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Arthur Fiedler

Arthur Fiedler (December 17, 1894 – July 10, 1979) was an American conductor known for his association with both the Boston Symphony and Boston Pops orchestras. With a combination of musicianship and showmanship, he made the Boston Pops one of the best-known orchestras in the United States. Fiedler was sometimes criticized for over-popularizing music, particularly when adapting popular songs or editing portions of the classical repertoire, but he kept performances informal and sometimes self-mocking to attract a bigger audience.

Life and career
Fiedler was born in Boston, Massachusetts, the son of Johanna (née Bernfeld) and Emanuel Fiedler (1859–1944). His parents were Austrian Jewish immigrants. His father was a violinist who played in the Boston Symphony Orchestra, and his mother was a pianist. He grew up in Boston, and attended Boston Latin School until his father retired in the early 1900s, and they moved to Vienna, Austria, in 1910. The family soon moved again, to Berlin, where from 1911 to 1915 young Fiedler studied violin at the Royal Academy of Music (Hochschule für Musik Berlin) under Willy Hess. Fiedler returned to Boston early in World War I. In 1915 he joined the Boston Symphony Orchestra under Karl Muck as a violinist. He also worked as a pianist, organist, and percussionist.

In 1924, Fiedler formed the Boston Sinfonietta, a chamber music orchestra composed of Boston Symphony members, and started a series of free outdoor concerts. Fiedler was appointed the eighteenth conductor of the Boston Pops Orchestra in 1930. While the position of conductor of the Boston Pops both prior to and after Fiedler tended to be a phase of a conductor's career, Fiedler made it his life's work, having the position for a half-century.

With Fiedler's direction, the Boston Pops reportedly made more recordings than any other orchestra in the world, most of them for RCA Victor, with total sales exceeding $50 million. His recordings began in July 1935 at Boston's Symphony Hall with RCA Victor, including a world premiere recording of Jacob Gade's "Jalousie", which eventually sold more than a million copies, and the first complete recording of Rhapsody in Blue by George Gershwin (with Jesús María Sanromá as soloist; around that time they also made the first recording of Edward MacDowell's Second Concerto). In 1946, he conducted the Boston Pops in one of the first American recordings devoted to excerpts from a film score, Dmitri Tiomkin's music for the David O. Selznick Technicolor epic Duel in the Sun. RCA Victor released an album of ten-inch 78-rpm discs complete with photographs from the film.

Fiedler's June 20, 1947, MM-1147 recording of Gaîté Parisienne by Jacques Offenbach was eventually released by RCA as their second long-playing classical album (RCA Victor LM-1001), in March of 1950. He recorded the same music on June 2nd of 1954 in stereo and began making regular stereo recordings in 1956. A number of Fiedler's recordings were released as 45-rpm "extended play" discs, beginning in 1949, such as Tchaikovsky's Marche Slave and Ketèlbey's In a Persian Market (RCA Victor ERA-2). Besides recording light classics, Fiedler also recorded music from Broadway shows and Hollywood film scores, as well as arrangements of popular music, especially the Beatles. He and the Boston Pops occasionally recorded classical works that were favorites, but not considered as "light" as most of the pieces that he conducted. He made but a single recording with the Boston Symphony Orchestra: Dvorak's New World Symphony. There were also recordings of chamber music by his Sinfonietta. Fiedler and the Boston Pops recorded exclusively for RCA Victor until 1970 (though the label has continued to issue many new Fiedler/Boston Pops compilations and unreleased recordings). When the Boston Symphony Hall contract with RCA ended, the Hall, which included the BSO and the BPO, signed with Deutsche Grammophon for classical releases with co-owned Polydor Records for his arrangements of pop music compositions and then London Records. His last album, devoted to disco, was titled Saturday Night Fiedler.

Fiedler was also associated with the San Francisco Pops Orchestra for 26 summers (beginning during 1949), and conducted many other orchestras throughout the world. He was a featured conductor on several of NBC's The Standard Hour programs in 1950 and 1951, conducting the San Francisco Symphony in the War Memorial Opera House; the performances were preserved on transcription discs and later released on audio cassette.

In very rare visiting performances, Fiedler accepted the invitation to conduct Don Caneva's John Hersey High School Bands after reviewing their latest recordings. Caneva said, “I was tremendously pleased and delighted when he said he would accept our invitation, after hearing a recent recording of the band." Fiedler ended up conducting twice for Caneva's bands in 1971 and 1972. In the final 1972 performance the band opened the Symphonic Winds portion of the concert with the "Festive Overture" by Dmitri Schostakovich, followed with the "American Salute" by Morton Gould. For the conclusion of this portion, Fiedler chose "The Finale From The New World Symphony" by Anton Dvorak. He also conducted Leroy Anderson's "Serenata" with the high school band.

Fiedler had many different hobbies. He was fascinated by the work of firefighters and would travel in his own vehicle to large fires in and around Boston at any time of the day or night to watch the firefighters at work. He was even made an "Honorary Captain" in the Boston Fire Department. A number of other fire departments gave him honorary fire helmets and/or badges. The official biography of Fiedler reports that the conductor once helped in the rescue efforts at the tragic Cocoanut Grove fire in Boston in 1942. An avid sailor, he volunteered during the early days of World War II for the Temporary Reserve of the U.S. Coast Guard and was later a member of the Coast Guard Auxiliary.

Fiedler conducted at the nationally televised opening ceremonies of Walt Disney World in 1971. He also appeared on numerous telecasts on Evening at Pops, carried on PBS stations nationwide.

In 1972, Fiedler was awarded an Honorary Doctorate of Music from Berklee College of Music.

Fiedler is best remembered by contemporary audiences for his conducting of the Boston Pops at the outdoor Hatch Memorial Shell on the July 4, 1976, celebration of the U.S. Bicentennial. The rendition of the 1812 Overture led by a jacketless and demonstrative Fiedler, capped by a huge fireworks finale over the Charles River was the climax of all day long network television coverage. The video of the aged but obviously delighted Fiedler puffing out his cheeks to the beat of the music and mugging for his musicians was one of the most talked about images of the country's celebration.

In honor of Fiedler's influence on American music, on October 23, 1976, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit. Beginning in 1964, this award "established to bring a declaration of appreciation to an individual each year that has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

On January 10, 1977, Fiedler was presented with the Presidential Medal of Freedom by President Gerald Ford.

Personal life
In 1942, Fiedler married Ellen Bottomley, and they had three children: Johanna, Peter and Deborah Stiles.

In 1994, Doubleday published a book written by his daughter, Johanna, titled Arthur Fiedler: Papa, the Pops and Me.

Death
In December 1978, Fiedler underwent brain surgery at Tufts Medical Center after suffering congestive heart failure. He recovered two weeks after celebrating his 84th birthday. His final Boston Pops season was in 1979. The season began on May 1 with a concert to mark Fiedler's 50th year as the orchestra's conductor. The works he conducted at that concert include Jacques Offenbach's Overture to La belle Hélène, Gershwin's An American in Paris and Rhapsody in Blue, and Sousa's "The Stars and Stripes Forever". Morton Gould composed a work for the occasion: a march titled "Cheers!". Earl Wild played the piano solo for Rhapsody in Blue. The concert was broadcast on WGBH for its Evening at Pops program. Fiedler made a valedictory appearance on May 5, with James Galway as a flute soloist. He died two months later on July 10 at his Brookline, Massachusetts, home, aged 84. On July 15, the Boston Symphony Orchestra performed a recreation of the July 4, 1976, concert at the Hatch Memorial Shell. It was conducted by the Boston Pops' assistant conductor, Harry Ellis Dickson. Fiedler's funeral service was held at the Memorial Church of Harvard University and his ashes were interred at St. Joseph Cemetery in West Roxbury.

In 1984, Boston honored him with a stylized sculpture, an oversized bust of Fiedler, near the Charles River Esplanade. This area is home to the free concert series that continues through the present day. Composer John Williams succeeded Fiedler as the orchestra's nineteenth conductor. His widow, Ellen Bottomley Fiedler, died October 25, 1984, in Framingham, Massachusetts, at the age of 70.

Fiedler's collection of programs, photographs and personal notes are now housed within the Howard Gotlieb Archival Research Center of Boston University. The university has a reading room named after him; it contains his personal collection of scores and books.

title: Arthur Fiedler


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Paper prototyping

In human–computer interaction, paper prototyping is a widely used method in the user-centered design process, a process that helps developers to create software that meets the user's expectations and needs – in this case, especially for designing and testing user interfaces. It is throwaway prototyping and involves creating rough, even hand-sketched, drawings of an interface to use as prototypes, or models, of a design. While paper prototyping seems simple, this method of usability testing can provide useful feedback to aid the design of easier-to-use products. This is supported by many usability professionals.

History
Paper prototyping started in the mid-1980s and then became popular in the mid-1990s, when companies such as IBM, Honeywell, Microsoft, and others, started using the technique in developing their products. Today, paper prototyping is used widely in user-centered design by usability professionals. More recently, digital paper prototyping has been advocated by companies like Pidoco due to advantages in terms of collaboration, flexibility, and cost.

Benefits
Paper prototyping saves time and money, since it enables developers to test product interfaces (from software and websites to cell phones and microwave ovens) before they write code or begin development. This also allows for easy and inexpensive modification to existing designs, which makes this method useful in the early phases of design. Using paper prototyping allows the entire creative team to be involved in the process, which eliminates the chance of someone with key information not being involved in the design process. Another benefit of paper prototyping is that users feel more comfortable being critical of the mock-up because it doesn't have a polished look.

There are different methods of paper prototyping, each of them showing several benefits regarding the communication within the development team, as well as the quality of the product being developed. In the development team, paper prototypes can serve as a visual specification of the graphical user interface – and by this means, assure the quality of the software. Prototyping forces a more complete design of the user interface to be captured. In team meetings, it provides a communication base between the team members. Testing prototypes at an early stage of development helps to identify software usability problems even before any code is written. The costs and annoyances of later changes are reduced, the support burden is lowered, and the overall quality of the software or website is increased.

Paper prototyping is a quick way to generate digital ideas by sketching on paper. In tight VPC workshop, quick ideas need to be explored and evaluated. Paper prototyping is usually the preferred tool to generate ideas visually and to evaluate them within the team and with target customers.

Drawbacks
Despite many benefits as a quick and easy way to receive feedback on initial design ideas, this method also has certain drawbacks. One of the most important factors in prototyping is the context in which the prototype is being created. Depending on the current stage of development, a paper prototype may not be the best choice for conveying the proposed design ideas. Paper prototypes should only be used in the beginning stages of the design process – typically as the first form of prototype created – since minimal functionality can actually be expressed on paper. They help flesh out ideas, encourage experimentation with unconventional designs, and provide rapid feedback on basic usability – but ultimately, paper prototypes would not serve as sufficient products to present to clients.

Another large drawback of paper prototypes is the level of imagination required from test participants in interpreting how to interact with the design. Since all interactions are being staged by a facilitator during paper prototype testing sessions, there is a potential for the feedback to be skewed as a result. Users have to imagine what their interactions would look like in a digital space; however, their mental models may not represent how the future state of the interface will actually be implemented. Further, users are often distracted by the whimsical performance of the facilitator as they move components around, as well as by their own acting to fake interactions, which would also impact the quality of feedback.

Lastly, paper prototypes can only be tested in person, since test participants are instructed to physically interact with the prototype by pretending to "press" on buttons or moving components around to simulate how the website would change after an action has been taken. However, with an increasingly digitized world and a movement toward remote work, this poses an obstacle for conducting paper prototype testing. In addition, it is difficult to recruit participants from geographically dispersed areas with the constraint of in-person testing. Consequently, this might create bias in the feedback, since it would be ideal to receive insight into the needs of different, geographically diverse user groups.

Usage
Paper prototypes should be considered when the following is true:
 * The tools the designer wants to use in creating a prototype are not available.
 * The designer wants to make a sincere effort to allow all members of a team, including those with limited software skills, to take part in the design process.
 * Tests of a design lead to a great deal of drawings.
 * The ideas need to be generated quickly and evaluated in a short period of time.
 * There is a co-creation workshop needing customers and designers to generate ideas together.

The most important areas of application of paper prototypes are the following:

 * Communication within a team
 * One of the major applications of paper prototyping is brainstorming in the development team, to collect and visualize ideas on how an interface might look. The interface is built up step by step, meeting the expectations of all team members. To explore the applicability of the software design, typical use cases are played through and possible pitfalls are identified. The prototype can then be used as a visual specification of the software.

 * Usability testing
 * Paper prototypes can be used for usability testing with real users. In such a test, the user performs realistic tasks by interacting with the paper prototype. The prototype is manipulated by another person reflecting the software's reactions to the user input actions. Though seemingly unsophisticated, this method is very successful at discovering usability issues early in the design process.

 * Three techniques of paper prototyping used for usability testing are compositions (comps), wireframes, and storyboards. Comps are visual representations, commonly of websites, that demonstrate various aspects of the interface, including fonts, colors, and logos. A wireframe is used to demonstrate the page layout of the interface. Lastly, storyboards are a series or images that are used to demonstrate how an interface works. These three techniques are useful and can be turned into paper prototypes.

 * Design testing
 * Especially in web design, paper prototypes can be used to examine the illegibility of a design. A high-fidelity design mock-up of a page is printed and presented to a user. Among other relevant issues, the user is asked to identify the main navigation, clickable elements, etc. Paper prototyping is also the recommended design testing technique in the contextual design process.

 * Information architecture
 * By applying general and wide paper prototypes, the information architecture of a piece of software or a web site can be tested. Users are asked where they would search for certain functionality or settings in software, or topics in a web site. According to the percentage of correct answers, the information architecture can be approved or further refined.

 * Rapid prototyping
 * Paper prototyping is often used as the first step of rapid prototyping. Rapid prototyping involves a group of designers who each create a paper prototype and test it on a single user. After this is done, the designers share their feedback and ideas, at which point each of them creates a second prototype – this time using presentation software. Functionality is similarly unimportant, but in this case, the aesthetics are closer to the final product. Again, each designer's computer prototype is tested on a single user, and the designers meet to share feedback. At this point, actual software prototypes can be created. Usually after these steps have been taken, the actual software is user-friendly the first time around, which saves programming time.

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

title: Paper prototyping


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Crawford Kilian

Crawford Kilian (born February 7, 1941) is a Canadian novelist and a college professor. He is also the former public education columnist for the Vancouver Province newspaper. Kilian holds an undergraduate degree from Columbia University and master's degree from Simon Fraser University.

Biography
Born in New York City, Crawford Kilian grew up in Los Angeles and Mexico City. He graduated from Santa Monica High School in 1958 and moved back to New York to attend college. Kilian completed his undergraduate career at Columbia University in 1962.

After graduation, Kilian was drafted into the United States Army where he completed a two-year tour of duty. After his tour of duty, he became a technical writer for the Lawrence Radiation Laboratory in Berkeley, California.

Shortly after he moved to Vancouver, Canada, where he began his education career. Kilian taught in two British Columbia community colleges between 1967 and 2008, of which five months were spent in China from 1983 to 1984. Kilian's first teaching position was at the Vancouver post-secondary institution, Vancouver Community College. Shortly after in 1968, he moved to Capilano College for its inaugural year. After 40 years at Capilano, he retired in the spring of 2008.

Kilian has published hundreds of articles on a wide range of topics including education, science, environment, politics, web writing, and books. After retirement he became a part-time writer-editor for The Tyee, an online newspaper based in Vancouver.

He currently lives in North Vancouver, British Columbia.

title: Crawford Kilian


text:
Hino da Independência

The Hino da Independência (Portuguese for Independence Anthem) is a Brazilian official patriotic song commemorating the country's declaration of independence from Portugal. The anthem was composed in 1822 by Emperor Pedro I, the lead figure in the country's struggle for independence, and the lyrics were written by poet Evaristo da Veiga.

It is sung on September 7 each year in Brazil.

Lyrics
Usually verses 3, 4, 5, 6, 8 and 10 (in italics) are nowadays omitted when the anthem of the Independence is sung.

title: Hino da Independência


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Poole Harbour

Poole Harbour is a large natural harbour in Dorset, southern England, with the town of Poole on its shores. The harbour is a drowned valley (ria) formed at the end of the last ice age and is the estuary of several rivers, the largest being the Frome. The harbour has a long history of human settlement stretching to pre-Roman times. The harbour is extremely shallow (average depth 48 cm), with one main dredged channel through the harbour, from the mouth to Holes Bay.

Poole Harbour has an area of approximately 36 sqkm. It is one of several which lay claim to the title of "second largest natural harbour in the world" (after Port Jackson, Sydney).

History
In 1964 during harbour dredging, the waterlogged remains of a 2,000-year-old Iron Age logboat were found off Brownsea Island. Dated at about 295 BC, the 10 m Poole Logboat is one of the largest vessels of its type from British waters. Its low freeboard would have limited its use to within Poole Harbour.

Poole was used by the Romans as an invasion port for the conquest of southern England, who established the settlement at Hamworthy, now the western half of Poole. A Roman Road ran north from Hamworthy to Badbury Rings, a Roman transport hub. At the time of the Norman Conquest, Poole was a small fishing village.

The port grew, and in 1433 Poole was made Dorset's Port of the Staple for the export of wool. Medieval Poole had trading links from the Baltics to Italy. In the 17th century, the town began trading with North America, in particular Newfoundland, and the town became very wealthy. In the 18th century, Poole was the principal British port trading with North America. At the start of the 19th century, 90% of Poole's population's employment was directly dependent on the harbour, but this dropped to 20% during the century as the railways reached the town, and deep-hulled boats moved up the coast to Southampton, which had a deeper harbour and is closer to London. With regular dredging of a channel through the harbour, it has regained some importance.

During WW2, Poole Harbour hosted seaplane bases.

Dorset Yacht Co Ltd v Home Office was decided in 1970.

The longest ship to enter the harbour is DFDS/LD Lines 186.5 metre Norman Voyager on 15 October 2013, with the second longest being the 167-metre Armorique of Brittany Ferries, which arrived in the port for the first time on 2 February 2010. The previous holder of that title was the 151-metre Bretagne, which arrived in the port for the first time on 27 February 2007.

On 26 March 2023, an oil spill occurred in the harbour, originating from the oil field at Wytch Farm, run by Perenco. The Poole Harbour Commissioners reported that around 200 barrels of "reservoir fluid" had leaked into Poole Harbour from one of the oil field's pipelines. The Environment Agency described it as a "major incident".

Geography and islands
The entrance to Poole Harbour is from the east, via Poole Bay and the English Channel. Entering the harbour, heading west, on either side are the shores of Studland beach (south west) and Sandbanks (in particular, the Haven Hotel and the peninsula, north east). Directly ahead are several islands, the largest of which is Brownsea Island.

Four rivers drain into Poole harbour, the largest being the River Frome, which flows from the west through Dorchester and Wareham. The others are the River Piddle, the Corfe River and the Sherford River.

Following the harbour anti-clockwise, heading north-east passes the built up residential settlements of Poole including Lilliput and Parkstone (east). About 4 mi north-west of the entrance of the harbour is the entrance to Poole Quay and the Holes Bay (see below). Directly west of the main part of Poole is Hamworthy. Continuing anti-clockwise, heading west around the Harbour are the settlements of Upton and Wareham, as well as the outlet of the River Piddle. This area of water within the Harbour is known as Wareham Channel and includes other places such as Rockley Sands.

Continuing anti-clockwise, now heading south are the majority of the islands within the Harbour as well as several small channels and inlets. To the west is Arne Bay and the Wych channel. The majority of land in this area is heathland, and there are few settlements, as opposed to the eastern part of the Harbour. Directly south is Long Island, Round Island and Ower Bay. Green Island, Furzey Island and Brownsea Island (in that order) are to the east, with Newton Bay and Brands Bay (this area has several oil wells) to the south. This area of water is known as the South Deep. Continuing anti-clockwise comes back to the entrance to the Harbour and to Poole Bay, with Studland beach immediately south-east.

Lytchett Bay lies to the north of the Harbour and flows into it through a narrow channel near the edge of the suburb of Hamworthy. This is fed by the Sherford River.

Holes Bay
Holes Bay is a tidal inland lake which lies to the north of Poole Harbour. It is a designated harbour quiet area. The entrance to the bay is a small inlet from the main harbour. Spanning the inlet are two bridges: Poole Bridge and the new Twin Sails Bridge; the latter officially opened in 2012 and cost around £37,000,000. Access to Holes Bay for vessels with an air draft greater than 2.1 m is only possible when the bridges are lifted, which occurs several fixed times daily and sometimes on request. The new bridge is intended to help reduce traffic jams by ensuring at least one bridge is open to vehicular traffic at any one time.

The bay contains Pergins Island, and the South Western railway line runs west to east on a causeway across the bay. To the north of the bay is Upton Country Park.

Holes Bay is the location of the Royal National Lifeboat Institution (RNLI) training school, attached to their Poole headquarters. Uses of the bay include fishing, kayaking and small leisure craft. A large marina known as Cobbs Quay is on the west side of the bay. On its east side the bay runs parallel to the A350.

Parkstone Bay
Parkstone Bay is named after the suburb of Parkstone. Harbourside Park wraps around the bay.

Islands of Poole Harbour
Poole Harbour is the location of a number of islands, of various sizes. These islands include:

 * Brownsea Island is near the sea entrance at Sandbanks.
 * Furzey Island is south of Brownsea Island.
 * Green Island is directly south of Furzey island.
 * Long Island is near the Arne Peninsula.
 * Round Island
 * Gigger's Island is in the west of the Harbour near the River Piddle outlet.
 * Drove Island is in the south of the Harbour in Brands Bay.
 * Pergins Island is in the north of the Harbour in Holes Bay.
 * Stone Island lies between Brownsea and Studland. It is a ridge of gravel and sand, possibly the remains of an old recurved shingle spit, which is only visible between high tides, and as such is a danger to sailors. It is now gradually being submerged by rising sea-level.

Geology
The harbour lies on a band of weak gravel and clay which is easily eroded by the rivers and sea. This band is bordered by two bands of chalk, the Purbeck Hills and Isle of Wight to the south, and the Dorset Downs and South Downs to the north. The clay extends west up the Frome valley to Dorchester, and would originally have extended east beyond Portsmouth in Hampshire. Before the last ice age the River Frome continued to flow east through what is now the Solent, joining the Stour, Beaulieu, Test, Itchen and Hamble, before flowing into the English Channel to the east of the present day Isle of Wight. A relatively resistant chalk ridge ran continuously from the Purbeck Hills to the Isle of Wight, which the rivers could not break through.

When the glaciers of the north of the island of Great Britain melted, the south of England sank slightly, flooding the Solent valley and Southampton Water to form their characteristic rias (flooded estuaries). About 7,000 years ago, increased erosion from the sea and the increased flow caused by the change in climate broke through the chalk hills, cutting the Isle of Wight off from the Isle of Purbeck and flooding what is now the Solent and Christchurch Bay, leaving Poole Harbour as the estuary of the Frome.

Marine activity
Once a major port, freight transport has declined, but the port is still served by regular cross-Channel passenger ferries, with Brittany Ferries offering a passenger and freight service to Cherbourg. Condor Ferries operate to the Channel Islands and St Malo as well as joint high-speed service with Brittany Ferries to Cherbourg.

Coastal trading vessels are also frequent visitors, unloading various cargos on the quaysides at Hamworthy, and fleet of fishing vessels operates from the south end of Poole Quay. There is considerable leisure usage of the harbour, by a combination of yachts and other private craft, cruise boats that ply the harbour, and ferries that provide a passenger link to Brownsea Island. The harbour is managed by the Poole Harbour Commissioners (PHC), who represent all aspects of commercial and leisure activity in the harbour. Their duties include maintaining the shipping channels for the ferries and cargo vessels, enforcing harbour speed limits, improving port facilities and assisting with nature conservation.

In November 2005 the main shipping channels into the harbour and the Port of Poole were dredged to accommodate modern ferries at all states of the tide. The project was carried out by Van Oord, and on completion the depth had been increased from 6 to 7.5 m. Approximately 1.8 million cubic metres of sand and silt were dredged from the approach channels to the Harbour and port, and 1.1 million m3 was made available to the local beaches of Poole, Bournemouth and Purbeck for beach replenishment.

Poole Harbour Commissioners define the main shipping channels, in which leisure craft should take care, as :
 * The Swash Channel from the Bar Buoy to the Chain Ferry
 * The Haven Channel from the Chain Ferry to 16 buoy
 * The Middle Ship Channel, from 16 buoy to Stakes
 * The turning basin, off the Ferry Port
 * The Little Channel from Stakes to Poole Bridge.

Marinas
As well as the commercial activity discussed above, Poole is a major centre for sailing and motor boating. There is an enormous number of moorings in the harbour, and many places to anchor.
 * Poole Quay Boat Haven is the most central marina, situated immediately east of the Town Quay on the main road through the town centre – berth holders have to cross it to get to the showers!
 * the Town Quay itself still accommodates larger visiting boats.
 * Port of Poole Marina is a little south-west of there, close to the ferry terminal, and caters only for resident boats – no visitors.
 * Poole Yacht Club  is a little further west, and welcomes visiting boats
 * Parkstone Bay Marina together with the private Parkstone Yacht Club are located in Parkstone Bay to the east
 * Cobbs Quay Marina is in Upton Bay to the north-west, accessed only when the town Bridge (A350) is opened.
 * Salterns Marina is by Lilliput and houses the former Poole Harbour Yacht Club

Ecology and nature conservation
Much of the north side of the harbour is a built-up area, including the town of Poole, and the conurbation which continues 10 mi eastwards along the coast. The west and south sides of the harbour and part of the Purbeck Heritage Coast are important wildlife havens, as are the five large islands in the harbour, which are home to the endangered red squirrel. The harbour is an area of international importance for wildlife conservation and is on the Ramsar list. It borders three national nature reserves, including the internationally important Studland and Godlingston Heath NNR, and a number of local and non-statutory nature reserves run by organisations such as the National Trust and RSPB, notably Arne. The mouth of the harbour is partially blocked by Sandbanks, a spit on the north, which is built up and part of Poole, and by Studland to the south, which is another important wildlife area.

The harbour is very shallow in places and has extensive mud flat and salt marsh habitats, as well as muddy and sandy shores and seagrass meadows. Being an extremely popular recreation and tourism area means that the local authorities and organisations have to carefully manage the tourism to prevent damage to the habitats.

The south shore of the harbour, including Wytch Heath and Godlingstone Heath, is open heathland of little agricultural use. During the 20th century there was some afforestation with conifer plantations. Around Wareham Forest in the west this has been for commercial forestry, but on the southern shore the plantations conceal the Wytch Farm oil wells.

Three bird species occur in internationally important numbers: common shelduck, pied avocet and black-tailed godwit. Other notable visitors include spoonbill, Sandwich tern and Eurasian whimbrel. Once rare, little egrets are now seen regularly and in increasing numbers.

On 23 April 2022, ospreys nesting in Poole Harbour produced an egg, the first in southern England in modern times. The successful hatching is the first in 200 years. In August 2022, it was reported that one of the two chicks had been killed in a hawk attack. In May 2023, the only breeding pair of ospreys have hatched their first two chicks of the year.

Urbanisation and development
Due to the ever-increasing popularity of pleasure boating in the United Kingdom, the harbour has seen a rapid increase in the private ownership of pleasure vessels over the past decade, most of which are housed in private marinas around the harbour. Due to this increase, Poole has seen a rise in the number of maritime-oriented businesses.

With the popularity of watersports such as water skiing, wakeboarding, windsurfing and kitesurfing, Poole Harbour Commissioners have designated areas within the harbour almost exclusively for sport participation – virtually unrestricted from most regular harbour rules. Poole is also fortunate in that wind conditions are variable; wind conditions can be calm for sports such as wakeboarding, and a short while later strong for sports such as windsurfing. Most of these sports benefit from the harbour's generally flat water conditions. As a result, local watersport businesses operate around the harbour.

Poole Tourism has developed and signed a number of trails and circular walks, collectively called the Poole Harbour Trails, as well as the Poole Heritage Cycle Route for cyclists.

A freight-only branch runs from Hamworthy railway station to Poole Docks. However, the line is fenced off at the Poole Docks level crossing with a run-round loop provided at Hamworthy Park. The line is currently (2017) served by a weekly stone train.

General

 * Clark, G & Thompson, W.H., 1935. The Dorset Landscape. London: A & C Black.
 * Cochrane, C, 1970. Poole Bay and Purbeck, 300BC to AD1660. Dorchester, Longmans.
 * Hutchings, M., 1965. Inside Dorset. Sherborne: Abbey Press.
 * Poole Harbour Commission, The history of Poole Harbour (accessed 8 November 2004)

title: Poole Harbour


text:
Talk:Wheat beer

Wheat beer styles source
I'd like to cite this article - http://beer.about.com/od/wheatbeer/a/WheatGuide.htm - as a source for the various styles of wheat beer. Breddings (talk) 19:13, 30 November 2009 (UTC)
 * Please do not cite your own self published articles on Wikipedia, it constitutes link promotion and original research. thanks - MrOllie (talk) 19:38, 30 November 2009 (UTC)

 * From | No original research -

 * "This policy does not prohibit editors with specialist knowledge from adding their knowledge to Wikipedia, but it does prohibit them from drawing on their personal knowledge without citing reliable sources. If an editor has published the results of his or her research in a reliable publication, the editor may cite that source while writing in the third person and complying with our neutrality policy. See also Wikipedia's guidelines on conflict of interest."

 * and from | Conflict of interest -

 * "Editing in an area in which you have professional or academic expertise is not, in itself, a conflict of interest. Using material you yourself have written or published is allowed within reason, but only if it is notable and conforms to the content policies. Excessive self-citation is strongly discouraged. When in doubt, defer to the community's opinion."

 * My work at About.com is not "self-published" in the same way a blog is, which I'm assuming is what you mean. I am a recognized expert with a specialized knowledge as described in the excerpts I copied above.  Could you take a second look at the article and see if you don't think it supports the Wikipedia entry?Breddings (talk) 20:00, 30 November 2009 (UTC)

Etymology
Is it not the case that the the term "Weißbier" comes from the fact that the words wheat and white are etymologically related? So it would be so called not because the beer itself is light but because wheat is white... can someone confirm this, as I'm not entirely sure of this (so I've not changed it myself)? --rdd. (talk) 20:44, 23 February 2010 (UTC)

 * A Dutch friend of mine told me that it's because the beer is actually whiter (they'd say 'witbier' I think), like Hoegaarden, while the Germans, whose beer is more amber, say both weissbier and weizen - which is referring to 'wheat'; still I think there's also a play on words going on. Probably different people have always meant different things.  Wik idea  09:28, 24 February 2010 (UTC)

Just thought I'd chime in on this, as a fluent German speaker. The words wheat and white are etymologically related in English, yes, and are in fact as well in German. The German word for wheat, "Weizen," is very similar to "Weiß" or white. You can order it as a "Weißbier," for example in a restaurant, but you would normally ask for a "Weizen." On many beer bottles, it is also the case that it says "Weizen" instead of "Weißbier." "White beer" is somewhat of a mistranslation, as it is a contracted form of "Weizen + Bier" (as Germans contract nouns to form a compound word) as opposed to a contracted form of "Weiß + Bier," although it looks more like the latter. —Preceding unsigned comment added by 91.3.50.110 (talk) 14:50, 11 April 2011 (UTC)

Wheat Wine
Wheat Wine, though it has only come to be known recently as a style of beer in its own right, is now recognized by both BJCP and GABF, and warrants recognition on this page. This page is a good resource: http://www.homebrewtalk.com/wiki/index.php/American-Style_Wheat_Wine_Ale 72.187.133.23 (talk) 21:45, 17 June 2010 (UTC)

Negro?
Uh, does this say what I think it says (Serving section)? If so, should immediately be amended, clearly not the correct term. — Preceding unsigned comment added by 76.67.58.136 (talk) 01:03, 19 July 2011 (UTC)

Reinheitsgebot
Regarding this edit. I don't understand the point in stressing that Gose does not “comply with the Reinheitsgebot”. The whole issue is rather confused but what is usually meant by “Reinheitsgebot” is a putative ban on beers containing anything else than barley, water and hops, dating back to some edict by the Duke of Bavaria. If you take the Reinheitsgebot in this sense, none of the wheat beer follow it because they contain… wheat (and Gose is not concerned because it is made outside of Bavaria).

In fact, it was simply never forbidden to brew top-fermented beer with other ingredients than water, hops and barley malt in the whole of Germany. Several such beers have existed in various places for a very long time. Therefore, if you take Reinheitsgebot to mean a modern ban on additives in beer then none of the top-fermented beer are concerned because the law always provided exceptions for them.

At the end of the day, all the talk about “the Reinheitsgebot” has a lot more to do with popular myths and marketing than with history or regulation. If we must add something to this sentence then it would be much better to stick to the facts and note that coriander is an unusual ingredient for German beers. In the meantime, I removed this confusing side note again. GL (talk) 11:26, 28 February 2012 (UTC)

 * The Reinheitsgebot didn't apply to anywhere outside Bavarai until 1906, whether it was top- or bottom-fermented. After that date it applied to the whole German Empire. Of course, after WW II it didn't apply the DDR, where Leipziger Gose was brewed. After reunification, the Reinheitsgebot was applied to the DDR. Only local specialities like Gose were exempt and that is still the case. Hence what I wrote was totally appropriate. And I'm reinstating it.Patto1ro (talk) 00:15, 29 February 2012 (UTC)
 * Well that's the point, there has always been exemptions and these exemptions include all wheat beer (they use wheat!) and in fact all top-fermented beer (some do not use anything else than barley malt and hops but the law always allowed other malts, sugar, and sugar-based colorings). The only thing that resembles the original “Reinheitsgebot” is the first point in this law but it does not apply to top-fermented beer (§ 9 Abs. 2) and local authorities can grant exceptions for a number of reasons (§ 9 Abs. 7). Basically, the “Reinheitsgebot” applies to all beers except the beers to which it does not apply. That's a completely non-sensical way to present the law. In any case, if it's really necessary to get into these details, it should be done in the article on Gose, not here. GL (talk) 09:20, 29 February 2012 (UTC)
 * Also, if you really think this is all incorrect, maybe we should start by revising the Reinheitsgebot article because it basically says the same thing (and does a good job at clarifying the issue). GL (talk) 09:29, 29 February 2012 (UTC)
 * No, you're still getting it wrong. Wheat beer can and does adhere to the Reinheitsgebot. The law was changed a few hundred years ago to allow wheat beer. The Biersteuergezetz IS the effing Reinheitsgebot in modern German law. Take a look at a Label of Weihenstephan Hefeweizen: "Gebraut nach dem Reinheitsgebot" it says. Are you telling me that they are lying? If I were to start correcting all the rubbish in wp articles I'd be here foreverI'm remembering now why I stopped editing wp articles.Patto1ro (talk) 10:30, 29 February 2012 (UTC)
 * I don't think looking at beer labels is a useful way to write a Wikipedia article on the topic but what I am saying since the beginning is that “Gebraut nach dem Reinheitsgebot” is pure marketing-speak (incidentally, it would be interesting to know when this type of things appeared on beer labels, I have seen some references to the phrase being protected since 1996 but couldn't find any solid source on that). It is mostly used to give the (misleading) impression that beers using other ingredients are somehow inferior. Concretely, it is simply a reference to what as become the traditional way to brew beer in part of Germany and does not mean there is a law of that name with which one could comply or not comply.
 * Still, it does make sense to use that name for the Bavarian edict forbidding anything else than barley malt and hops but it has never been the only definition of “Bier” in what is currently Germany. This “Reinheitsgebot” simply ceased to be the law a long time ago. It was replaced by new rules that provided for a number of exceptions (including the use of other malts, sugar and colorings for top-fermented beers and more recently the possibility to grant other local exceptions).
 * If however for you “Reinheitsgebot” simply means “the current German law” (technically, the part about the ingredients is not in the Biersteuergesetz itself anymore), then of course Gose also complies with it (namely through § 9 Abs. 7). It is arbitrary to slice it, confuse the rules for top-fermented and bottom-fermented beers, ignore the fact that other top-fermented beers can use sugar and sugar-based colorings and leave the impression that some beers don't comply with the law.
 * The fact is beers brewed in Germany follow the local law, which provide a set of rules for bottom-fermented beers modeled after the historical Bavarian law, another set of rules for top-fermented beers that does allow some additives and cereals that were historically forbidden and a third one for specialty beers, on the basis of specific exemptions. The article Reinheitsgebot also provide some historical background on this law and could include more details on the “Gebraut nach dem Reinheitsgebot” predicate as a marketing tool. All that is completely factual, no matter what your opinion is about wheat beer. I really don't understand the point in stressing everywhere what follows or does not follow the “Reinheitsgebot”. We can mention it in articles about beers that do use the label but why put it everywhere?
 * Note that I am not asking to write that “Gose complies with the Reinheitsgebot” or any such silliness either. My point is that it's debatable and mostly irrelevant in this article. GL (talk) 14:18, 29 February 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Wheat beer. 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:
 * Added archive https://web.archive.org/20071106215730/http://www.food-from-bavaria.de/en/reg_spez/einzelprodukt.php?an=100&display_lang=en to http://www.food-from-bavaria.de/en/reg_spez/einzelprodukt.php?an=100&display_lang=en

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title: Talk:Wheat beer


text:
Talk:ODPSS

Do we really need a separate article for this obscure term? -- NetEsq 14:39, 29 Jul 2003 (UTC)

Added: Since you [Liftarn] reverted my redirect, would you care to defend your decision to create a separate article definining this obscure term? Why not include this defintion in the larger article we are currently hammering out for the Open Directory Project? Wikipedia is not a dictionary. -- NetEsq 16:43, 1 Aug 2003 (UTC)

Ok, I've redirected it to the real article. // Liftarn

title: Talk:ODPSS


text:
Crad Kilodney

Crad Kilodney (1948 – April 14, 2014) was the pen name of Lou Trifon, an American-born Canadian writer who lived in Toronto, Ontario. He was best known for selling his self-published books (often with outrageous titles such as Bloodsucking Monkeys from North Tonawanda, Suburban Chicken-strangling Stories and Putrid Scum) on the streets of the city between about 1978 and 1995.

Early life
Louis Trifon (as he was then known) was born in Jamaica, New York, in 1948 to a Greek family. In the autobiographical book "Excrement", he says that February 13 is his birthday. He graduated from Syosset High School in 1965, then obtained a degree in astronomy from the University of Michigan. Instead of continuing in that field, he took a job at Exposition Press, a self-publishing vanity press based in Hicksville, New York. Many of his experiences in that job, and with vanity publishing in general, shaped his outlook on fiction and provided him with material for many stories. The stories "Three Dead Men" and "A Moment of Silence for Man Ray" (both in Girl on the Subway) are examples of this.

He sold a few humor-oriented articles to the Houston Post in 1969, and taking on the name "Crad Kilodney", published very occasional pieces in The National Lampoon between 1970 and 1972. According to information on his unofficial website, Kilodney wrote the first unsolicited short story ever accepted by National Lampoon, a science fiction parody entitled "The Day Saturn Crashed into the Earth". It appeared in their fifth issue.

Move to Canada, and self-publishing
Disgusted by Watergate and U.S. culture generally, Trifon moved to Toronto in 1973 where he worked at a number of other book publishers, mostly in their stockrooms. While doing so, he continued to make very occasional sales of short stories and humor pieces to small magazines, but decided that it might be best to reach people by self-publishing his stories (under his own Charnel House imprint) and selling them face-to-face on the street. This he did from 1978 through 1995, publishing 32 books in this manner, using the name Crad Kilodney. Kilodney could generally be found, and indeed was a fixture, on Yonge Street, at the University of Toronto downtown campus and in front of the Toronto Stock Exchange building with a cardboard sign hanging from his neck, holding a book he was selling. His attention-getting signage, always handwritten, might give a book title (e.g., Simple Stories For Idiots), or a mocking self-description of his wares (e.g., "Slimy Degenerate Literature").

The books themselves were usually pamphlet-sized collections of short stories, ranging from 32 to 80 pages in length. More rarely, as with Terminal Ward (1983) or Cathy (1985) the works were single novelette-length stories; Putrid Scum (1991) was Kilodney's only full novel. Though the vast majority of the work offered for sale was Kilodney's own, he also edited and sold several anthologies under the banner of Worst Canadian Stories and The Charnel House Anthology of Bad Poetry. Kilodney later admitted that most—although not all—of the Worst Canadian Stories material was written by him ("and a group of selected colleagues") in a range of deliberately awful styles, under a variety of pseudonyms. He insisted, however, that the bad poetry he anthologized had been collected from a number of sources, and it was all correctly attributed (including works by Leonard Nimoy, William McGonagall, Karen Mac Cormack, and at least one poem attributed to Kilodney himself.)  Though he sold most of his work on the streets of Toronto, in the acknowledgments section of Worst Canadian Stories, Vol. 1 Kilodney thanks his sister Carol, noting that "she sells many of my books in her pizzeria in Westbury, New York."

Kilodney was in a relationship with poet and novelist Gwendolyn MacEwen before she died in 1987.

Kilodney commented that while most writers are inspired by conventionally great literature, he drew inspiration from the exact opposite: the slush pile, the crank letter, and of course the vanity press. He was, however, not interested in being seen as a crank or an eccentric, but simply wanted to find respectable, legitimate work as a writer and be taken seriously for doing so. Nevertheless, he also enjoyed pranks, and in 1988, Kilodney submitted a number of stories by famous writers to the CBC Radio literary competition, many under absurd names. All of the stories were screened out by the jury.

More in line with Kilodney's literary ambitions, also in 1988 Black Moss Press issued a 'best-of' collection called Malignant Humours. A follow-up collection (Girl On The Subway and other stories) appeared in 1990. These were generally the only Kilodney volumes available in bookstores.

Writing in The Calgary Herald, Glen Colbourn called the stories in Malignant Humours "offbeat, puzzling and, quite frankly, outrageous ... Kilodney's absurdist style and quirky humor will limit his appeal largely to adventurous readers. But those readers will find some entertaining stories in the new collection."

Other mainstream critics also praised Kilodney's fiction.

Writing in The Windsor Star, Marty Gervais called Pork College"one of the funniest books of the year, and it ought to be a bestseller ... But what is Pork College all about? Well, it's hard to say ... There's no high point to it, except perhaps in great one-liners ... but then again, it's not meant to develop into anything more than what it Is. And what is that? Just stories of funny bits taking shots at the institutional world. And these are worth reading just for the sheer joy of reading."

Although Evelyn Lau, in an Edmonton Journal review of Girl on the Subway called the book's stories "sadly uneven," she went on to say "Kilodney is at his best when his sense of humor steps in, ironic, mocking and laced with sadness ... The Funeral of Lenny Zeller, about the joke perpetrated by an English teacher after the death of one of the students he loved, is an absolute treat. It is infused with bright language and a side-splitting hilarity, as well as an underlying quiet bitterness and tragedy ... When Kilodney allows himself, he has sympathy and understanding for people and what makes them work, or not work. In much the same way, The Simplified Existence of Mr. Duggins succeeds because the author forgets himself and enters the spirit of another person trapped in a different kind of world. On the whole, Girl on the Subway contains a few remarkable gems..."

In The South Florida Sun-Sentinel, Richard Grayson called Bloodsucking Monkeys From North Tonawanda "a collection of short stories by Canada's funniest fiction writer. The title story is the funniest story I've read in years. Kilodney is an undiscovered genius..."

Kilodney also wrote for a variety of publications, Canadian and otherwise, such as Only Paper Today, 'What' (a literary magazine), and Rustler (for which he wrote a monthly column at one point).

In 1991, Kilodney was charged with selling commercial goods without a licence, making him the only Canadian writer ever charged for selling his own writing. In response, Toronto hardcore band (and long time supporters of the Independent DIY ethos) Armed & Hammered released the song "Crad Kilodney Was Innocent" on a 7" single vinyl record.

Audio recordings
At various times Kilodney kept a tape recorder with him and recorded quite a bit of bizarre byplay between himself and prospective customers. He then compiled the oddest or most entertaining exchanges into hand-made cassette tapes ("On The Street With Crad Kilodney" Vols 1, 2, 3, and 4) which he offered for sale alongside his books. They are extremely rare and are collector's items (much as original printings of his books are).

Vol. 3 (a 90-minute cassette) is from 1991. "Dub 154" of this tape, a representative example, includes photocopied typewritten notes detailing the recording process, transfer technique and equipment used. Kilodney handwrote with ballpoint pen on the cassette jacket as well. Side A has 11 recordings, Side B 16 recordings; four of the recordings are answering machine messages, and the rest are the famous surreptitious encounters with people wondering why this man has a sign around his neck. "Excrement" and "Putrid Scum", as well as several of his stories (such as "Henry", featured in Girl on the Subway) are also inspired by these experiences.

Retirement from self-publishing and later work
After receiving an inheritance, Kilodney retired from selling his self-published books in 1995. To continue making income, he took up trading mining stocks, which allowed him to live modestly for the rest of his life. Nevertheless, he continued writing, and looked for new ways to distribute his material. In 1996, Kilodney's satirical piece "Circumcision Rites of the Toronto Stock Exchange" appeared in the 1996 Pushcart Prize anthology, and in 1998 his previously published story "Girl On The Subway" was included in the mainstream literary anthology Concrete Forest: The New Fiction of Urban Canada, published by McClelland & Stewart. A fan-based website, run by Syd Allan, featured occasional new material from Kilodney up until 2004.

From April 2008 until a few months before his death, new satirical articles (and the occasional short story) were posted on Kilodney's blog. A series of 20 articles on "Exotic Cities" that had been published in 2009 were translated into French and collected in the volume Villes Bigrement Exotiques (2012). This was the last of Kilodney's books published in his lifetime.

Kilodney posted his final blog entry, a short story called "Dreaming With Jay", in December 2013. He thanked his readers for their support, and noted that "This is the last piece I will publish in my lifetime."

Kilodney died of cancer on April 14, 2014, at the age of 66. He never married, and left no heirs. The day after his death and at his request, his friend, artist Lorette C. Luzajic, launched the Crad Kilodney Literary Foundation, a website dedicated to preserving and promoting his works. A posthumous collection of his online writings, Strong Meat, appeared in 2015.

Short story collections
Most of these collections contain 3 to 8 stories, and are between 34 and 80 pages in length. Most were self published, and appeared as stapled, photocopied pamphlets, in print runs of 800–1,200 copies. There are exceptions: Lightning Struck My Dick is over 100 pages, contains 18 stories, and was published by Virago Press. Pork College was published by Coach House Press. Strong Meat, issued posthumously, is almost 400 pages.

 * Mental Cases (1978)
 * World Under Anaesthesia (1979)
 * Gainfully Employed in Limbo (1980)
 * Lightning Struck My Dick (1980)
 * Human Secrets - Book One (1981)
 * Human Secrets - Book Two (1982)
 * Sex Slaves Of The Astro-Mutants (1982)
 * Pork College (1984)
 * Bang Heads Here, Suffering Bastards! (1984)
 * The Orange Book: The Bent Humour of Crad Kilodney (1984)
 * The Blue Book: The Eccentric Humour of Crad Kilodney (1985)
 * The Green Book: The Polymorphus Humour of Crad Kilodney (1985)
 * The Yellow Book: The Outlandish Humour of Crad Kilodney (1985)
 * The Scarlet Book: The Flame-Broiled Humour of Crad Kilodney (1985)
 * Incurable Trucks & Speeding Diseases (1986)
 * Simple Stories For Idiots (1986)
 * Nice Stories for Canadians (1988)
 * I Chewed Mrs. Ewing's Raw Guts (1988)
 * Blood Sucking Monkeys from North Tonawanda (1989)
 * Junior Brain Tumours in Action (1990)
 * Suburban Chicken Strangling Stories (1992)
 * Strong Meat (assorted on-line writing, 1988–2013) (2015)

Novelettes

 * Terminal Ward (1983)
 * Cathy (1985)
 * Foul Pus From Dead Dogs (1986)
 * Excrement (1988)

Novel

 * Putrid Scum (1991)

Travelogue

 * Villes Bigrement Exotiques (2012, French language only)

Anthologies of previously collected stories
Black Moss Press issued two anthologies, each around 100 pages, of Kilodney's 'selected stories'. Aside from Pork College, these were the only Kilodney volumes generally available for sale in bookstores.
 * Malignant Humors (1988) (13 stories, dating between 1978 and 1985)
 * Girl on the Subway and other stories (1990) (11 stories, dating between 1979 and 1988)

As editor

 * Worst Canadian Stories, Vol. 1 (1987)
 * Worst Canadian Stories, Vol. 2 (1987)
 * The First Charnel House Anthology of Bad Poetry (1989)
 * The Second Charnel House Anthology of Bad Poetry (1992)

Collaborative work

 * Prose Political (1977) (18-page booklet, as Louis Trifon, with Mick Rawsterne and George Cairncross)

title: Crad Kilodney


text:
Goalkeeper CIWS

The Goalkeeper CIWS is a Dutch close-in weapon system (CIWS) introduced in 1979. It is an autonomous and completely automatic weapon system for short-range defence of ships against highly maneuverable missiles, aircraft and fast-maneuvering surface vessels. Once activated the system automatically undertakes the entire air defence process from surveillance and detection to destruction, including the selection of the next priority target.

Development
Hollandse Signaalapparaten B.V., in short Hollandse Signaal or Signaal (now Thales Nederland) began work on the Goalkeeper in 1975, developing it around the GAU-8 gun. A prototype, the EX-83, was first demonstrated to the Royal Netherlands Navy in 1979.

In 2012, the Dutch ministry of defense announced that the Goalkeeper systems in use by the Netherlands Navy will receive radar upgrades, mechanical improvements, new high-precision frangible ammunition and a new electro-optical tracking system. Also, the system's surface model will be improved to counter high-speed boats and fast attack craft. These upgrades will make the system more capable to defend ships against the latest threats such as modern anti-ship missiles, more effective in littoral environments and less vulnerable to malfunctions. It also expands the life of the system to at least 2025. The first of 16 systems will be upgraded and tested by Thales Nederland, the others at the naval base in Den Helder. The upgrade has been named the Upkeep Modification.

The development of the Upkeep Modification did not go smoothly. The costs associated with the upgrade rose 700,000 euro above the planned budget in 2015, and led to a loss for Thales Nederland in that year. Nonetheless, by 2016 the first upgrade was completed and placed aboard the HNLMS Evertsen for testing purposes. The newly upgraded Goalkeeper system brings numerous improvements and additions to the system. Among these are new color and infrared cameras, a new control panel, new software and computers, and the ability to let several Goalkeeper systems work with each other simultaneously.

In March 2018 the upgraded Goalkeeper CIWS passed the sea acceptance trial flawlessly. The Upkeep Modification is meant to bring the performance of the Goalkeeper system once again to the highest operational status, in correspondence with the Royal Netherlands Navy’s ambition to optimally protect its crew and ships during overseas deployments.

Target selection
The Goalkeeper has two radar sub-systems, one to find threats and another to track and engage them, which operate together to identify and prioritise targets and engage the highest priority one.

The 2D I band search radar, which can handle up to 18 targets at once, generates a threat picture which the gun system uses to identify and prioritize threats. The system has identify friend or foe (IFF) functionality to rule out friendly traces. The tracking radar operates in both I band and K band to enable quick acquisition on the threat bearing. Data from both the I band and K band return signals indicate target range and can be used to identify, and respond to the use of, electronic countermeasures (ECM). The dual-band system also reduces the effect of clutter, which can mask the target at low altitude. A camera system on the assembly provides a visual fall-back for the system operator.

Target engagement
The GAU-8/A Avenger 30 mm, also used by the A-10 Thunderbolt II aircraft, was selected for the system. The 30x173mm cartridge has a greater projectile mass than the 20x102mm cartridge fired by the Phalanx CIWS M61 Vulcan, so it provides much greater destructive power and significantly increased range with similar muzzle velocity.

The 30x173mm MPDS cartridge has a discarding nylon sleeve (sabot) with a 21 mm sub-calibre tungsten penetrator. The nylon sabot provides a seal between penetrator and barrel and reduces wear.

The tracking radar is capable of monitoring the line of fire and commanding minor adjustments.

Supersonic missiles that are damaged may still have enough momentum to hit the ship—the only way to ensure the protection of the ship is either to detonate the warhead of the missile or obliterate the missile.

The system's reaction time to a Mach 2 sea-skimming missile such as the Russian SS-N-22 Sunburn from automatic detection to kill is reported to be 5.5 seconds with the firing synchronized to start the engagement at a range of 1,500 m and ending with a kill at 300 m.

Operational history
Goalkeeper's capabilities have been proven many times during sea-going trials. During live-fire exercises, many different targets including Harpoons, Exocets and target drones were shot down by Goalkeeper. During anti-piracy operations off the coast of Somalia the system destroyed several pirate boats and skiffs that had been seized by the Royal Netherlands Navy.

Specifications

 * Gun: GAU-8/A Avenger 30 mm seven-barrel rotary cannon.
 * Height: 3.71 m (above deck) 6.2 m (including deck penetration).
 * Weight: 6,372 kg with 1,190 rds of ammunition (above deck), 9,902 kg (total).
 * Elevation +85° to −25° at 80°/s.
 * Muzzle velocity: 1,109 m/s (MPDS round).
 * Rotation speed 360° in 3.8 seconds
 * Rate of fire: 70 rounds/second (4,200 rounds/minute).
 * Maximum burst size: 1,000 rounds.
 * Ammunition: 1,190 linkless (HEI, API, TP, MPDS, FMPDS) rounds in a below-deck magazine.
 * Reload time: 9 minutes (loading is done below deck)
 * Weapons range: 350 to between 1,500 and 2,000 meters dependent on ammunition.
 * Search radar: I band/linear array. I band is X band. Beamsize 1.5 degrees horizontal, 60 degrees vertical. Rotates at 1 Hz (60 RPM). Range approx. 30 km.
 * Engagement radar: I band and K band monopulse cassegrain.
 * Optical system: TV (Future EO/IR)
 * 100% kill distance: 500 m

Current operators

 * 🇧🇪 Belgium: Belgian Navy
 * 2 Karel Doorman-class frigates
 * 🇨🇱 Chile: Chilean Navy
 * 2 Jacob van Heemskerck-class air defence frigates
 * 2 Karel Doorman-class frigates
 * 🇳🇱 Netherlands: Royal Netherlands Navy
 * 4 De Zeven Provinciën-class air-defence and command frigates, 1 or 2 Goalkeepers per ship ( Only one vessel of this class is fitted with 2 Goalkeepers, others are provisioned )
 * 2 Karel Doorman-class frigates, 1 Goalkeeper per ship
 * 1 Rotterdam class amphibious transport dock 2 Goalkeepers
 * 1 Johan de Witt class amphibious transport dock 2 Goalkeepers
 * 1 Karel Doorman-class support ship, 2 Goalkeepers (in service 2015)
 * 🇵🇪 Peru: Peruvian Navy
 * 1 BAP Tacna Replenishment Oiler, As from 2015
 * 🇵🇹 Portugal: Portuguese Navy
 * 2 Karel Doorman-class frigates
 * 🇶🇦 Qatar: Qatar Armed Forces
 * 4 Vosper Thornycroft Vita-class
 * 🇰🇷 South Korea: Republic of Korea Navy
 * 3 Gwanggaeto the Great-class destroyers
 * 6 Chungmugong Yi Sun-sin-class destroyers
 * 3 Sejong the Great-class destroyers
 * 2 Dokdo-class amphibious assault ship

Former operators

 * 🇬🇧 United Kingdom: Royal Navy
 * Formerly fitted to two Invincible-class aircraft carriers (HMS Invincible & HMS Illustrious), two Albion-class landing platform dock (replaced by "Phalanx" on HMS Albion (L14), removed from HMS Bulwark while in extended readiness for eventual replacement with "Phalanx") and four Type 22 Batch 3 frigates.

 * 🇩🇪 Germany: German Navy
 * Formerly fitted to frigate Karlsruhe during her service in the Adriatic Sea in the mid-1990s, later replaced by a RIM-116 Rolling Airframe Missile system.

title: Goalkeeper CIWS


text:
W. P. Kinsella

William Patrick "W. P." Kinsella (May 25, 1935 – September 16, 2016) was a Canadian novelist and short story writer, known for his novel Shoeless Joe (1982), which was adapted into the movie Field of Dreams in 1989. His work often concerned baseball, First Nations people, and Canadian culture.

Early life
William Patrick Kinsella was born in Edmonton, Alberta, the son of Irish Canadian parents, Olive Mary (Elliott/Elliot), a printer, and John Matthew Kinsella, a contractor. He was raised until he was 10 years old at a homestead near Darwell, Alberta, 60 km west of the city, home-schooled by his mother and taking correspondence courses. "I'm one of these people who woke up at age five knowing how to read and write," he says.

When he was ten years old, the family moved to Edmonton. He did not go to school until grade five, attended Parkdale School for junior high, and did not attend university until he was in his mid-30s. Kinsella was barely exposed to literature in school, saying in a 2010 interview, "One Shakespeare play and one J. M. Barrie play was the total literature of my high school years."

Kinsella's literary education in his formative years came from reading and by attending all the plays at high school and any theatrical productions that made it to Edmonton. He also worked in the school library his senior year.

As an adult, he held a variety of jobs in Edmonton, including as a clerk for the government of Alberta and managing a credit bureau. In 1967, he moved to Victoria, British Columbia, running a pizza restaurant called Caesar's Italian Village and driving a taxi.

Although he had been writing since he was a child (winning a YMCA contest at age 14), he began taking writing courses at the University of Victoria in 1970, receiving a Bachelor of Arts in creative writing there in 1974. He earned a Master of Fine Arts in English at the Iowa Writers' Workshop at the University of Iowa in 1978. Before becoming a professional author, he was a professor of English at the University of Calgary.

Literary life
According to the Canadian Encyclopedia, Kinsella's literary output primarily consists of two cycles of work dealing with two fictional universes: those dealing with baseball and those depicting the indigenous people of Canada. His first published book was Dance Me Outside (1977), a collection of 17 short stories narrated by a young Cree, Silas Ermineskin, who describes life on a First Nations reserve in Kinsella's native Alberta.

A later collection of similar stories, The Fencepost Chronicles, earned Kinsella the Stephen Leacock Memorial Medal for Humour. Kinsella was criticized for writing from the point of view of Native people, with Ojibwe author Lenore Keeshig-Tobias writing in 1990, "W. P. Kinsella's Hobbema stories may be insulting. But the real problem is that they amount to culture theft, the theft of voice." Kinsella said after a heated public exchange with Rudy Wiebe on the topic, "Fiction writers can write about anything they damn well please," and that he considered the term "cultural appropriation" the nonsense of Eastern Canadian academics. He also considered that much of the humor focused on white bureaucrats on reservations: "The way that oppressed people survive is by making fun of the people who oppress them. That is essentially what my Indian stories are all about."

Kinsella also wrote nearly 40 short stories and three novels about baseball. Shoeless Joe (1982), his first novel, blends fantasy and magic realism to tell the story of a poor Iowa farmer who, yielding to voices in his head, builds a baseball field in his cornfield that attracts the spirits of the 1919 Chicago White Sox. The Iowa Baseball Confederacy (1986), another book blending fantasy and magical realism, recounts an epic baseball game a minor league team played against the 1908 World Champion Chicago Cubs. Box Socials (1991), an evocation of life in rural Alberta during the Great Depression and World War II, has a growing boy as its narrator and recounts a local batting hero's hopes of facing a visiting major league pitcher 60 miles away in Edmonton. The Canadian Baseball Hall of Fame awarded him the Jack Graney Award in 2011 for a significant contribution to the game of baseball in Canada.

Shoeless Joe remains Kinsella's most famous work. The book was mildly controversial for using a living person, the reclusive author J.D. Salinger, as a main character. Kinsella, who had never met him, created a wholly imagined character (aside from his reclusiveness) based on The Catcher in the Rye, a book that had great meaning to him as a young man. To get a feel for Salinger, he reread his body of work but created an imaginary version of the author. "I made sure to make him a nice character so that he couldn't sue me."

In an example of metafiction, he named Shoeless Joe's protagonist Ray Kinsella, a character from Salinger's uncollected story "A Young Girl in 1941 with No Waist at All". Salinger also used the surname Kinsella in The Catcher in the Rye (Holden Caulfield's friend Richard Kinsella, who also shared a name with Ray Kinsella's twin brother in Shoeless Joe).

Known for his litigiousness, Salinger contacted Kinsella's publisher via his attorneys to express outrage over having been portrayed in Shoeless Joe. Kinsella denied that Salinger, as a writer, had any real influence on his own writing, despite rumors to the contrary (some said that Kinsella had actually met Salinger).

Shoeless Joe won Kinsella the prestigious Houghton Mifflin Literary Fellowship and the Books in Canada First Novel Award in 1982. The book garnered good reviews, sold very well, and was made into a popular movie.

Adaptations
W. P. Kinsella's novel Shoeless Joe was made into the movie Field of Dreams, starring Kevin Costner. The movie grossed nearly $65 million in the United States. It helped establish Costner as a star and was later inducted into the National Film Registry.

Kinsella's eight books of short stories about life on reserves were the basis for the 1994 movie Dance Me Outside and CBC television series The Rez, both of which Kinsella considered to be of very poor quality. Fencepost Chronicles won the Stephen Leacock Award for Humour in 1987. The short story The Last Pennant Before Armageddon was adapted for the stage by the Live Bait Theater in Chicago in 1990.

Kinsella's short story "Lieberman in Love" was the basis for a short film that won the Academy Award for Live Action Short Film in 1996. The Oscar came as a surprise to Kinsella, who, watching the award telecast from home, had no idea the film had been made and released. He was not listed in the film's credits or acknowledged by director Christine Lahti in her acceptance speech. A full-page advertisement ran in Variety apologizing to Kinsella for the error.

Career interruption
In 1997 Kinsella was involved in a car accident that almost ended his writing career. He was struck by a car while walking and suffered a head injury when he hit the ground. He did not publish another novel for 14 years.

In a 1999 interview with the University of Regina's student newspaper, Kinsella explained that he could no longer write as he had lost his ability to concentrate. The injury also robbed him of his senses of taste and smell. Kinsella said he went from being a Type A personality to Type B. After the accident, he didn't feel like doing the things he had done in his former routine and didn't care. He did write book reviews to keep his name before the public.

Kinsella also felt that he was a victim of changes in the book industry during this period, saying in a 2010 interview with Maclean's Magazine, "I couldn't break into the market today if I was just starting out. The publishing industry is down to a few dozen mainly adventure and romance writers. There's still some academic fiction out there, but it has an incredibly small audience. Nobody really cares about it."

Later years
On September 1, 2011, Winnipeg, Manitoba's Enfield and Wizenty, a small press specializing in limited-edition hardcover books, released Kinsella's first published work in 13 years, Butterfly Winter. The unpublished manuscript had won the publisher's Colophon Prize the preceding March. The release was backed up by a "modest" book tour, according to the publisher.

The story of Julio and Esteban Pimental, twins whose divine destiny for baseball begins with games of catch in the womb, marks a return to form, combining Kinsella's long-held passions of baseball and magical realism. The University of Toronto Press released a trade hardcover edition on October 1. A short story of Kinsella's by the same title was included in his 1988 collection Red Wolf, Red Wolf, published by Totem Press (Collins Publishers).

A noted tournament Scrabble player, Kinsella became more involved with the game after being disillusioned by the 1994 Major League Baseball strike. He spent his final years in Yale, British Columbia, with his fourth wife, Barbara, occasionally writing articles for various newspapers.

Death
Kinsella suffered from diabetes for decades and chose to die with a physician's assistance on September 16, 2016, in Hope, British Columbia He was survived by two daughters and several grandchildren.

Honours

 * In 1991, Kinsella received an honorary Doctor of Literature degree from the University of Victoria.
 * In 1993, he was made an Officer of the Order of Canada.
 * In 2005, he was named to the Order of British Columbia.
 * In 2009, he was presented the George Woodcock Lifetime Achievement Award. Vancouver Public Library and Pacific Book World News Society jointly sponsor and present the annual prize to a British Columbia author for an enduring contribution to the literary arts. "I think a lifetime achievement award sounds pretty final, but I'm always happy to see my work recognized," Kinsella said.

Novels

 * Shoeless Joe (1982, winner of the 1983 Books in Canada First Novel Award and the Houghton Mifflin Literary Fellowship)
 * The Iowa Baseball Confederacy (1986)
 * Box Socials (1991)
 * The Winter Helen Dropped By (1994)
 * If Wishes Were Horses (1996)
 * Magic Time (1998)
 * Butterfly Winter (2011)

Short story collections

 * Dance Me Outside, (1977, short stories). Stories included: Illiana comes home – Dance me outside – Horse collars – Panache – Butterflies – The McGuffin – Caraway – Linda Star – The kid in the stove – Ups and downs – Penance – The inaugural meeting – Lark song – Feathers – Between – Longhouse – Gooch.
 * Scars, (1978, short stories). Stories included: Mr. Whitey – Bones – John cat – Manitou motors – Goose moon – The four-sky thunder bundle – Scars.
 * Shoeless Joe Jackson Comes To Iowa, (1980, short stories). Stories included: Fiona the first – A quite incredible dance – Shoeless Joe Jackson comes to Iowa – Waiting for the call – Sister Ann of the cornfields – The Grecian urn – Mankiewitz won't be bowling Tuesday nights anymore – A picture of the virgin – The blacksmith shop caper – First names and empty pockets.
 * Born Indian, (1981, short stories). Some of the stories in this collection are: Born Indian, Indian Struck, The Sister, and Jokemaker. This is an incomplete list.
 * This in German: Spaßvogel. transl. Klaus Schultz, in: Erkundungen. Verlag Volk und Welt, Berlin 1986
 * Moccasin Telegraph, (1983, short stories). Stories included: The bottle queen – Strings – The moccasin telegraph – Green candles – Parts of the eagle – The sense she was born with – The ballad of the public trustee – Where the wild things are – Dr. Don – The college – Nests – Vows – The queen's hat – The mother's dance – Pius Blindman is coming home – Fugitives.
 * The Thrill of the Grass, (1984, short stories). Stories included: The Last Pennant Before Armageddon – The Baseball Spur – How I Got My Nickname – Bud and Tom – Nursie – The Night Manny Mota Tied the Record – Driving Toward the Moon – Barefoot and Pregnant in Des Moines – The Firefighter – The Battery – The Thrill of the Grass.
 * Five Stories, (1985, short stories). Stories included: Frank Pierce, Iowa – Oh, Marley – Diehard – A Hundred Dollars Worth of Roses – Homer.
 * The Alligator Report, (1985, short stories). Stories included: The post office octopus – The Vancouver Chapter of the Howard G. Scharff Memorial Society – Gabon – Syzygy – The secret – The silver porcupine – Books by the pound – The East End Umbrella Company Endowment for the Arts – A page from the marriage manual for Songhees brides – How I missed the million dollar round table – The job – The redemption center – Marco in paradise – Voyeur – King of the street – The resurrection of trout fishing in America shorty – The letter writer – Preserving fireweed for the White Pass and Yukon Railroad – Strawberry stew – Electrico utensilio – The book buyers – Doves and proverbs – I am airport – The gerbil that ate Los Angeles – The history of peanut butter – The alligator report.
 * The Fencepost Chronicles, (1986, short stories, winner of the 1987 Stephen Leacock Memorial Medal for Humour). Stories included: Truth – The truck – Beef – The managers – The practical education of Constable B.B. Bobowski – To look at the Queen – The Indian nation cultural exchange program – The performance – The bear went over the mountain – Dancing – Real indians – The fog – Indian Joe.
 * Red Wolf, Red Wolf, (1987, short stories). Stories included: Red Wolf, Red Wolf – Something to Think About – Lieberman in Love – Driving Patterns – Elvis Bound – Oh, Marley – Truth and History – Evangeline's Mother – Billy in Trinidad – Apartheid – Butterfly Winter – For Zoltan, Who Sings – Mother Tucker's Yellow Duck.
 * The Further Adventures of Slugger McBatt, (1988, short stories). Stories included: Distances – Reports Concerning the Death of the Seattle Albatross Are Somewhat Exaggerated – The Further Adventures of Slugger McBatt – Frank Pierce, Iowa – K Mart – The Valley of the Schmoon – Punchlines – The Eddie Scissons Syndrome – Diehard – Searching for Freddy.
 * The Miss Hobbema Pageant, (1989, short stories). Stories included: Being invisible – Snitches – Pizza Ria – A lighter load – The Miss Hobbema pageant – Forgiveness among animals – Tricks – Graves – Coming home to roost – The sundog society – The election – Homer – A hundred dollars worth of roses – The medicine man's daughter.
 * The Dixon Cornbelt League and Other Baseball Stories, (1993, short stories). Stories included: The Baseball Wolf – The Fadeaway – The Darkness Deep Inside – Eggs – How Manny Embarquadero Overcame and Began His Climb to the Major Leagues – Searching for January – Feet of Clay – Lumpy Drobot, Designated Hitter – The Dixon Cornbelt League.
 * Brother Frank's Gospel Hour, (1994, short stories). Stories included: Bull – Miracle on Manitoba Street – The elevator – Ice man – Turbulence – Saskatoon search – The rain birds – George the cat – Conflicting statements – Dream catcher – Brother Frank's gospel hour.
 * The Secret of the Northern Lights, (1998, short stories). Stories included: Bleaching the Buffalo – The Auction – The Lightning Birds – Dangerous Consequences – Hide and Seek – The Porcupine Man – Practical People – Threes – The Legend – Fun and Games – Mother's Day – The Secret of the Northern Lights.
 * Baseball Fantastic, (2000, short stories). Stories included: Fred Noonan Flying Services – The Indestructible Hadrian Wilks. (This is a collection edited by Kinsella that includes stories by other authors.)
 * Japanese Baseball and Other Stories, (2000, short stories). Stories included: The Kowloon Cafe – Tulips – The Mansions of Federico Juarez – Japanese Baseball – The Indestructible Hadrian Wilks – The First and Last Annual Six Towns Area Old-Timers' Game – The Lime Tree – The Arbiter – Fred Noonan Flying Services – Wavelengths – Underestimating Lynn Johanssen.
 * The Essential W. P. Kinsella, (2015, short stories). Stories included: Truth – How I got my nickname –The night Manny Mota tied the record – First names and empty pockets – Searching for January – Lieberman in love – The Grecian urn – The fog – Beef – Distances – How Manny Embarquadero overcame and began his climb to the major leagues – The Indian Nation Cultrural Exchange Program – K Mart – The firefighter – Dr. Don – Brother Frank's Gospel Hour – The Alligator Report–with questions for discussion – King of the street – Wavelengths – Do not abandon me – Marco in Paradise – Out of the picture – The lightning birds – Punchlines – The last surviving member of the Japanese Victory Society – The job – The risk takers – The lime tree – Doves and proverbs – Waiting on Lombard Street – Shoeless Joe Jackson comes to Iowa.

Poetry

 * Rainbow Warehouse, (1989, poetry)

title: W. P. Kinsella


text:
Bananas in Pyjamas

Bananas in Pyjamas is an Australian children's television series that first aired on 20 July 1992 on ABC. It has since been syndicated in many countries and dubbed into other languages. In the United States, the "Pyjamas" in the title was modified to reflect the American spelling pajamas. It aired in syndication from 1995 to 1997 as a half-hour series, then became a 15-minute show paired with a short-lived 15-minute series The Crayon Box, under a 30-minute block produced by Sachs Family Entertainment titled Bananas in Pajamas & The Crayon Box. Additionally, the characters and a scene from the show were featured in the Kids for Character sequel titled Kids for Character: Choices Count. The pilot episode was Pink Mug.

The concept was inspired by the success of the song Bananas in Pyjamas, written by Carey Blyton in 1967, on Play School. This song, which had become a regular item on Play School, became the theme of the new series. The series was revamped in May 2011 as a CGI animated series created by Southern Star Entertainment.

Summary
The main characters are two anthropomorphic bananas named B1 and B2. Other characters include the three teddy bears Amy, Lulu and Morgan, and Rat in a Hat. The bananas, the teddies and Rat in a Hat all live in the same neighbourhood, a cul-de-sac called "Cuddles Avenue". The bananas live next to the beach and serve as beach patrol. The teddies live next to and look after the park. Rat in a Hat works and lives at the community store. The characters enjoy eating "munchy honeycakes" and "yellow jelly".

Inspiration
The characters were inspired by a 1969 song written for children by British composer Carey Blyton (nephew of renowned children's author Enid Blyton). The jaunty song describes (an unspecified number of) bananas in pyjamas chasing teddy bears, with a slight twist at the end where a musical sting emphasises that the bananas like to "catch them unawares". The song was shown on the Australian version of Play School for many years accompanied by an animation depicting pairs of bananas in blue-and-white striped pyjamas. This led to a "banana" plush toy being created as part of the "toy cast", which formed the basis of the physical appearance of B1 and B2.

Filming
Creator, producer and showrunner Helena Harris devised the content of the ABC program at ABC Studios. Two of the bear characters, Amy and Morgan, are named after Helena Harris' children. The show was performed using human actors in elaborate costumes, in the style of the British Tweenies and Teletubbies. In the show's early days, the voices of the bananas were provided by the same actors as were inside the costume, but the original actors eventually gave up that aspect of the show and substitutes wore the hot, stuffy costumes. The show aired new episodes from its 1992 debut to its eventual run in syndication in 2002. The show aired approximately three hundred episodes as well as four specials. Its debut in the United States was in 1995. It made videos and other media from 1995 to 1999. A toy line, developed by TOMY, debuted in 1996.

Animated version
On 2 May 2011, a new version of Bananas in Pyjamas, produced by Southern Star Entertainment in full CGI, was premiered on ABC2 in Australia; it was shown in other countries soon after that date. It contains new songs, stories, and characters, including Topsy the cheeky kangaroo, Charlie the inventive monkey and Bernard the wise old dog. Development of the new series commenced in 2009, and production started in early 2010. The new series contains 104 12-minute episodes.

Main characters

 * B1 the Banana: Duncan Wass (1992), Ken Radley (1993–2001), Michael James (2001), and then Stephen Shanahan (2011–13), Richard McCourt (2011–13)
 * B2 the Banana: Nicholas Opolski (1992–2001), Benjamin Blaylock (2001), and then Daniel Wyllie, Dominic Wood (2011–13)
 * Amy the Teddy Bear: Sandie Lillingston (1992), Mary-Ann Henshaw (1993–2001), and then Isabella Dunwill (2011–13)
 * Lulu the Teddy Bear: Taylor Owynns (1992–2001), Monica Trapaga (Bananas in Pyjamas (album release)), Sandie Lillingston (Bumping and a-Jumping) and then Ines Vaz de Sousa (2011–13)
 * Morgan the Teddy Bear: Jeremy Scrivener (1992–2001), and then Troy Planet (AU Version), Sophie Aldred (UK Version) (2011–13)
 * Rat in a Hat the Rat: Shane McNamara (1992–2013)

Recurring characters

 * Bernard the Dog: Keith Buckley (2011–13)
 * Charlie the Monkey: Matthew Whittet (2011–13)
 * Kevin the Butterfly: Mal Heap (1992–2001)
 * Maggie the Magpie: Emma De Vries (1994–2001)
 * Mrs Rat the Rat: Georgina Symes (2011–13)
 * Tolstoy the Tortoise: Emma De Vries (1996–2001) and then John Leary (2011–13)
 * Tomasina the Turtle: David Collins (1999–2001) and then Meaghan Davies (2011–13)
 * Topsy the Kangaroo: Roslyn Oades (2011–13)

Farm animals

 * Farm Animals puppeteers: Mal Heap, Terry Ryan & Emma De Vries (2001)
 * Camembert the Cow: Taylor Sweeney and then Eliza Logan (2011–2013)
 * Pedro the Pig: Michael Phillips and then Anthony O'Donohue (2011–2013)
 * Gregory the Chicken: Matthew Hudak
 * Peck the Duck: Aaron Oberst-Horner
 * Dolly the Sheep: Maura McGinley and then Olivia Pigeot (2011–2013)
 * Flash the Fish: Jacob Matta

Home video releases
The series has been released to home video, originally for VHS, later also for DVD.

 * Birthday Special (1992)
 * Show Business (1993)
 * Hiccups (1993)
 * Monster Bananas (1994)
 * Big Parade (1994)
 * Special Delivery (1994)
 * Surf's Up (1995)
 * Wish Fairies (1995)
 * It's Music Time (1996)
 * Singing Time (1997)
 * Dress Ups (1997)
 * Bumping and a-Jumping (1998)
 * Holiday Time (1998)
 * Fun Time (1999)
 * Surprise Party (1999)
 * It's Games Time (2000)
 * Story Time (2000)
 * Rock-A-Bye Bananas (2001)
 * Summertime (2001)
 * Dancing Daze (2002)
 * Celebration (2002)
 * Farm Adventure (2003)
 * Beat Box (2003)

Discography

 * Bananas in Pyjamas (1993)
 * Live on Stage (1994)
 * Are You Thinking What I'm Thinking? Mix (1994)
 * It's Singing Time! (1996)
 * Bumping and a-Jumping (1997)
 * Cuddles Avenue Christmas (1997)
 * It's Show Time! (1998)
 * Get Up and Dance! (2000)
 * Banana Split Mix (2002)
 * The Fun Collection (2002)
 * Sing and Be Happy (2004)
 * Welcome to Cuddlestown (2011)
 * Playtime! (2012)
 * Best Of: Classic (2015)
 * 50 Best Songs: 25 Years! (2017)

Cultural impact
The Bananas in Pyjamas were featured among other famous Australians during the parade of the 2000 Summer Olympics closing ceremony.

In 2017, the Royal Australian Mint produced a commemorative set containing five-cent and 20-cent coins to mark the 25th anniversary of Bananas in Pyjamas. The five-cent coin, which is coloured for the first time, depicts Rat-in-a-Hat, while the twenty-cent coin depicts B1 and B2.

title: Bananas in Pyjamas