugaritic Baal cycle

Technology and science

 * Lower explosive limit, in relation to flammability of gases
 * lel, a ligand conformation in tris(ethylenediamine)cobalt(III) chloride and related complexes

Transport

 * Lake Evella Airport (IATA:LEL), Northern Territory, Australia
 * Lelant railway station (National Rail code: LEL), Cornwall, UK

Other uses

 * Lake Erie League, an Ohio High School Athletic Association conference
 * League of Empire Loyalists, a British pressure group established in 1954
 * LEL Arena, in Whitehaven, Cumbria, England
 * Lele language (Bantu)
 * London–Edinburgh–London, a randonnée bicycle event
 * "Lel", a form of "lol", meaning "laughing even louder"

title: LEL


text:
Energy balance

Energy balance may refer to:

 * Earth's energy balance, the relationship between incoming solar radiation, outgoing radiation of all types, and global temperature change.
 * Energy accounting, a system used within industry, where measuring and analyzing the energy consumption of different activities is done to improve energy efficiency
 * Energy balance (biology), a measurement of the biological homeostasis of energy in living systems
 * Energy balance (energy economics), verification and analysis of emergence, transformation and use of energy sources within an economic zone
 * Energy economics, where the energy balance of a country is an aggregate presentation of all human activities related to energy, except for natural and biological processes
 * Energy Economics (journal), a scientific journal published by Elsevier under its "North Holland" imprint
 * Energy returned on energy invested (EROEI), ratio of the amount of usable energy acquired from a particular energy resource to the amount of energy expended to obtain that energy resource
 * First law of thermodynamics, according to which energy cannot be created or destroyed, only modified in form
 * Groundwater energy balance, comparing a groundwater body in terms of incoming hydraulic energy associated with groundwater inflow and outflow

title: Energy balance


text:
Talk:Junior Eurovision Song Contest 2003

Translation
Could someone please translate "Ti si moja prva ljubav" for me? -fonzy

"You're my first love" - Henrik Hesselholdt

Edit war
fonzy, I can't believe we're involved in this silly edit war.

I'm trying very hard to understand why someone would put misleading information into an encylopedia, especially considering the effort I put into backing up my statement that Dutch is the language spoken in Flanders. What also annoys me is that you're plainly no expert on the situation (See comment: Flemmish?) and that your editing (with no explanation whatsoever) seems to suggest that you somehow own this page and thus know better. Get your facts straight! -G

I am not trying to put any misleading information in. I have also not seen any comments either on this talk page or my talk page. The reason i orignally put "Flemmish?" was because I did not know which language the song would be sung in ie English, German, Swahili...etc of course I do not own the page. I put flemmish in mearly to distinguish it from netherlands Dutch, what I may do now you brought it to my attention is this Flemmish BTW I tend to prefer comments towards me on my talk page, as it was only by chance i found this message. ty for your imput :-)- fonzy

Well, still not entirely correct (it is akin to writing "Scottish" as language for an entry from Scotland), but at least we understand each other, a bit more. I see your change was well intended. Ciao,- G

Re: It was decided that the country that won the contest would not host the next contest to reduce the pressure on the contestants. This means that if the UK had won it wouldn't host next year's contest, which isn't true. D.D. 12:49, 16 Nov 2003 (UTC)

Sorted now (changed 'not' to 'not necessarily'). - Slovakia 19:32, 4 Jul 2004 (UTC)

Charlie Simpson hates Eurovision?
Is there any evidence to back up this point? — Preceding unsigned comment added by Glynnder (talk • contribs) 00:21, 18 May 2013 (UTC)

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Citations required
I've noticed that in August last year, you added commentators to the Junior Eurovision Song Contest 2003 article, but didn't provide references. I'm currently working on something quite demanding in my sandbox which requires lots of citations. I was hoping that you could provide any references to support the content for: Thank you. —  Tuxipεdia ( talk ) 00:40, 12 May 2017 (UTC)
 * Germany (especially)
 * Estonia
 * Australia

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text:
Graceland (album)

Graceland is the seventh solo studio album by the American singer-songwriter Paul Simon. It was produced by Simon, engineered by Roy Halee and released on August 25, 1986, by Warner Bros. Records. It incorporates genres including pop, rock, a cappella, zydeco, and South African styles such as isicathamiya and mbaqanga.

In the early 1980s, Simon's relationship with his former musical partner Art Garfunkel had deteriorated, his marriage to the actress Carrie Fisher had collapsed, and his previous record, Hearts and Bones (1983), had been a commercial failure. In 1984, after a period of depression, Simon became fascinated by a bootleg cassette of ombaqanga, South African street music. He and Halee spent two weeks in Johannesburg recording with South African musicians. Further recordings were held in the US with American musicians including Linda Ronstadt, the Everly Brothers, Rockin' Dopsie and the Twisters and Los Lobos. Simon toured with South African musicians, performing their music and songs from Graceland.

Organizations such as Artists United Against Apartheid criticized Simon for breaking the cultural boycott on South Africa imposed for its policy of apartheid. Simon responded that Graceland was a political statement that showcased collaboration between black and white people and raised international awareness of apartheid. Some praised him for helping popularize African music in the west, while others accused him of appropriating the music of another culture.

Graceland became Simon's most successful studio album and his highest-charting album in over a decade. It is estimated to have sold more than 16 million copies worldwide. It received acclaim, won the 1987 Grammy for Album of the Year, and is frequently cited as one of the best albums of all time. In 2006, it was added to the US National Recording Registry as "culturally, historically, or aesthetically important".

Background
Following a series of hit records released in the 1970s, Simon's career declined. His relationship with his former musical partner Art Garfunkel had again deteriorated; his sixth solo studio album, Hearts and Bones (1983), achieved the lowest sales of his career; and his marriage to the actress Carrie Fisher collapsed. "I had a personal blow, a career setback, and the combination of the two put me into a tailspin," he recalled.

In 1984, Simon agreed to produce a record by a young singer-songwriter, Heidi Berg, who had played in the house bands for Saturday Night Live and The New Show. As an example of how she wanted her record to sound, Heidi lent Simon a bootlegged tape of mbaqanga, black street music from the Soweto township of Johannesburg. Simon described it as "very good summer music, happy music" that reminded him of 1950s rhythm and blues. He began improvising melodies over it as he listened in his car.

Simon asked his contacts at his label, Warner, to identify the artists on the tape. Through the South African record producer Hilton Rosenthal, Warner confirmed that the music was South African and played by either the vocal group Ladysmith Black Mambazo or the Boyoyo Boys. Simon considered buying the rights to his favorite song on the tape, "Gumboots", and using it to write his own song, as he had with the song "El Condor Pasa" in the 1960s. Instead, Rosenthal suggested that Simon record an album of South African music, and sent him dozens of records from South African artists.

In the 1980s, recording in South Africa was dangerous, and the United Nations had imposed a cultural boycott for its policy of apartheid, or forced racial segregation. The boycott forced states to "prevent all cultural, academic, sporting and other exchanges" with South Africa, and ordered writers, artists, musicians and "other personalities" to boycott it. Nonetheless, Simon resolved to go to South Africa. He later told The New York Times: "I knew I would be criticized if I went, even though I wasn't going to record for the government ... or to perform for segregated audiences. I was following my musical instincts in wanting to work with people whose music I greatly admired."

Before leaving for Johannesburg, Simon contributed to "We Are the World", a charity single benefiting African famine relief. Simon discussed recording in South Africa with the "We Are the World" producers Quincy Jones and Harry Belafonte, who both encouraged him to go. The South African black musicians' union also voted to let Simon come, as it could benefit their music by placing it on an international stage. When Simon told Berg of his plans to record an album inspired by the tape she had lent him, their working relationship deteriorated.

Recording
In February 1985, Simon and his longtime engineer, Roy Halee, flew to Johannesburg, intending their visit to be secret. The Warner executives were uninterested in the project, viewing Simon as a bad investment due to the failure of his previous two solo albums. Simon felt their indifference worked in his favor, as it gave him more freedom. Halee believed the executives viewed him and Simon as "crazy".

Rosenthal used his connections to assemble musicians who had inspired Simon, including Lulu Masilela, Tao Ea Matsekha, General M. D. Shirinda and the Gaza Sisters and the Boyoyo Boys Band. Though musicians in Johannesburg were typically paid $15 an hour, Simon arranged to pay them $200 an hour, around triple the rate for top players in New York City. Simon said he "wanted to be as above board as I could possibly be", as many of the musicians did not know who he was and would not be lured by the promise of royalties alone. He also offered royalties to those he felt had contributed to composing songs.

Recording sessions took place at Ovation Studios. Halee worried the studio would be a "horror show" but was surprised to find it "very comfortable". He likened it to a garage, which Halee feared would be a problem for recording, and none of the musicians wore headphones. Jam sessions ranged from 10 to 30 minutes, and Simon and Halee intended to assemble an album from the recordings on their return home. Though the playing was technically simple, Simon found it difficult to mimic. Outside the studio, the public was hostile toward Simon, but the Musician's Union received him warmly.

Though Simon described the recording sessions as "euphoric", he recalled "tension below the surface" due to the effects of apartheid. The musicians would become anxious when recording continued into the evening, since they were prohibited from using public transportation or being on the streets after curfew. Simon recalled, "In the middle of the euphoric feeling in the studio, you would have reminders that you're living in an incredibly tense racial environment, where the law of the land was apartheid."

At the end of the two-week trip, Simon felt a relief from his personal turmoil and a revitalized passion for music. He and Halee returned to the Hit Factory studio in New York City to edit the material. Simon flew several South African musicians to New York to complete the record three months after the Johannesburg sessions. The sessions resulted in "You Can Call Me Al" and "Under African Skies". Simon began writing lyrics at his home in Montauk, New York, while listening to the recordings. The process was slow, but he determined he had sufficient material to begin rerecording. He played the tracks backward to "enhance their sound", interspersing gibberish to complete the rhythms.

Simon involved guest musicians, including the American singer Linda Ronstadt and his childhood heroes the Everly Brothers. During a trip to Louisiana with Richard "Dickie" Landry, Simon saw a performance by the Lafayette zydeco band Good Rockin' Dopsie and the Twisters, and recorded "That Was Your Mother" with them in a small studio behind a music store. He felt that the accordion, central to zydeco, would make a pleasing transition back to his own culture. Afterward, he contacted the Mexican-American band Los Lobos, with which he recorded "All Around the World or The Myth of Fingerprints" in Los Angeles.

Halee edited the album with new digital technology, transferring analog tape recordings to the digital workspace countless times. He said: "The amount of editing that went into that album was unbelievable ... without the facility to edit digital, I don't think we could have done that project." He used tape echo and delay on every song, and paid particular attention to the bass, saying: "The bassline is what the album is all about. It's the essence of everything that happened." Each song was mixed in about two days at the Hit Factory, where most of the vocal overdubs were recorded.

Music
Graceland incorporates genres including pop, rock, a cappella, zydeco, isicathamiya and mbaqanga. Mbaqanga, or "township jive", originated as the street music of Soweto, South Africa. The album was influenced by the work of the South African musicians Johnny Clegg and Sipho Mchunu, and their band Juluka's Zulu-Western pop crossover music. Juluka was South Africa's first integrated pop band. Simon includes thanks to Clegg, Juluka, and Juluka's producer Hilton Rosenthal in the liner notes. He included American "roots" influences with tracks featuring zydeco musicians such as Rockin' Dopsie and Tex-Mex musicians.

Graceland alternates between playful and more serious songs. Simon thought of it as like a play: "As in a play, the mood should keep changing. A serious song may lead into an abstract song, which may be followed by a humorous song." On many songs, Simon and Halee employ a Synclavier to "enhance" the acoustic instruments, creating an electronic "shadow".

"The Boy in the Bubble" is a collaboration with the Lesotho group Tau Ea Matsekha. "Graceland" features the bassist Bakithi Kumalo and the guitarist Ray Phiri. Simon wrote in the original liner notes that it reminded him of American country music, and wrote: "After the recording session, Ray told me that he'd used a relative minor chord—something not often heard in South African music—because he said he thought it was more like the chord changes he'd heard in my music." The steel guitarist Demola Adepoju contributed to the track some months after its completion. "I Know What I Know" is based on music from an album by General M.D. Shirinda and the Gaza Sisters. Simon was attracted to their work due to the unusual style of guitar playing, as well as the "distinctive sound" of the women's voices. "Gumboots" is a re-recording (with additional saxophone solos) of the song with which Simon first found himself enamored from the cassette tape that spawned Graceland.

Joseph Shabalala also contributed to "Diamonds on the Soles of Her Shoes", with Ladysmith Black Mambazo and the Senegalese singer-percussionist Youssou N'Dour. It was recorded a week following their appearance on Saturday Night Live. The pennywhistle solo featured on "You Can Call Me Al" was performed by Morris Goldberg, a white South African living in New York. "Homeless" was written jointly by Simon and Shabalala, the lead singer of Ladysmith Black Mambazo, to a melody from a traditional Zulu wedding song. In the song "Under African Skies", "the figure of Joseph becomes the dual image of a dispossessed African black man and the New Testament Joseph." For the song, Simon sent Shabalala a cassette demo, and the two later met at Abbey Road Studios in London, where the rest of the song was completed. "Crazy Love" features music from Stimela, Phiri's group that was very successful in South Africa.

Lyrics
To write lyrics, Simon listened to the recordings made during his time in Johannesburg, identifying patterns in the music to fit to verses. He said:

"It was very difficult, because patterns that seemed as though they should fit together often didn't. I realized that in African music, the rhythms are always shifting slightly and that the shape of a melody was often dictated by the bassline rather than the guitar. Harmonically, African music consists essentially of three major chords—that's why it sounds so happy—so I could write almost any melody I wanted in a major scale. I improvised in two ways—by making up melodies in falsetto, and by singing any words that came to mind down in my lower and mid range."

Simon told The Village Voice's Robert Christgau in 1986 that he was bad at writing about politics, and felt his strength was writing about relationships and introspection. In contrast to Hearts and Bones, Graceland subject matter is more upbeat. Simon made an effort to write simply without compromising the language. Composing more personal songs took him significantly longer, as it involved "a lot of avoidance going on". Rewrites were necessary as Simon ended up using overcomplicated words. A perfectionist, Simon rewrote songs only to scrap the newer versions. Songs such as "Graceland" and "The Boy in the Bubble" took three to four months, while others, such as "All Around the World" and "Crazy Love", came together quickly.

"The Boy in the Bubble" discusses starvation and terrorism, but mixes this with wit and optimism. Simon concurred with this assessment: "Hope and dread—that's right. That's the way I see the world, a balance between the two, but coming down on the side of hope." The song retains a variation of the only lyric Simon composed on his South African trip: "The way the camera follows him in slo-mo, the way he smiled at us all." The imagery was inspired by the assassination of John F. Kennedy and the attempted assassination of Ronald Reagan. "Homeless" discusses poverty within the black majority in South Africa. According to Simon's ex-wife Carrie Fisher, the "Graceland" lines "She's come back to tell me she's gone / As if I didn't know that, as if I didn't know my own bed / As if I'd never noticed the way she brushed her hair from her forehead" refer to her. She confirmed she had a habit of brushing her hair from her forehead, and said she felt privileged to be in one of Simon's songs.

Throughout the recording process, Simon remained unsure of the album's thematic connection. He kept dozens of yellow legal pads with random words and phrases he would combine in an attempt to define the album. He derived the album title from the phrase "driving through Wasteland", which he changed to "going to Graceland", a reference to Elvis Presley's Memphis home. Simon believed it represented a spiritual direction: just as he had embarked on a physical journey to collect ideas in Africa, he would spiritually journey to the home of the rock "forefather" to revitalize his love for music.

Allegations of plagiarism
"That Was Your Mother" features the American zydeco band Rockin' Dopsie and the Zydeco Twisters. The band leader, Alton Jay Rubin, felt Simon had derived it from his song "My Baby, She's Gone", but decided not to take legal action.

The American group Los Lobos appears on the track "All Around the World or the Myth of Fingerprints". The Los Lobos saxophone player, Steve Berlin, said Simon "stole" the song from them: "We go into the studio, and he had quite literally nothing. I mean, he had no ideas, no concepts, and said, "Well, let's just jam." ... Paul goes, "Hey, what's that?" We start playing what we have of it, and it is exactly what you hear on the record." He said Los Lobos had never received a song credit or payment.

According to Berlin, when he contacted Simon about the lack of credit, Simon responded: "Sue me. See what happens." Simon denied this, and said: "The album came out and we heard nothing. Then six months passed and Graceland had become a hit and the first thing I heard about the problem was when my manager got a lawyer's letter. I was shocked."

Release
Graceland was released by Warner Bros. with little promotion in September 1986. Before its release, Simon speculated that he was no longer "a viable commercial force in popular music".

By July 1987, Graceland had sold six million copies worldwide. That year, Rolling Stone David Fricke said the album had become "a daily soundtrack in urban yuppie condos and suburban living rooms and on radio airwaves from Australia to Zimbabwe". In South Africa, it was the best-selling release since Michael Jackson's Thriller (1982). It sold 150,000 copies in Australia in 1988, and had sold 470,000 copies there by January 1989. As of 2014, Graceland was estimated to have sold more than 16 million copies.

In 2004, Graceland was reissued with three previously unreleased demo tracks. In 2012, it was reissued in a 25th-anniversary edition with further demos, a live concert DVD, and a documentary. In June 2018, Sony Music and Legacy Records issued Graceland: The Remixes, featuring remixes of Graceland songs by artists including Paul Oakenfold, Groove Armada, and Thievery Corporation.

Tour
The Graceland tour began on February 1, 1987. Simon was accompanied by an ensemble of 24 black South Africians, including the singer Miriam Makeba, the trumpeter Hugh Masekela, the guitarist Ray Phiri, and Ladysmith Black Mambazo. To ensure the musicians were paid well, Simon took no payment, saying "the show breaks even as long as I don't get paid". The tour ended with two concerts in Harare, Zimbabwe, which were filmed for release as Graceland: The African Concert.

Critical reception
Graceland received widespread acclaim upon release. Rolling Stone Rob Tannenbaum characterized it as "lovely, daring and accomplished". Stephen Holden of The New York Times wrote: "With his characteristic refinement, Mr. Simon has fashioned that event into the rock album equivalent of a work of literature." In The Village Voice, Robert Christgau deemed it Simon's best record since his 1972 self-titled album, as well as "a tremendously engaging and inspired piece of work". It went on to top The Village Voice's Pazz & Jop critics' poll for that year (1986).

Retrospective reviews have remained favorable. According to AllMusic's William Ruhlmann, "Graceland became the standard against which subsequent musical experiments by major artists were measured." Joe Tangari of Pitchfork wrote that "its songs transcend the context as listening experiences. These songs are astute and exciting, spit-shined with the gloss of production that bears a lot of hallmarks of the era but somehow has refused to age. Taken as a whole, the album offers tremendous insight into how we live in our world and how that changes as we get older." Patrick Humphries of BBC Music wrote that "it may well stand as the pinnacle of his remarkable half-century career ... Simon fashioned a record which was truly, blindingly original, and – listening to it a quarter of a century on – modern and timeless." Andy Gill of The Independent wrote: "The character of the base music here is overwhelming: complex, ebullient and life-affirming, and in yoking this intricate dance music to his sophisticated New Yorker sensibility, Simon created a transatlantic bridge that neither pandered to nor patronised either culture."

Accolades
Graceland earned Simon the Best International Solo Artist award at the 1987 Brit Awards. It was ranked No. 84 in a 2005 survey by British television's Channel 4 to determine the 100 greatest albums of all time.

Graceland was ranked 81st on the 2003 list of Rolling Stone magazine's 500 Greatest Albums of All Time, as "an album about isolation and redemption that transcended 'world music' to become the whole world's soundtrack." The ranking increased to 71st in the 2012 revision and 46th in the 2020 list. In 2000 it was voted number 43 in Colin Larkin's All Time Top 1000 Albums. The song "Graceland" was named #485 in the 2004 list of Rolling Stone's 500 Greatest Songs of All Time. In 2006, Graceland was added to the US National Recording Registry as "culturally, historically, or aesthetically important".

Grammy Awards

 * style="width:35px; text-align:center;" rowspan="3"|1987|| rowspan="2"|Graceland || Album of the Year || Won
 * Best Pop Vocal Performance, Male || Nominated
 * rowspan="2"|"Graceland"|||Song of the Year || Nominated
 * style="text-align:center;"|1988 || Record of the Year || Won
 * rowspan="2"|"Graceland"|||Song of the Year || Nominated
 * style="text-align:center;"|1988 || Record of the Year || Won
 * style="text-align:center;"|1988 || Record of the Year || Won
 * style="text-align:center;"|1988 || Record of the Year || Won

Criticism from anti-apartheid movement
After Graceland 's success, Simon was criticized by organizations such as Artists United Against Apartheid, anti-apartheid musicians including Billy Bragg, Paul Weller and Jerry Dammers, and James Victor Gbeho, the Ghanaian Ambassador to the United Nations. They condemned him for having potentially damaged anti-apartheid solidarity by breaking the cultural boycott against apartheid in South Africa.

Before going to South Africa, Simon sought advice from Harry Belafonte, with whom he had recently collaborated on "We Are the World". Belafonte had mixed feelings and advised him to discuss the matter with the African National Congress (ANC). At a launch party for Graceland, Simon said of the criticism: "I'm with the artists. I didn't ask the permission of the ANC. I didn't ask permission of Buthelezi, or Desmond Tutu, or the Pretoria government. And to tell you the truth, I have a feeling that when there are radical transfers of power on either the left or the right, the artists always get screwed."

James Victor Gbeho, the former Ghanaian ambassador to the UN, was critical, saying: "When he goes to South Africa, Paul Simon bows to apartheid. He lives in designated hotels for whites. He spends money the way whites have made it possible to spend money there. The money he spends goes to look after white society, not to the townships." Simon denied that he went to South Africa to "take money out of the country", saying he paid the black artists well and split royalties with them, and was not paid to play to a white audience. The South African guitarist Ray Phiri said: "We used Paul as much as Paul used us. There was no abuse. He came at the right time and he was what we needed to bring our music into the mainstream."

Some criticized Simon for not addressing apartheid in his lyrics. Simon responded: "Was I supposed to solve things in a song?" He said he was not good at writing protest songs in the vein of Bob Dylan or Bob Geldof, and felt that although it was not overtly political, Graceland was its own political statement: "I still think it's the most powerful form of politics, more powerful than saying it right on the money, in which case you're usually preaching to the converted. People get attracted to the music, and once they hear what's going on within it, they say, 'What? They're doing that to these people?'"

The United Nations Anti-Apartheid Committee supported Graceland, as it showcased black South African musicians and offered no support to the South African government, but the ANC protested it as a violation of the boycott. The ANC voted to ban Simon from South Africa and he was added to the United Nations blacklist. He was removed from the blacklist in January 1987, and announced that he had been cleared by the ANC, but the Artists Against Apartheid founder, Dali Tambo, denied this. The Graceland concert at London's Royal Albert Hall prompted protests from Dammers, Weller and Bragg. In 2012, the controversy was revived when Simon returned to London for a 25th-anniversary concert.

Graceland introduced some of the musicians, especially Ladysmith Black Mambazo, to global audiences. Hugh Masekela, one of South Africa's most prominent musicians and an exiled opponent of apartheid, praised Simon for encouraging black South African music. The South African jazz musician Jonas Gwangwa criticized the notion that Simon deserved praise: "So, it has taken another white man to discover my people?"

Some critics viewed Graceland as colonialist, with Simon appropriating the music of another culture to bring to the global market. The Star-Ledger reporter Tris McCall wrote in 2012: "Does it complicate matters to realize that these musicians were second-class citizens in their own country, one groaning under the weight of apartheid? How could Simon approach them as equal partners when their own government demanded that they treat him as a superior?" In 2012, Andrew Mueller of Uncut wrote: "Apartheid was of course a monstrosity, but it would be absurd to suggest that Simon's introduction of South Africa's music to the world prolonged it and quite plausible to suggest that it did some small amount to hasten its undoing."

Linda Ronstadt
Simon's choice to feature the American singer Linda Ronstadt on "Under African Skies" was criticized, as three years earlier she had accepted $500,000 to perform at Sun City, a South African luxury resort. Nelson George of Billboard said her inclusion on Graceland was like "using gasoline to put out birthday candles", and Robert Christgau wrote: "Even if the lyric called for total US divestiture, Ronstadt's presence on Graceland would be a slap in the face to the world anti-apartheid movement."

Simon defended Ronstadt, saying: "I know that her intention was never to support the government there ... She made a mistake. She's extremely liberal in her political thinking and unquestionably antiapartheid." He told Spin he did not think Ronstadt would play at Sun City again, and did not think she was "incompatible" with the record.

Simon had refused to perform on the 1985 antiapartheid single "Sun City", as the demo had included a list of names shaming artists who had performed at the resort, including Ronstadt's, and as he felt Graceland would be "my own statement". He said he had refused two offers to perform at Sun City, and drew a distinction between going to South Africa to perform for a segregated audience, which he felt was unacceptable, and going to record.

Threats against Simon
The cultural boycott against South Africa was lifted in 1991, five years after Graceland 's release. At the invitation of the anti-apartheid activist Nelson Mandela and with the support of the African National Congress, Simon and his band played five shows, beginning at Ellis Park Stadium in Johannesburg. Before the first concert, hand grenades were thrown into the office of the promoter, Attie van Wyk, who had booked the shows. A sect of the militant Azanian People's Organisation (AZAPO) claimed responsibility for the attack, which destroyed the office but caused no injuries.

Simon held a clandestine meeting with AZAPO representatives, offering them proceeds from the tour, but no agreement was reached. At a press conference, AZAPO said there was "potential for violence" if the show proceeded. Though hundreds of protesters threatened violence at one concert, it was protected by 800 policemen and proceeded without incident.

According to the guitarist Steven Van Zandt, who was involved in the anti-apartheid movement and met with AZAPO representatives, Simon had been "at the top" of AZAPO's assassination list. Van Zandt said he persuaded them that murdering Simon would not help them achieve their goals, and mollified them by saying he was attempting to unite the music community against apartheid.

Legacy
The New York Times writer Jon Pareles said Graceland popularized African rock in the west, alongside albums such as Peter Gabriel's So (1986) and Talking Heads' Remain in Light (1980). A 2012 documentary film, Under African Skies, was directed by Joe Berlinger for the album's 25th anniversary, and includes archival footage, interviews, discussion of the controversy, and coverage of an anniversary reunion concert.

Advocates for Graceland feel its music transcends the racial and cultural barriers of its production. Andrew Leahey of American Songwriter wrote that "Graceland was never just a collection of songs, after all; it was a bridge between cultures, genres and continents, not to mention a global launching pad for the musicians whose popularity had been suppressed under South Africa's white-run apartheid rule." Presenting the album in a modern context, Tris McCall of the Star-Ledger wrote: "In a sense, Simon was ahead of his time: the curatorial approach he took to assembling full tracks from scraps of songs and pre-existing recordings is closer in execution to that of Kanye West than it is to any of his contemporaries." In 2012, Rolling Stone wrote that it was "hard to even remember the charges of cultural imperialism that greeted Graceland when it was released". Pitchfork wrote that "it was unique in its total, and totally natural, synthesis of musical strains that turned out to be not nearly as different from each other as its listeners might have expected, and the result resonated strongly around the world and across generations".

The album has influenced musicians including Regina Spektor, Bombay Bicycle Club, Gabby Young, Casiokids, the Very Best, Givers, Lorde and Vampire Weekend. Vampire Weekend faced criticism that their 2008 debut album was too similar to Graceland, due to its origins in African music. Simon defended them, saying: "In a way, we were on the same pursuit, but I don't think you're lifting from me, and anyway, you're welcome to it, because everybody's lifting all the time. That's the way music grows and is shaped."

Simon said in 2013:

"There was the almost mystical affection and strange familiarity I felt when I first heard South African music. Later, there was the visceral thrill of collaborating with South African musicians onstage. Add to this potent mix the new friendships I made with my band mates, and the experience becomes one of the most vital in my life."

Personnel
Track numbering refers to CD and digital releases of this album.

 * Paul Simon – lead vocals, backing vocals (1, 2, 4, 6, 9), acoustic guitar (1, 2, 11), Synclavier (3, 4), guitars (3, 5, 7), six-string bass (6)

 * Additional musicians
 * Rob Mounsey – synthesizers (1, 6), horn arrangements (6) [uncredited on album]
 * Forere Motloheloa – accordion (1)
 * Jonhjon Mkhalali – accordion (4)
 * Adrian Belew – guitar synthesizer (1, 6, 9), guitars (7)
 * Ray Phiri – guitars (2, 5, 6, 7, 9)
 * Demola Adepoju – pedal steel guitar (2)
 * Daniel Xilakazi – lead and rhythm guitar (4)
 * Bakithi Kumalo – bass (1, 2, 5, 6, 7)
 * Lloyd Lelosa – bass (9)
 * Vusi Khumalo – drums (1, 2)
 * Petrus Manile – drums (4)
 * Isaac Mtshali – drums (5, 6, 7, 9)
 * Makhaya Mahlangu – percussion (1, 2)
 * Ralph MacDonald – percussion (4, 6, 7)
 * Lulu Masilela – tambourine (4)
 * Youssou N'Dour – percussion (5)
 * Babacar Faye – percussion (5)
 * Assane Thiam – percussion (5)
 * Barney Rachabane – saxophone (4)
 * Mike Makhalemele – saxophone (4)
 * Teaspoon Ndelu – saxophone (4)
 * Alex Foster – alto saxophone (5)
 * Lenny Pickett – tenor saxophone (5)
 * Ronnie Cuber – baritone and bass saxophones (6)
 * Morris Goldberg – penny whistle solo (6), soprano saxophone (9)
 * Dave Bargeron – trombone (6)
 * Kim Allan Cissel – trombone (6)
 * Earl Gardner – trumpet (5)
 * Randy Brecker – trumpet (6)
 * Jon Faddis – trumpet (6)
 * Alan Rubin – trumpet (6)
 * Lew Soloff – trumpet (6)
 * The Everly Brothers – additional vocals (2)
 * The Gaza Sisters – vocals (3)
 * Michelle Cobbs – backing vocals (4)
 * Diane Garisto – backing vocals (4)
 * Ladysmith Black Mambazo – vocals (5, 6, 8)
 * Linda Ronstadt – additional vocals (7)
 * Joseph Shabalala – vocals (8)

 * Good Rockin' Dopsie and the Twisters (track 10)
 * Alton Rubin, Sr. – accordion
 * Sherman Robertson – guitars
 * Alphonso Johnson – bass
 * Alton Rubin, Jr. – drums
 * Johnny Hoyt – saxophone1
 * David Rubin – washboard

 * Los Lobos (track 11)
 * David Hidalgo – accordion, guitars, backing vocals
 * César Rosas– guitars, backing vocals
 * Conrad Lozano – bass
 * Louie Pérez – drums
 * Ralph MacDonald – percussion
 * Steve Berlin – saxophone
 * Steve Gadd (not a member of Los Lobos) – additional drums

 * Technical
 * Paul Simon – producer, arrangements, liner notes
 * Ray Phiri – co-arrangements
 * Roy Halee – engineer
 * Mark Cobrin – assistant engineer (1–7, 9, 11)
 * Peter Thwaites – assistant engineer (1–4, 9)
 * Steven Strassman – assistant engineer (2, 7, 11)
 * Andrew Fraser – assistant engineer (8)
 * Greg Calbi – mastering at Sterling Sound (New York City, New York)
 * Jeffrey Kent Ayeroff – art direction
 * Jeri McManus – art direction
 * Kim Champagne – design
 * Mark Sexton – front cover photography
 * Gary Heery – back cover photography

title: Graceland (album)


text:
Clearfield

Clearfield may refer to:

Places

 * in Australia
 * Clearfield, New South Wales

 * in United States of America
 * Clearfield, Iowa
 * Clearfield, Kansas
 * Clearfield, Kentucky
 * Clearfield, Pennsylvania
 * Clearfield, South Dakota
 * Clearfield, Utah
 * Clearfield (UTA station), Utah Transit Authority commuter rail station
 * Clearfield, Wisconsin
 * Clearfield Colony, South Dakota
 * Clearfield County, Pennsylvania
 * Clearfield Township, Griggs County, North Dakota
 * Clearfield Township, Butler County, Pennsylvania
 * Clearfield Township, Cambria County, Pennsylvania

People

 * Andrea Clearfield (born 1960), American composer

Other uses

 * USS Clearfield
 * Clearfield Farm, historic home in Delaware
 * Clearfield, Inc., American networking hardware company
 * Clearfield Production Systems, a herbicide system marketed by BASF involving imidazolinone herbicides such as imazaquin
 * Clearfield Doctrine, a legal principle derived from the US Supreme Court decision in Clearfield Trust Co. v. United States (1943)

title: Clearfield


text:
Talk:Lys Assia

Untitled
born year 1924, not 1926 -- h.u.roth, st.gallen switzeland  —Preceding unsigned comment added by 62.202.6.183 (talk) 12:08, 28 July 2010 (UTC)

Hürlikon is in what country? RickK 19:56, 2 Aug 2003 (UTC)~

 * Sounds like Switzerland. -- till we *) 20:04, Aug 2, 2003 (UTC)

 * Really? I was thinking Turkey, just from the morphology.  :)  By the way, is "Songography" a word? RickK 20:10, 2 Aug 2003 (UTC)

It is now :-) - fonzy "As a young girl she was a dancer, but stood in for a female singer in 1940. People who heard her singing liked it, so she changed from dancing to singing" - the last part of this sentence seems odd --Philsk8thrill (talk) 16:19, 10 August 2008 (UTC)

Complete rewrite
Im no big expert on Lys Assia but I think a complete rewrite of the article perhaps are in place plus an quite large expansion of the article to cover her long career. If someone is up for it, please do....--BabbaQ (talk) 15:46, 29 September 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 2 one external links on Lys Assia. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Attempted to fix sourcing for http://www.esctoday.com/news/read/17675
 * Added archive http://web.archive.org/web/20121104043432/http://escxtra.com:80/2012/09/lys-assias-2013-entry-previewed/ to http://escxtra.com/2012/09/lys-assias-2013-entry-previewed/

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title: Talk:Lys Assia


text:
Flash point

The flash point of a material is the "lowest liquid temperature at which, under certain standardized conditions, a liquid gives off vapours in a quantity such as to be capable of forming an ignitable vapour/air mixture". (EN 60079-10-1)

The flash point is sometimes confused with the autoignition temperature, the temperature that causes spontaneous ignition. The fire point is the lowest temperature at which the vapors keep burning after the ignition source is removed. It is higher than the flash point, because at the flash point vapor may not be produced fast enough to sustain combustion. Neither flash point nor fire point depends directly on the ignition source temperature, but ignition source temperature is far higher than either the flash or fire point, and can increase the temperature of fuel above the usual ambient temperature to facilitate ignition.

Fuels
The flash point is a descriptive characteristic that is used to distinguish between flammable fuels, such as petrol (also known as gasoline), and combustible fuels, such as diesel.

It is also used to characterize the fire hazards of fuels. Fuels which have a flash point less than 37.8 C are called flammable, whereas fuels having a flash point above that temperature are called combustible.

Mechanism
All liquids have a specific vapor pressure, which is a function of that liquid's temperature and is subject to Boyle's Law. As temperature increases, vapor pressure increases. As vapor pressure increases, the concentration of vapor of a flammable or combustible liquid in the air increases. Hence, temperature determines the concentration of vapor of the flammable liquid in the air. A certain concentration of a flammable or combustible vapor is necessary to sustain combustion in air, the lower flammable limit, and that concentration is specific to each flammable or combustible liquid. The flash point is the lowest temperature at which there will be enough flammable vapor to support combustion when an ignition source is applied.

Measurement
There are two basic types of flash point measurement: open cup and closed cup. In open cup devices, the sample is contained in an open cup which is heated and, at intervals, a flame brought over the surface. The measured flash point will actually vary with the height of the flame above the liquid surface and, at sufficient height, the measured flash point temperature will coincide with the fire point. The best-known example is the Cleveland open cup (COC).

There are two types of closed cup testers: non-equilibrial, such as Pensky-Martens, where the vapours above the liquid are not in temperature equilibrium with the liquid, and equilibrial, such as Small Scale (commonly known as Setaflash), where the vapours are deemed to be in temperature equilibrium with the liquid. In both these types, the cups are sealed with a lid through which the ignition source can be introduced. Closed cup testers normally give lower values for the flash point than open cup (typically 5 - 10 C-change lower) and are a better approximation to the temperature at which the vapour pressure reaches the lower flammable limit. In addition to the Penskey-Martens flash point testers, other non-equilibrial testers include TAG and Abel, both of which are capable of cooling the sample below ambient for low flash point materials. The TAG flash point tester adheres to ASTM D56 and has no stirrer, while the Abel flash point testers adheres to IP 170 and ISO 13736 and has a stirring motor so the sample is stirred during testing.

The flash point is an empirical measurement rather than a fundamental physical parameter. The measured value will vary with equipment and test protocol variations, including temperature ramp rate (in automated testers), time allowed for the sample to equilibrate, sample volume and whether the sample is stirred.

Methods for determining the flash point of a liquid are specified in many standards. For example, testing by the Pensky-Martens closed cup method is detailed in ASTM D93, IP34, ISO 2719, DIN 51758, JIS K2265 and AFNOR M07-019. Determination of flash point by the Small Scale closed cup method is detailed in ASTM D3828 and D3278, EN ISO 3679 and 3680, and IP 523 and 524.

CEN/TR 15138 Guide to Flash Point Testing and ISO TR 29662 Guidance for Flash Point Testing cover the key aspects of flash point testing.

Examples
Gasoline (petrol) is a fuel used in a spark-ignition engine. The fuel is mixed with air within its flammable limits and heated by compression and subject to Boyle's Law above its flash point, then ignited by the spark plug. To ignite, the fuel must have a low flash point, but in order to avoid preignition caused by residual heat in a hot combustion chamber, the fuel must have a high autoignition temperature.

Diesel fuel flash points vary between 52 and 96 C. Diesel is suitable for use in a compression-ignition engine. Air is compressed until it heats above the autoignition temperature of the fuel, which is then injected as a high-pressure spray, keeping the fuel-air mix within flammable limits. A diesel-fueled engine has no ignition source (such as the spark plugs in a gasoline engine), so diesel fuel can have a high flash point, but must have a low autoignition temperature.

Jet fuel flash points also vary with the composition of the fuel. Both Jet A and Jet A-1 have flash points between 38 and 66 C, close to that of off-the-shelf kerosene. Yet both Jet B and JP-4 have flash points between -23 and -1 C.

Standardization
Flash points of substances are measured according to standard test methods described and defined in a 1938 publication by T.L. Ainsley of South Shields entitled "Sea Transport of Petroleum" (Capt. P. Jansen). The test methodology defines the apparatus required to carry out the measurement, key test parameters, the procedure for the operator or automated apparatus to follow, and the precision of the test method. Standard test methods are written and controlled by a number of national and international committees and organizations. The three main bodies are the CEN / ISO Joint Working Group on Flash Point (JWG-FP), ASTM D02.8B Flammability Section and the Energy Institute's TMS SC-B-4 Flammability Panel.

title: Flash point


text:
Symphony No. 10 (Mahler)

The Symphony No. 10 in F-sharp major by Gustav Mahler was written in the summer of 1910, and was his final composition. At the time of Mahler's death, the composition was substantially complete in the form of a continuous draft, but not fully elaborated or orchestrated, and thus not performable. Only the first movement is regarded as reasonably complete and performable as Mahler intended. Perhaps as a reflection of the inner turmoil he was undergoing at the time (Mahler knew that he had a failing heart and that his wife had been unfaithful), the 10th Symphony is arguably his most dissonant work.

Composition
Mahler started work on his tenth symphony in July 1910 in Toblach, and ended his efforts in September. He did not complete the orchestral draft before his May 1911 death at the age of 50 from a streptococcal infection of the blood.

Mahler's drafts and sketches for the Tenth Symphony comprise 72 pages of full score, 50 pages of continuous short score draft (two of which are missing), and a further 44 pages of preliminary drafts, sketches, and inserts. In the form in which Mahler left it, the symphony has five movements:

 * 1) Andante–Adagio: 275 bars drafted in orchestral and short score
 * 2) Scherzo: 522 bars drafted in orchestral and short score
 * 3) Purgatorio. Allegro moderato: 170 bars drafted in short score, the first 30 of which were also drafted in orchestral score
 * 4) [Scherzo. Nicht zu schnell]: about 579 bars drafted in short score
 * 5) Finale. Langsam, schwer: 400 bars drafted in short score

The parts in short score were usually in four staves. The designations of some movements were altered as work progressed: for example, the second movement was initially envisaged as a finale. The fourth movement was also relocated many times. Mahler then started on an orchestral draft of the symphony, which begins to bear some signs of haste after the halfway point of the first movement. He had got as far as orchestrating the first two movements and the opening 30 bars of the third movement when he had to put the work aside to make final revisions to the Ninth Symphony.

The circumstances surrounding the composition of the Tenth were highly unusual. Mahler was at the height of his compositional powers, but his personal life was in complete disarray, most recently compounded by the revelation that his young wife, Alma, had had an affair with the architect Walter Gropius. Mahler sought counseling from Sigmund Freud, and dedicated the Eighth Symphony to Alma on the verge of its successful première in Munich in a desperate attempt to repair the breach. The unsettled frame of Mahler's mind found expression in the despairing comments (many addressed to Alma) on the manuscript of the Tenth, and must have influenced its composition: on the final page of the final movement, Mahler wrote, "für dich leben! für dich sterben!" (To live for you! To die for you!) and the exclamation "Almschi!" (his pet name for Alma) underneath the last soaring phrase.

Instrumentation
While instrumentation of the symphony cannot be defined precisely, owing to the incompleteness of the orchestral draft, the short score has occasional indications of instrumentation, and some of the orchestration may be surmised from the three movements of the orchestral draft. Deryck Cooke's performing version of the symphony (the one most often performed today) calls for the following orchestra:

 * Woodwinds:
 * 4 flutes (4th doubling piccolo)
 * 4 oboes (4th doubling cor anglais)
 * 3 B♭ and A clarinets
 * E♭ clarinet (doubling 4th clarinet)
 * bass clarinet
 * 4 bassoons (3rd and 4th doubling contrabassoons)

 * Brass:
 * 4 horns
 * 4 trumpets
 * 4 trombones
 * tuba

 * Percussion:
 * 6 timpani (two players)
 * bass drum
 * snare drum
 * large muffled military drum
 * cymbals
 * triangle
 * tam-tam
 * glockenspiel
 * xylophone

 * Strings:
 * 2 harps
 * 1st violins
 * 2nd violins
 * violas
 * cellos
 * double basses

Early attempts
After Mahler's death there was no immediate attempt to complete the symphony, or render it in a state where it could be performed, although figures such as Paul Stefan described the high quality of the work as drafted. Arnold Schoenberg famously expressed the opinion that no one could possibly write a Tenth Symphony without being close to the hereafter (see Curse of the ninth); and a mistaken report led Richard Specht to suggest Mahler wanted the manuscript burned after his death. Hence it was only in the 1920s that Alma Mahler-Werfel asked the composer Ernst Krenek to make a fair copy of Mahler's orchestral draft for a festival of performances of Mahler works, and at about the same time some of the manuscripts were published by the company of Paul Zsolnay in facsimile (1924). The facsimile made evident that the stress of Mahler's final year had not adversely affected the composition, and that the draft contained passages of great beauty. Much of the manuscript, however, was too difficult to read and seemingly too chaotic for the unbroken continuity of the music to be clearly apparent.

In 1924 Krenek made a fair copy of only the first (Adagio) and third (Purgatorio) movements, and might have made a fair copy of the second movement, but as Mahler's draft of the Scherzo was very much patchier this was evidently less feasible. Alban Berg was enlisted to proofread the work, but his suggested corrections were never incorporated, while at the same time some unauthorised changes were introduced, possibly by one of the conductors of the first two performances, Franz Schalk and Alexander von Zemlinsky. Krenek is supposed to have renounced the changes to his version, which was subsequently published. Performances of the Krenek-Schalk/Zemlinsky version have been moderately successful, but the third movement is not generally convincing when taken out of context between the second and fourth movements: it is possible that some of the conductors who have refused to perform the Tenth, most famously Bruno Walter, Bernard Haitink and Leonard Bernstein, took exception to such a piecemeal representation.

In 1923, Alma had also sent a copy of the score to Willem Mengelberg in Amsterdam with the addition that two parts (the Adagio and Purgatorio) were 'absolutely performable'. Briefly after Schalk performed Krenek's score (with his own additions) on October 12, 1924, Alma sent what is believed to be Schalk's score to Mengelberg, who subsequently prepared his own edition with the aid of his assistant Cornelis Dopper. This version uses a larger orchestra and makes significant changes in dynamic markings and tempi. It was premiered on November 27, 1924, in the Amsterdam Concertgebouw, and subsequently played a number of times under Mengelberg's baton. This version has since received its first performance in nearly 100 years in December 2019 with the Hong Kong Philharmonic Orchestra conducted by Jaap van Zweden, who later recorded it.

It was soon realised that a performing version of only two movements did not give listeners a clear idea of the entire symphony, let alone constitute a complete artistic statement, so in the 1940s the American Mahler enthusiast Jack Diether tried to encourage several notable composers to realise the work. Figures such as Shostakovich, Schoenberg, and Britten (all of whom had been considerably influenced by the works of Mahler) refused, and instead the task was taken up by musicologists: early attempts at realising the entire work were made in America by Clinton Carpenter (completed 1949, subsequently revised 1966), in Germany by Hans Wollschläger (1954–1960, withdrawn), and in England by Joe Wheeler (1953–1965) and Deryck Cooke (1959–1960, 1966–1972 and 1976).

Deryck Cooke's versions
The various realisations produced by Cooke have, since the mid-1960s, become the basis for most performances and recordings.

A first, still incomplete performing version by Cooke stemmed from a performance and an associated lecture for radio broadcast on the BBC Third Programme, marking the centenary of Mahler's birth. This was aired on 19 December 1960, with the Philharmonia Orchestra conducted by Berthold Goldschmidt, who also assisted with the orchestration of Cooke's edition. At its first performance Cooke's realisation of the final movement proved to be a revelation to listeners, and Cooke resolved to complete the orchestration and elaboration of the Scherzo movements, which required much more compositional work than he had time for.

Alma Mahler, who had at one point taken the views of Bruno Walter to heart and demanded a veto on further performances of the Cooke performing version, actually changed her mind upon seeing Cooke's revised score and hearing the recording. She wrote Cooke a letter in English, postmarked New York, 8 May 1963, which Cooke includes in the preface pages to the score: Dear Mr. Cooke,

Mr. Harold Byrns visited me here in New York. Today he read me your excellent articles on Mahler's Tenth Symphony and [showed me] your equally authoritative score. Afterwards I expressed my desire to finally listen to the London BBC tape. I was so moved by this performance that I immediately asked Mr. Byrns to play the work a second time. I then realised that the time had come when I must reconsider my previous decision not to permit the performance of this work. I have now decided once and for all to give you full permission to go ahead with performances in any part of the world. I enclose [a] copy of my letter of even date to [the] BBC. Sincerely yours, Alma Maria Mahler

Cooke's revised and completed version, conducted by Goldschmidt, was premièred at the Proms on 13 August 1964 and recorded soon after. After Alma's death in December 1964, her daughter Anna allowed Cooke access to the full set of manuscript sketches, many of which had not been published four decades earlier. In the light of these, Cooke made a revised performing version in association with the British composers Colin and David Matthews between 1966 and 1972, and thereafter his final version before his death in 1976. The release of these pages also prompted the International Gustav Mahler Society in Vienna to issue another, more complete collection of Mahler's manuscripts in facsimile (Ricke, 1967). This revised edition of Cooke's first complete score was published in 1976, shortly before Cooke's death. A further revision, with mostly minor changes made by the three surviving collaborators, appeared in print in 1989.

Summary of the Cooke versions
Cooke's performing editions of the Tenth Symphony may be summarised as follows:
 * Cooke O – (1960, unpublished)
 * BBC performance; realizations of 1st, 3rd and 5th movements; partial realizations of 2nd and 4th movements; presented as part of a lecture-demonstration

 * Cooke I – first complete performing version (1960–1964, unpublished)
 * premiered 13 August 1964 by Berthold Goldschmidt; basis for recordings by Eugene Ormandy (1965–66) and Jean Martinon (1966)

 * Cooke II – second performing version (1966–1972, printed 1976)
 * premiered 15 October 1972 by Wyn Morris; basis for all recordings 1972–1992

 * Cooke III – slightly revised form of Cooke II (printed 1989)
 * reading errors corrected; minor changes to orchestration; enhanced by considerations concerning performance; editorial input from David and Colin Matthews and Berthold Goldschmidt; pages altered are marked with asterisks

Other complete versions
Clinton Carpenter (1921–2005) started working on his edition long before Cooke, and called his score a "completion" rather than a "performing version". Although he finished his version in 1949 (revising the work in 1966), it had to wait until 1983 for a performance. Carpenter did not merely review Mahler's symphonic output to guide him in his effort, but went so far as to include actual quotations from every Mahler symphony in his edition. The view has been expressed that much of this process of recomposition gives the impression that Carpenter has effectively written his own symphony using Mahler's as a basis.

The completion by Joseph Wheeler dates from 1953 to 1965, and like Cooke he also refined his ideas several times, so the final version of 1965 was actually the fourth iteration; the American composer Remo Mazzetti Jr. considers Wheeler's fourth version to be the closest to Mahler's late orchestral style. Wheeler's interventions are at the opposite end of the spectrum to Carpenter's, and he is less interventionist even than Cooke: he only makes additions to the score where performance is otherwise impossible. The effect is sparer than other completions, although Wheeler does increase the brass part to a greater degree than Cooke.

In recent years several further realisations of the symphony have been attempted: Remo Mazzetti initially made his 1989 version from dissatisfaction with the existing Cooke, Carpenter, and Wheeler editions, though the spur of preparing a performance of Wheeler's version in 1997 led him to recant his earlier view. Of his own revised version he remarked, "I really believe I got things right this time". Two more completions have been produced since, by the conductor Rudolf Barshai (2000), and a joint effort by Nicola Samale and Giuseppe Mazzuca (2001). All have been performed and recorded. The version by Samale and Mazzuca was commercially released in 2008 on Octavia Records, through Exton from Japan, with Martin Sieghart conducting the Arnhem Philharmonic Orchestra.

Another new version, by the Israeli-American conductor Yoel Gamzou, was premiered in Berlin in September 2010. Its author conducted the International Mahler Orchestra.

Chamber version
A chamber orchestra 'recreation' by the Maltese composer Michelle Castelletti premiered in November 2012 in Canterbury, UK, by the Canterbury Chamber Orchestra under Castelletti's direction. This version was recorded in October 2017 by Lapland Chamber Orchestra under the direction of John Storgårds and released by BIS Records on Super Audio CD (SACD) in March 2019. This chamber version was also recorded by Ensemble Mini under the direction of Joolz Gale in june 2016. This recording was released on SACD on the label Ars Produktion in 2021.

In 2011–12 the Portuguese composer/conductor/clarinetist Luis Carvalho produced another chamber version, this one for an ensemble of 21 players, which he revised in 2013–14. Described as a "reinvention of the draft", this version was premiered under Carvalho's direction in June 2014 at the 37th International Music Festival of Paços de Brandão.

Piano transcription
A piano transcription of the first movement (in the pre-Cooke 1950s UMP edition) was made by the British composer Ronald Stevenson; to this the English pianist Christopher White added solo transcriptions of the other movements in 2010. This composite version (whose last four movements do not follow Cooke's edition at all points) has been recorded with White as soloist.

Recomposition of the first movement
A project to recompose and recontextualise the first movement using samples and electronic effects was completed by Matthew Herbert and released by Deutsche Grammophon in 2010.

Musical form
For his Tenth, Mahler devised a symmetrical structure with two large slow movements enclosing a core of faster inner movements, at the very centre of which is the Purgatorio movement.

The opening of the symphony, which is in the key of F♯ major, maintains a connection with the final movement of the Ninth. A long, bleak Andante melody for violas alone leads to the exposition of the slow first theme in the strings. This theme is developed and another, lighter theme is introduced. The music dies away and the violas repeat the opening theme. With slight variation, the opening adagio is repeated and developed with growing intensity. This also soon dies away, leaving several variations on the lighter second theme, followed by the climax, an extremely intense variation of the first theme. This restatement culminates in an extraordinary dissonance, after which the piece becomes very quiet.

The second movement, the first of two Scherzo movements, consists of two main ideas, the first of which is notated in consistently changing metres, which would have proved a challenge to Mahler's conducting technique had he lived to perform the symphony. This alternates with a joyful and typically Mahlerian Ländler. It is almost certainly this movement Paul Stefan had in mind when he described the symphony as containing "gaiety, even exuberance" (Cooke's translation).

The Purgatorio movement (originally entitled Purgatorio oder Inferno but the word "Inferno" was struck out) is a brief vignette presenting a struggle between alternately bleak and carefree melodies with a perpetuum mobile accompaniment, that are soon subverted by a diabolical undercurrent of more cynical music. The short movement fails to end in limbo though, as after a brief recapitulation a sudden harp arpeggio and gong stroke pull the rug out from under it; it is consigned to perdition by a final grim utterance from the double basses. According to Colin Matthews the title of this movement is almost certainly a reference to a poem about betrayal by his friend Siegfried Lipiner, rather than to Dante.

The scene is now set for the second scherzo, which has a somewhat driven and harried character, and which has significant connections to Mahler's recent work: the sorrowful first movement of Das Lied von der Erde, Das Trinklied vom Jammer der Erde. There is an annotation on the cover of the draft to the effect that in this movement "The Devil dances with me", and at the very end Mahler wrote "Ah! God! Farewell my lyre!". Cooke's version finishes with a percussion coda employing both timpanists, bass drum, and a large military drum which is to be muffled, that leads directly into the final slow movement. This scherzo differs from the first scherzo in tone, portraying a graver and more sinister mood.

The fifth and final movement begins with a military drum. This may be a reference to a funeral procession that Mahler once observed: on February 16, 1908, while staying with Alma in the Hotel Majestic on Central Park West in New York City, the funeral cortège of Deputy Fire Chief Charles W. Kruger (whose death in the line of duty inspired the creation of the Manhattan Firemen's Memorial) stopped below their hotel window. From his room on the 11th floor, the only sound that could be heard was the muffled stroke of a large bass drum preceding a moment of silence. The introduction to the fifth movement re-enacts this scene as a rising line on tubas supported by two double bassoons slowly tries to make headway and is repeatedly negated by the loud (but muffled) drum strokes. However, some musicologists believe that this narrative has been made up by Alma Mahler, and that the use of the drums in fact stems from the shock Mahler suffered when he found out about his wife's affair.

The emotional weight of the symphony is resolved by the long final movement, which incorporates and ties together music from the earlier movements, whereby the opening passage of the symphony, now transferred to the horns, is found to be the answer that tames the savage dissonance that had disturbed the end of the first movement. The music of the flute solo that was heard after the introductory funeral scene can now return to close the symphony peacefully, and unexpectedly, in the principal key of F♯ major. The draft for this movement reveals that Mahler had originally written the ending in B♭ major, but in the process of revision worked the same music into F♯, the key of the first movement.

Recordings of Mahler's Tenth
The original, incomplete Cooke version was first recorded by the BBC as noted above; the first complete version (denoted Cooke I) was also premièred by Goldschmidt, this time with the London Symphony Orchestra in 1964; the first commercial recording appeared in 1966 (recorded in 1965), conducted by Eugene Ormandy with the Philadelphia Orchestra. Several notable recordings of the revised Cooke (version II) have been made: the first, made by Wyn Morris in 1972 has recently been reissued. Simon Rattle's 1980 recording with the Bournemouth Symphony Orchestra gave the former percussionist an opportunity to make some pointed revisions, most noticeably giving prominence to the military drum in the fifth movement, which is played as loudly as possible without being muffled or dampened.

Other notable recordings include those of: Kurt Sanderling – Berliner Sinfonie-Orchester – 1979; Cooke II – employing revisions/alterations by Sanderling himself and Berthold Goldschmidt; Riccardo Chailly – Berlin Radio Symphony Orchestra – 1986; Cooke II; Eliahu Inbal – Frankfurt Radio Symphony Orchestra – 1993; Cooke II, and Rattle again – this time with the Berlin Philharmonic – 1999; Cooke III, again with alterations by Rattle. Cooke's second version was also recorded by James Levine and the Philadelphia Orchestra. The Adagio movement from this recording was originally recorded and released in 1978, as the fourth side of a 2-LP set containing a complete performance of the 5th symphony, recorded the previous year. The remaining movements of Cooke II were recorded in 1980. The same performance of the 1978 Adagio was incorporated with the 1980 recording of the remainder in a different 2-LP set, with no apparent differences in sound quality.

Some conductors, notably Hermann Scherchen, Leonard Bernstein, Bernard Haitink, Pierre Boulez, Michael Tilson Thomas, Rafael Kubelík, Václav Neumann, Claudio Abbado, Klaus Tennstedt, Lorin Maazel and Gennady Rozhdestvensky have chosen to perform and record just the Adagio, since they interpret it as the only movement completed by Mahler himself. Other noted Mahlerians, such as Georg Solti, omit the Tenth from their repertoire altogether.

In 2011, to mark the centenary of Mahler's death, Testament Records released a 3-CD set featuring Cooke's BBC lecture, the 1960 studio performance of the incomplete version as well as the 1964 world premiere conducted by Goldschmidt. The release received a Gramophone Award in the 'Historical' category.

title: Symphony No. 10 (Mahler)


text:
Nitrogen oxide

Nitrogen oxide may refer to a binary compound of oxygen and nitrogen, or a mixture of such compounds:

Charge-neutral

 * Nitric oxide (NO), nitrogen(II) oxide, or nitrogen monoxide
 * Nitrogen dioxide (NO2), nitrogen(IV) oxide
 * Nitrogen trioxide (NO3), or nitrate radical
 * Nitrous oxide (N2O), nitrogen(0,II) oxide
 * Dinitrogen dioxide (N2O2), nitrogen(II) oxide dimer
 * Dinitrogen trioxide (N2O3), nitrogen(II,IV) oxide
 * Dinitrogen tetroxide (N2O4), nitrogen(IV) oxide dimer
 * Dinitrogen pentoxide (N2O5), nitrogen(V) oxide, or nitronium nitrate [NO2]+[NO3]−
 * Nitrosyl azide (N4O), nitrogen(−I,0,I,II) oxide
 * Nitryl azide (N4O2)
 * Oxatetrazole (N4O)
 * Trinitramide (N(NO2)3 or N4O6), nitrogen(0,IV) oxide

Cations

 * Nitrosonium (N\tO+ or [NO]+)
 * Nitronium (O\dN+\dO or [NO2]+)

Atmospheric sciences
In atmospheric chemistry:
 * NO_{x} (or NOx) refers to the sum of NO and NO2.
 * NO_{y} (or NOy) refers to the sum of NO_{x} and all oxidized atmospheric odd-nitrogen species (e.g. the sum of NO_{x}, HNO3, HNO2, etc.)
 * NO_{z} (or NOz) = NO_{y} − NO_{x}

 * Mixed Oxides of Nitrogen ("MON"): solutions of nitric oxide in dinitrogen tetroxide/nitrogen dioxide.

Stability
Due to relatively weak N–O bonding, all nitrogen oxides are unstable with respect to N2 and O2, which is the principle behind the catalytic converter, and prevents the oxygen and nitrogen in the atmosphere from combusting.

title: Nitrogen oxide


text:
User:Reina riemann

Hello world!

 * Hello, Reina! —World

I have posted a picture of Dr. Mihai Patrascu, a former colleague.

https://en.wikipedia.org/wiki/Mihai_P%C4%83tra%C8%99cu#/media/File:Mihai_patrascu2.jpg

now in the public domain

image: Mihai_patrascu2.jpg | Mihai_Pătrașcu

title: User:Reina riemann


text:
Rodrigues Ottolengui

Rodrigues Ottolengui (March 15, 1861 – July 11, 1937) was an American writer and dentist of Sephardic descent. Born in Charleston, South Carolina, he moved to New York City, where he would spend most of his adult life, in 1877.

Biography
One of three children, Ottolengui was a son of Daniel Ottolengui and Helen Rosalie Rodrigues Ottolengui; he had a sister, Helen, and a brother, Lee. He was cousins with Octavus Roy Cohen, who also wrote crime fiction.

He was the editor of Items of Interest: A Monthly Magazine of Dental Art, Science, and Literature for thirty-five years, which he continued to edit after retiring from dentistry; he compiled Table Talks on Dentistry, drawing from articles in Items of Interest. A dental pioneer, Ottolengui was one of the first to use X-rays and was a specialist in orthodontics and root canal therapy. He was also interested in entomology, taxidermy, and photography.

In addition to his work in dentistry, Ottolengui is remembered as an early exponent of detective fiction, with four novels and a short story collection published during the 1890s. The short story volume, Final Proof, was recognized by Ellery Queen as one of Queen's Quorum—the most important collections of detective short stories. Many years later a second series, Before the Fact, originally published in 1901, was discovered and published in book form edited and introduced by detective fiction scholar Douglas G. Greene.

His wife, May C. Hall Ottolengui, died on 10 July 1936; he died at his New York residence the next year of a heart ailment and a stroke caused by a long illness. His sister died on 22 July 1938.

Novels and short story collections

 * An Artist in Crime (1892)
 * A Conflict of Evidence (1893)
 * A Modern Wizard (1894)
 * The Crime of the Century (1896)
 * Final Proof; or, the Value of Evidence (short story collection; 1898)
 * The Ottolengui Portfolio (2005; an omnibus of the 4 novels and the short stories)
 * Before the Fact (2012; first book publication of a 1901 series of stories)

Stories

 * "The Azteck Opal"
 * "The Montezuma Emerald"
 * "The Nameless Man"
 * "A Novel Forgery"
 * "A Singular Abduction"

Non-fiction

 * Methods of Filling Teeth
 * Table Talks on Dentistry

title: Rodrigues Ottolengui