text:
Circle of forces

The circle of forces, traction circle, friction circle, or friction ellipse  is a useful way to think about the dynamic interaction between a vehicle's tire and the road surface. The diagram below shows the tire from above, so that the road surface lies in the xy-plane. The vehicle to which the tire is attached is moving in the positive y direction.

In this example, the vehicle would be cornering to the right (i.e. the positive x direction points to the center of the corner). Note that the plane of rotation of the tire is at an angle to the actual direction that the tire is moving (the positive y direction). Put differently, rather than being allowed to simply "roll" in the direction that it is "pointing" (in this case, rightwards from the positive y direction), the tire instead must "slip" in a different direction from that which it is pointing in order to maintain its "forward" motion in the positive y direction. This difference between the direction the tire "points" (its plane of rotation) and the tire's actual direction of travel is the slip angle.

A tire can generate horizontal force where it meets the road surface by the mechanism of slip. That force is represented in the diagram by the vector F. Note that in this example, F is perpendicular to the plane of the tire. That is because the tire is rolling freely, with no torque applied to it by the vehicle's brakes or drive train. However, that is not always the case.

The magnitude of F is limited by the dashed circle, but it can be any combination of the components Fx and Fy that does not extend beyond the dashed circle. (For a real-world tire, the circle is likely to be closer to an ellipse, with the y axis slightly longer than the x axis.)

In the example, the tire is generating a component of force in the x direction (Fx) which, when transferred to the vehicle's chassis via the suspension system in combination with similar forces from the other tires, will cause the vehicle to turn to the right. Note that there is also a small component of force in the negative y direction (Fy). This represents drag that will, if not countered by some other force, cause the vehicle to decelerate. Drag of this kind is an unavoidable consequence of the mechanism of slip, by which the tire generates lateral force.

The diameter of the circle of forces, and therefore the maximum horizontal force that the tire can generate, depends upon many factors, including the design of the tire and its condition (age and temperature, for example), the qualities of the road surface, and the vertical load on the tire.

title: Circle of forces


text:
Fox spirit

Huli jing are Chinese mythological creatures usually capable of shapeshifting, who may either be benevolent or malevolent spirits. In Chinese mythology and folklore, the fox spirit takes variant forms with different meanings, powers, characteristics, and shapes, including huxian, hushen , husheng , huwang , huyao , huzu , and jiuweihu.

Fox spirits and nine-tailed foxes appear frequently in Chinese folklore, literature, and mythology. Depending on the story, the fox spirit's presence may be a good or a bad omen. The motif of nine-tailed foxes from Chinese culture was eventually transmitted and introduced to Japanese, Korean, and Vietnamese cultures.

Descriptions

The nine-tailed fox occurs in the Shanhaijing (Classic of Mountains and Seas), compiled from the Warring States period to the Western Han period (circa fourth to circa first century BC). The work states:

"靑丘國在其北其人食五穀衣絲帛其狐四足九尾. The Land of Blue Hills lies to the north where the inhabitants consume the Five Grains, wear silk and worship foxes that have four legs and nine tails."

In chapter 14 of the Shanhaijing, Guo Pu, a scholar of the Eastern Jin dynasty, had commented that the "nine-tailed fox was an auspicious omen that appeared during times of peace." However, in chapter 1, another aspect of the nine-tailed fox is described:

"Three hundred li farther east is Qingqiu Mountain, where much jade can be found on its south slope and green cinnabar on its north. There is a beast here whose form resembles a fox with nine tails. It makes a sound like a baby and is a man-eater. Whoever eats it will be protected against insect-poison (gu)."

In one ancient myth, Yu the Great encountered a white nine-tailed fox, which he interpreted as an auspicious sign that he would marry Nüjiao. In Han iconography, the nine-tailed fox is sometimes depicted at Mount Kunlun and along with Xi Wangmu in her role as the goddess of immortality. According to the first-century Baihutong (Debates in the White Tiger Hall), the fox's nine tails symbolize abundant progeny.

During the Han dynasty (202 BC – 9 AD; 25–220 AD), the development of ideas about interspecies transformation had taken place in Chinese culture. The idea that non-human creatures with advancing age could assume human form is presented in works such as the Lunheng by Wang Chong (27–91). As these traditions developed, the fox's capacity for transformation was shaped.

Describing the transformation and other features of the fox, Guo Pu (276–324) made the following comment: "When a fox is fifty years old, it can transform itself into a woman; when a hundred years old, it becomes a beautiful female, or a spirit medium, or an adult male who has sexual intercourse with women. Such beings are able to know things at more than a thousand miles' distance; they can poison men by sorcery, or possess and bewilder them, so that they lose their memory and knowledge; and when a fox is thousand years old, it ascends to heaven and becomes a celestial fox."

In Duìsúpiān (對俗篇) of the Baopuzi, it is written: "Foxes and dholes both can be eight hundred years of age, and when they are five hundred years old, they become enlightened and are able to take up human form. 狐貍、豺狼皆壽八百歲，滿五百歲，則善變為人形."

In a Tang Dynasty story, foxes could become humans by wearing a skull and worshipping the Big Dipper. They would try multiple skulls until they found one that fit without falling off.

The Youyang Zazu made a connection between nine-tailed foxes and the divine: "Among the arts of the Way, there is a specific doctrine of the celestial fox. [The doctrine] says that the celestial fox has nine tails and a golden color. It serves in the Palace of the Sun and Moon and has its own fu (talisman) and a jiao ritual. It can transcend yin and yang."

The fox spirits encountered in tales and legends are usually females and appear as young, beautiful women. One of the most infamous fox spirits in Chinese mythology was Daji, who is portrayed in the Ming Dynasty shenmo novel Fengshen Yanyi. A beautiful daughter of a general, she was married forcibly to the cruel tyrant King Zhou of Shang. A nine-tailed fox spirit who served Nüwa, whom King Zhou had offended, entered into and possessed her body, expelling the true Daji's soul. The spirit, as Daji, and her new husband schemed cruelly and invented many devices of torture, such as forcing righteous officials to hug red-hot metal pillars. Because of such cruelties, many people, including King Zhou's own former generals, revolted and fought against the Shang dynasty. Finally, King Wen of Zhou, one of the vassals of Shang, founded a new dynasty named after his country. The fox spirit in Daji's body was later driven out by Jiang Ziya, the first Prime Minister of the Zhou dynasty, and her spirit condemned by Nüwa herself for excessive cruelty.

Traditions
Popular fox worship during the Tang dynasty has been mentioned in a text entitled Hu Shen (Fox gods): "Since the beginning of the Tang, many commoners have worshiped fox spirits. They make offerings in their bedchambers to beg for their favor. The foxes share people's food and drink. They do not serve a single master. At the time there was a figure of speech saying, 'Where there is no fox demon, no village can be established.'"

In the Song dynasty, fox spirit cults, such as those dedicated to Daji, became outlawed, but their suppression was unsuccessful. For example, in 1111, an imperial edict was issued for the destruction of many spirit shrines within Kaifeng, including those of Daji.

On the eve of the Jurchen invasion, a fox went to the throne of Emperor Huizong of Song. This resulted in Huizong ordering the destruction of all fox temples in Kaifeng. The city was invaded the next day, and the dynasty fell after five months.

In late imperial China, during the Ming and Qing dynasties, disruptions in the domestic environment could be attributed to the mischief of fox spirits, which could throw or tear apart objects in a manner similar to a poltergeist. "Hauntings" by foxes were often regarded as both commonplace and essentially harmless, with one seventeenth-century author commenting that "Out of every ten houses in the capital, six or seven have fox demons, but they do no harm and people are used to them".

Typically fox spirits were seen as dangerous, but some of the stories in the Qing dynasty book Liaozhai Zhiyi by Pu Songling are love stories between a fox appearing as a beautiful girl and a young human male. In the fantasy novel The Three Sui Quash the Demons' Revolt, a huli jing teaches a young girl magic, enabling her to conjure armies with her spells.

Belief in fox spirits has also been implicated as an explanatory factor in the incidence of attacks of koro, a culture-bound syndrome found in southern China and Malaysia in particular.

There is mention of the fox spirit in Chinese Chán Buddhism, when Linji Yixuan compares them to voices that speak of the Dharma, stating "the immature young monks, not understanding this, believe in these fox-spirits..."

Fox spirits were thought to be able to disguise themselves as women. In this guise, they seduced young men who were scholars or merely intelligent to absorb "life essence through their semen". This allowed them to actually turn into humans, then huxian, and then, after 1,000 years, it would turn into a nine-tailed fox god which was able to navigate through higher realms of tiān.

A handful of Huli jing also appear in Wu Cheng'en's late 16th-century novel, the Journey to the West:
 * A brother-sister pair appear in the story-arc covering the demon-brothers, Golden-Horn and Silver-Horn, introduced as the demon-brother's venerable mother and maternal-uncle, respectively.
 * In the story-arc covering Princess Iron Fan, it's revealed that Princess Iron Fan's husband, the Bull Demon King, has left her for Princess Jade Countenance, a Huli jing demoness, who lured the Bull Demon King away from Princess Iron Fan by-means of her massive dowry.
 * In the story-arc concerning Pilgrims while they're passing through the Kingdom of Biqiu, the White Deer Spirit and his adopted-daughter, the White-Faced Vixen Spirit (also a Huli jing demoness), are plaguing the unwitting-king, who had married the White-Faced Vixen Spirit whilst she posed as a mortal young-woman and the White Deer Spirit as her mortal father; the White-Faced Vixen Spirit is later slain by Zhu Bajie.

Anime/Manga

 * Fox Spirit Matchmaker (2015)
 * Naruto (1999)
 * Naruto: Shippuden (2007)
 * Boruto: Naruto Next Generations (2017)

Film

 * Mr. Vampire IV (1988)
 * Painted Skin (2008) and its sequel (2012)
 * A Chinese Fairy Tale (2011)
 * League of Gods (2016)
 * Once Upon a Time (2017)
 * Hanson and the Beast (2017)
 * The Legend of Hei (2019)
 * Jiang Ziyia (2020)
 * Soul Snatcher (2020)
 * Shang-Chi and the Legend of the Ten Rings (2021)
 * Creation of the Gods I: Kingdom of Storms (2023)

TV series

 * The Legend of Nezha 哪吒传奇 (2003)
 * Strange Tales of Liao Zhai 新聊斋志异 (2005)
 * The Legend and the Hero (2007) and its sequel (2009)
 * Gu Family Book 구가의 서 (2013)
 * The Investiture of the Gods (2014) and The Investiture of the Gods 2 (2015)
 * Legend of Nine Tails Fox (2016)
 * Fox in the Screen 屏里狐 (2016)
 * Eternal Love (2017)
 * Moonshine and Valentine (2017)
 * Beauties in the Closet 柜中美人 (2018)
 * Investiture of the Gods (2019)
 * Love, Death & Robots Episode 8 (2019)
 * The Life of White Fox 白狐的人生 (2019)
 * Eternal Love of Dream (2020)
 * Miss Fisher's Murder Mysteries Season 1 Episode 6 (2012)
 * Tale of the Nine Tailed (2020)
 * My Roommate Is a Gumiho (2021)
 * Tale of the Nine Tailed 1938 (2023)

Books

 * Shanghai Immortal by A.Y. Chao (2023)
 * The Sacred Book of the Werewolf by Victor Pelevin (2004)

Music

 * The Good Kid and the Fox Spirit イイコと妖狐, a song by Kikuo (2023)

Games

 * Yae Miko from Genshin Impact
 * Ninetails from Ōkami
 * Ninetales, Zororak, and Delphox from Pokemon

Literature

 * Ting, Nai-tung. "A Comparative Study of Three Chinese and North-American Indian Folktale Types." Asian Folklore Studies 44, no. 1 (1985): 42–43. Accessed July 1, 2020. doi:10.2307/1177982.
 * Anatole, Alex. "Tao of Celestial Foxes -The Way to Immortality" Volumes I, II, III)(2015)
 * Ting, Nai-tung. "A Comparative Study of Three Chinese and North-American Indian Folktale Types." Asian Folklore Studies 44, no. 1 (1985): 42–43. Accessed July 1, 2020. doi:10.2307/1177982.
 * Anatole, Alex. "Tao of Celestial Foxes -The Way to Immortality" Volumes I, II, III)(2015)
 * Ting, Nai-tung. "A Comparative Study of Three Chinese and North-American Indian Folktale Types." Asian Folklore Studies 44, no. 1 (1985): 42–43. Accessed July 1, 2020. doi:10.2307/1177982.
 * Anatole, Alex. "Tao of Celestial Foxes -The Way to Immortality" Volumes I, II, III)(2015)

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

title: Fox spirit


text:
Talk:Crocodilia

Eight or nine species that may attack humans?
The article refers in a couple of places to "eight species" of crocodilians that are known to have attacked humans, but then goes on to list nine: saltwater crocodiles, Nile crocodiles, American alligators, black caimans, Morelet's crocodiles, mugger crocodiles, American crocodiles, gharials, and freshwater crocodiles. 184.36.83.153 (talk) 04:54, 27 January 2014 (UTC)

 * Are there any good references of gharials actually attacking people? I know they scavenge human corpses frequently, but I'm having a hard time envisioning them predating humans. HCA (talk) 20:50, 27 January 2014 (UTC)
 * There are rare cases of (rare) false gharials attacking, such as when a man was killed by a nearly 5m false gharial in Borneo in 2009 near the orangutan research station. Chiswick Chap (talk) 07:59, 28 January 2014 (UTC)

Re footnote 3, I would think "pebble worm" simply refers to the animal's appearance. Sergevan (talk) 16:23, 14 April 2014 (UTC)
 * The note is cited and gives Kelly's view of the reason; your interpretation is plausible, but do you have a citation that says that? We aren't allowed to state our own view in an article, that would be WP:OR. Chiswick Chap (talk) 17:18, 14 April 2014 (UTC)

Different language pages
I noticed that the English version of this page doesn’t have link to the Japanese page in the language bar. Nothing that’s a big deal, but I just thought it should be pointed out.

Original research in Spelling and etymology?
I'm not sure that recent changes to the etymology are correct reflections of the sources cited. In particular, the association of authors with etymologies is close to crossing the line to WP:OR: we should consider reverting these changes if they cannot be substantiated with direct quotations or more precise citations. To be clear, 1) the authors certainly existed and certainly created names; 2) the names seem to derive from Latin and Greek. What is not certain is that author1 used etymology1 and author2 used etymology2, this could be OR. Chiswick Chap (talk) 20:31, 29 December 2014 (UTC)
 * I have reverted the part of the edit discussed above, for the reason given. Chiswick Chap (talk) 08:49, 2 January 2015 (UTC)
 * I currently reverted things back as the cited data are correct. I am on board with using quotes from the originals, though it might be difficult. Owen's treatment of Crocodilia is readily accessible here: https://archive.org/stream/cbarchive_108440_1842reportonbritishfossilrepti9999/1842reportonbritishfossilrepti9999#page/n31/mode/2up (go to page 189) However, he doesn't do much more than state: The following are the names of the species of extinct Reptiles in the order in which they are described in the second and concluding part of the Report.

 * Similarly, Wermuth does explicitly state that he is opting for Crocodylia as an alternative to Loricata but it is all in German. The following quote comes from the paper: Zu der wissenschaftlichen Benennung der gesamten Ordnung der Krokodile nimmt in letzter Zeit anscheinend nur WERNER(1933b) Stellung, indem er den in seiner Synonymieliste zuerst aufgeführten lateinischen und von MERREM (1820)gepragten Namen ,,Loricata" als den ursprünglichsten betrachtet und ihn - offensichtlich auf Grund seiner vermeintlichen Prioritat - zur Benennung der Ordnung verwendet. Dieser Name erscheint mir nicht nur deshalb ungeeignet, weil er in der Gruppe der Mollusken auch fur die Placophoren gebraucht wird, sondern es spricht weiterhin gegen ihn, daß er keineswegs den Anspruch auf Prioritat erheben kann. OPPEL bezeichnet namlich bereits 1811 die Gesamtheit der Krokodile als Crocodilini, wahrend sich noch fruher bei GMELIN (1788) der Name Crocodili findet. Da aber die Namen sämtlicher Reptilien-Ordnungen die Wortendung ,, . . . a" tragen, mochte ich, um den Wortstamm bestehen zu lassen, zur Benennung der Krokodile auf den allgemein gebrauchlichen und anscheinend zuerst von OWEN (1841, Rep. Brit. Rept. - Zitiert nach v. WETTSTEIN 1937) benutzten Namen,, Crocodilia" zurückgreifen, ihn jedoch im Hinblick auf die zu erwartende Entwicklung der Nomenklatur-Regeln einer kleinen Korrektur unterziehen. Wenn namlich die Regeln, die bis jetzt nur fur die niederen Kategorien bis zur Hohe der Familie gelten, erwartungsgemaB auf die hoheren Einheiten ausgedehnt werden sollten, so waren als ,,Familia typica" fur die gesamte Ordnung der Krokodile die Crocodylidae (nach dem Genus typicum Crocodylus LAURENTUS 1768) anzusehen. Um diese Schreibweise auch im Namen der Ordnung zu berucksichtigen, schlage ich das Wort ,,Crocodylia" vor.

 * Google translate gets the gist across but I think that having someone better versed in German would be beneficial before using the quote. Note that neither Owen nor Wermuth talk about the etymology of the names. For that we are still relying on them following tradition and using standard Latin and Greek. Jura (talk) 18:04, 3 January 2015 (UTC)
 * That's....pretty much what the definition of what OR is. You're making the claim that one author derived "Crocodilia" from the latinisation of one greek word for "lizard"/"crocodile" (fine, even though the word crocodile already existed), and that e other author derived "Crocodylus" from two Greek words roughly meaning "shingle worm". With respect, the latter claim is along the same lines of arguing that "history" comes from "his story" or that "human" came from combining the words "humid" + "man" Firejuggler86 (talk) 13:39, 7 July 2021 (UTC)

Tlaltecuhtli
Tlaltecuhtli is NOT a sea monster in Aztec mythology. Read the linked article. This text should go. Senor Cuete (talk) 20:32, 18 October 2016 (UTC)
 * The linked article does in fact give T. that description, among others. Chiswick Chap (talk) 20:37, 18 October 2016 (UTC)
 * No, it says that a sea monster was torn in half and then one half became the Earth. He became the Earth God. A sea monster isn't a crocodile. Senor Cuete (talk) 01:22, 19 October 2016 (UTC)
 * Reworded the sentence, with new refs. Chiswick Chap (talk) 06:37, 19 October 2016 (UTC)

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"Differences between alligators and crocodiles" Section
There had at some point in the past been such a section, for which there is an existing Wikipedia redirect last edited on 25 October 2010. Since following a link there now leads generically to this page, and since this is a common point of confusion, I created such a section in my last edit. User:LittleJerry reverted it on the basis that the information it contained was already present in the article. While that's largely true, it was also scattered about in a way that would have required a general audience reader reviewing the entire article and taking notes when he/she came across differences, and making a judgement call about which were most salient. A dedicated section that centralizes and ranks these differences seems appropriate, and I would like to revert the reversion.Mikalra (talk) 18:00, 21 September 2017 (UTC)

 * I actually think it would be better to move it all to the Wikipedia redirect and make that a real page. It's a VERY common question, but also one that's difficult to fit into the format of the main Crocodilia page.  I'd lay $20 on the new page having higher traffic than this one within a year. HCA (talk) 19:27, 21 September 2017 (UTC)

 * The differences are noted in the "Morphology and physiology" section but also in the "Evolution and classification" section. The latter actually summarizes the major characteristics of each modern family. Hence a general reader can always go there to find the major differences, if the "Morphology and physiology" is too much to wade through. In addition, when it comes to differences between alligators and crocodiles, most readers are interested in outward physical differences. Things like glands and "alligators can survive better in cold" is not what they are looking for. Hence mentioning these things twice in two sections is redundant. LittleJerry (talk) 21:25, 21 September 2017 (UTC)

 * The information is in there, but it's not particularly distinct - it took me a few minutes of reading to find it, and I know what I'm looking for, in part because of the vast size of the page. And there will be plenty of readers who do not know what the words "morphology", "physiology" or "taxonomy" even mean.  What harm is done by replicating the information on a new page?  Then when they google "difference gator and croc", that page will pop up, and they'll have their answer without having to parse it our from a very long and detailed page.  And it doesn't disrupt the main page. HCA (talk) 22:46, 21 September 2017 (UTC)

 * Or you can move it to the crocodile or alligator article. LittleJerry (talk) 02:27, 22 September 2017 (UTC)
 * Had it redirected to here. Problem solved. LittleJerry (talk) 12:55, 22 September 2017 (UTC)

 * Please don't repeat a previous edit without addressing the reasons for which the edit was reverted. But I see that 20 minutes after removing the section from here you incorporated the info into Alligatoridae - thank you.  But have you checked for links specifically to the section that was here and updated them?
 * But thinking about it now, there does seem to be a problem in that identical sections appear on Crocodile and Alligatoridae, and as such they are liable to be edited divergently.  The section really needs to be maintained in one place.  I'll tag these. — Smjg (talk) 18:58, 23 June 2020 (UTC)

Duplicate sections
Now the same section is present on two pages - Crocodile and Alligatoridae. Currently they are identical except for the tag I've just added; they are liable to be edited divergently. As such, we need to resolve this duplication somehow. Options I can see:
 * Have the section once, be it here, on Crocodile, on Alligatoridae or some other page, and link to it from the others.
 * Expand the content into a new article, and link to it.
 * Create a template for this content and transclude it on the relevant pages (not sure what the rules are about doing this).

What do people think we should do? — Smjg (talk) 19:18, 23 June 2020 (UTC)

 * This article has that information spread throughout and we are under no obligation to ruin a featured article to create a neon-sign of information just to help people find an answer to a colloquial question. BTW this article is not just about crocs and gators but gharials as well. So putting it here is out of the question for me. I don't care about the other choices. LittleJerry (talk) 19:23, 23 June 2020 (UTC)

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Map legend
I see blue and green bits on the map. What do those colors stand for? PizzaMan  ♨♨♨  19:00, 24 January 2019 (UTC)
 * Well, the green represents the terrestrial range of crocodilians and the blue is the adjoining areas of sea in which certain maritime species might be found I suppose. It is not a very helpful map. Cwmhiraeth (talk) 07:32, 25 January 2019 (UTC)
 * That was also my interpretation. I added it to the picture description. Thanks.  PizzaMan  ♨♨♨  12:05, 1 April 2019 (UTC)

Date discrepancy?
The infobox gives an origin date of 83.5 million years ago, while the first paragraph says 95 million years ago... AnonMoos (talk) 21:30, 29 August 2020 (UTC)

Please update with: "Environmental drivers of body size evolution in crocodile-line archosaurs"
I think some very short information on this study should probably be added to the article (and/or possibly another, related one). It's currently featured in 2021 in science like so:

 * Time-series representations of mean relative body size.webptists conclude that environmental factors played a major role in the evolution of the slowly-evolving, currently low-diverse Crocodilia (and their ancestor-relatives), with warmer climate being associated with high evolutionary rates and large body sizes.

I uploaded some of the images of this study to WMCommons.

--Prototyperspective (talk) 17:10, 27 February 2021 (UTC)

 * Done. LittleJerry (talk) 21:39, 21 October 2021 (UTC)

Penis
" The crocodilian penis is permanently erect and relies on cloacal muscles for eversion and elastic ligaments and a tendon for recoil.[17]"

I don't think that this is correct. It's non-erectile rather than being erectile and in the permanently erect state. S C Cheese (talk) 09:57, 31 October 2021 (UTC)

Archosaur relationships, introduction
I believe it's been proposed that testudines are also members of the archosaur clade. it may be worth mentioning instead of just saying that the only extant lineages are crocodilians and birds. 2600:387:F:4211:0:0:0:9 (talk) 17:40, 27 March 2022 (UTC)
 * I'm not seeing anything that supports that claim. Can you cite your source(s)? Thanks Cougroyalty (talk) 14:32, 28 March 2022 (UTC)

title: Talk:Crocodilia


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Common goldeneye

The common goldeneye or simply goldeneye (Bucephala clangula) is a medium-sized sea duck of the genus Bucephala, the goldeneyes. Its closest relative is the similar Barrow's goldeneye. The genus name is derived from the Ancient Greek boukephalos ("bullheaded", from bous, "bull " and kephale, "head"), a reference to the bulbous head shape of the bufflehead. The species name is derived from the Latin clangere ("to resound").

Common goldeneyes are aggressive and territorial ducks, and have elaborate courtship displays.

Taxonomy
The common goldeneye was formally described in 1758 by the Swedish naturalist Carl Linnaeus in the tenth edition of his Systema Naturae under the binomial name Anas clangula. Linnaeus specified the type location as Europe but in 1761 restricted this to Sweden. The common goldeneye is now one of three species placed in the genus Bucephala that was introduced in 1858 by the American naturalist Spencer Baird. The genus name is from Ancient Greek oukephalos meaning "bullheaded" or "large-headed". The specific epithet is from Latin "clangere" meaning "to resound".

Two subspecies are recognised:
 * B. c. clangula (Linnaeus, 1758) – subarctic from Scotland and Scandinavia to Sakhalin and Kamchatka Peninsula (southeast Russia), in south through north Kazakhstan, north Mongolia and Heilongjiang (northeast China)
 * B. c. americana (Bonaparte, 1838) – subarctic from west Alaskan mainland to Labrador and New Brunswick, south through northern USA

Description
Adult males range from 45 - 51 cm and weigh approximately 1000 g, while females range from 40 - 50 cm and weigh approximately 800 g. The common goldeneye has a wingspan of 77–83 cm (30–33 in). The species is named for its golden-yellow eyes. Adult males have a dark head with a greenish gloss and a circular white patch below the eye, a dark back and a white neck and belly. Adult females have a brown head and a mostly grey body. Their legs and feet are orange-yellow.

The subspecies B. c. americana has a longer and thicker bill than the nominate B. c. clangula.

Distribution and habitat
Their breeding habitat is the taiga. They are found in the lakes and rivers of boreal forests across Canada and the northern United States, Scotland, Scandinavia, the Baltic States, and northern Russia. They are migratory and most winter in protected coastal waters or open inland waters at more temperate latitudes. Naturally, they nest in cavities in large trees, where they return year after year, though they will readily use nest boxes as well.

Breeding
Natural tree cavities chosen for nest sites include those made by broken limbs and those made by large woodpeckers, specifically pileated woodpeckers or black woodpeckers. Average egg size is a breadth of 42.6 - 44.0 mm, a length of 58.1 - 60.6 mm and a weight of 61.2 - 66.6 g. The incubation period ranges from 28 to 32 days. The female does all the incubating and is abandoned by the male about 1 to 2 weeks into incubation. The young remain in the nest for about 24–36 hours. Brood parasitism is quite common with other common goldeneyes, and occurs less frequently with other duck species. The broods commonly start to mix with other females' broods as they become more independent or are abandoned by their mothers. Goldeneye young have been known to be competitively killed by other goldeneye mothers, common loons and red-necked grebes. The young are capable of flight at 55–65 days of age.

Food and feeding
Common goldeneyes are diving birds that forage under water. Year-round, about 32% of their prey is crustaceans, 28% is aquatic insects and 10% is molluscs. Insects are the predominant prey while nesting and crustaceans are the predominant prey during migration and winter. Locally, fish eggs and aquatic plants can be important foods.

Predators
They themselves may fall prey to various hawks, owls and eagles, while females and their broods have been preyed upon by bears (Ursus spp.), various weasels (Mustela spp.), mink (Mustela vison), raccoons (Procyon lotor) and even northern flickers (Colaptes auratus) and American red squirrels (Tamiasciurus hudsonicus).

Conservation
The common goldeneye is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies. Around 188,300 common goldeneyes were killed annually by duck hunters in North America during the 1970s, representing slightly less than 4% of the total waterfowl killed in Canada during that period, and less than 1% of the total waterfowl killed in the US. Both the breeding and winter habitats of these birds have been degraded by clearance and pollution. However, the common goldeneye in North America is known to derive short-term benefits from lake acidification.

title: Common goldeneye


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Charmed Life (Billy Idol album)

Charmed Life is the fourth studio album by English rock singer Billy Idol, released on 30 April 1990 by Chrysalis Records.

The lead single, "Cradle of Love", appeared on the soundtrack of The Adventures of Ford Fairlane. The song was famous for its video, which won the 1990 MTV Video Music Award for "Best video from a film". The video directed by David Fincher, involved Betsy Lynn George as a teenager who knocks at her neighbour's door and asks to play a tape, before stripping to the music. The album's second single is a cover version of "L.A. Woman" by The Doors. Its video was also directed by Fincher. The third single off the album was "Prodigal Blues".

Charmed Life was certified Platinum by the RIAA and Silver by BPI in 1990.

Background
Unlike Idol's previous three albums, Charmed Life did not feature guitarist Steve Stevens, and most of the guitar work was handled by Mark Younger-Smith instead. Idol told Sounds in 1990, "Meeting Mark Younger-Smith gave me a lynchpin, someone I could work with by forming a sound and an idea for this album." Idol finished sessions for the album on 5 February 1990. During the following morning, after picking up the final mixes from Conway Studios, he was seriously injured in a motorcycle accident.

"Love Unchained" was inspired by a friend of Idol's who died in a motorcycle accident.

Personnel

 * Billy Idol – vocals, acoustic guitar (3, 7), arrangements, horn arrangements (11)
 * Greg Mathieson – keyboards (1)
 * John Philip Shenale – programming (2), additional bass (2)
 * Arthur Barrow – keyboards (3, 4, 6-9), programming (6, 11), additional bass (6), bass (8, 11)
 * Mark Younger-Smith – guitars, bass (2)
 * Jimmy Johnson – bass (1)
 * Phil Soussan – bass (3, 10), additional bass (11)
 * Vito – bass (4, 5, 6, 9)
 * Randy Jackson – bass (7)
 * Keith Forsey – drums (1, 2, 3, 5-9), percussion (11), arrangements
 * Mike Baird – drums (3, 4, 10, 11), programming (11), drum programming (11)
 * Alex Brown – backing vocals (3, 5)
 * Bunny Hull – backing vocals (3, 5)
 * Stephanie Spruill – backing vocals (3, 5)
 * The P.L.S. Singers – backing vocals (11)

Handclaps on "The Right Way"
 * The "Rude Dudes" (John Diaz, Keith Forsey, Billy Idol, Art Natoli and Mark Younger-Smith)

Production

 * Keith Forsey – producer
 * Jeff Aldrich – A&R
 * Brigid Waters – A&R
 * Tommy Vicari – mixing, engineer (1, 6, 8, 9)
 * Dave Concors – engineer (2-5, 7, 10, 11)
 * Kevin Becka – assistant engineer (1)
 * Bryan Carlstrom – assistant engineer (2, 3, 5, 7, 10, 11)
 * Ken Paulakovich – second engineer (5)
 * Ian Minns – assistant engineer (6)
 * Craig Porteils – mix assistant (1, 6), assistant engineer (6)
 * Paul Wertheimer – mix assistant (2, 10)
 * Bryant Arnett – mix assistant (3, 4, 5, 7, 8, 9, 11), assistant engineer (4, 6, 8, 9)
 * Bernie Grundman – mastering (1-5, 7-11)
 * George Marino – mastering (6)
 * AWest – art direction, cover design, cover illustration
 * Brass Ring Circus Studio – art direction
 * Billy Idol – cover design
 * Max Aguilera-Hellweg – photography
 * Art Natoli – personal assistant
 * Eric Barrett – management
 * Tony Dimitriades – management

Studios
 * Recorded at Lighthouse Studios (Los Angeles, California); Track Record Studios and Oasis Recording Studios (North Hollywood, California ); Conway Studios (Hollywood, California).
 * Mixed at Record Plant (Los Angeles, California) and Conway Studios
 * Tracks 1-5 & 7-11 mastered at Bernie Grundman Mastering (Hollywood, California).
 * Track 6 mastered at Sterling Sound (New York City, New York).

title: Charmed Life (Billy Idol album)


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Tarkan (singer)

Tarkan Tevetoğlu (born 17 October 1972) is a German-born Turkish singer-songwriter. Since the early 1990s, with his successful albums, he has been a prominent figure of pop music, recognized both in Turkey and worldwide.

Tarkan was born and raised in Alzey, Rhineland-Palatinate, in the-then West Germany. In 1986, he moved to Turkey together with his family. Tarkan, who had been interested in music since his childhood, went to high school at Karamürsel and took music lessons. In the following years, he met the owner of İstanbul Plak, Mehmet Söğütoğlu, and signed a contract to release his albums.

Tarkan released his first studio album, Yine Sensiz, in late 1992, with "Kıl Oldum" being chosen as its lead single. His second one, Aacayipsin, was released in 1994, while his third, Ölürüm Sana, in 1998: the latter included the song "Şımarık" ("spoilt" in Turkish), that became popular in a number of countries, also for its English version, "Kiss Kiss". In the same year he signed a new contract with Universal Music Group, and in 1999 his compilation album, Tarkan, received platinum and gold certifications in several countries. In 2001, he made music videos for the songs "Kuzu Kuzu", "Hüp" and "Verme", from his fourth studio album Karma, while two years later, Extended Play Dudu performed well on the sales charts. With the release in 2006 of his first English album, Come Closer, he became known in Europe: from this Long Play were selected "Bounce" and "Start the Fire" as the lead singles. In 2007 was the time of his seventh album, Metamorfoz, whose lyrics of the songs included were praised by the Turkish Language Association. In 2010, his eighth studio album, Adımı Kalbine Yaz, became the best-selling album of the year in Turkey, and in 2016 was released his ninth album, Ahde Vefa, which has a Classical Turkish theme.

Alongside his music career, Tarkan has taken part in numerous social projects and is known as "Megastar" and "Prince of the Bosporus" in the press. One of few European singers who has managed to span chart success without singing in English, he is also noted for his live stage performances. Tarkan's effect on Turkey has been compared by the Washington Post to that of Elvis Presley in the US around 1957 and Atlantic Records's co-founder Ahmet Ertegun described him as one of the best live performers he had ever seen. He has also been listed by Rhapsody as a key artist in the history of European pop music, with his signature song "Şımarık" as a keystone track that moved the genre forward. His albums have sold over 15 million copies. Throughout his career, he has won four Turkey Music Awards, six Golden Butterfly Awards and one World Music Award and has received various nominations.

Early life
Tarkan Tevetoğlu was born on 17 October 1972 in Alzey, West Germany, to Neşe and Ali Tevetoğlu. His mother named him after the comic book character Tarkan. The name Tarkan is said to originate from an ancient Turkic king or title, meaning bold and strong. Tarkan's interest in music began in childhood. Tarkan and his five siblings moved to Turkey in 1986 with their parents settled in Karamürsel, Kocaeli. After his father's death, his mother married an architect, Seyhun Kahraman. Tarkan has three step-siblings named Adnan, Gülay and Nuray, from his mother's first marriage, and a brother, Hakan, and a younger sister, Handan, from her marriage to his father.

Tarkan started his high school there and took Turkish Art and Music lessons at the Karamürsel Advanced Music Association. After his family moved to Istanbul, he continued his music studies at the Uskudar Music Society and started performing at various venues. After finishing high school, he made plans to move to Germany for higher education and meanwhile he signed a contract with İstanbul Plak's owner Mehmet Söğütoğlu to release his first album.

1992–2000: Yine Sensiz, Aacayipsin and Ölürüm Sana
Tarkan's first album, Yine Sensiz, was released on cassettes by İstanbul Plak on 26 December 1992. He wrote the lyrics for three of the album's songs, and composed three other songs himself and chose "Kıl Oldum" to be its lead single. On 18 June 1993, three new versions of the album were released on CD. Alongside "Kıl Oldum", he made music videos for the songs "Kimdi", "Gelip de Halimi Gördün mü?", "Vazgeçemem" and "Çok Ararsın Beni". The album sold 700,000 copies in total. Wrote one critic: "It happened maybe for the first time in the world of [Turkish] music, that "slang" words were used in songs and the brave young man began to draw attention as much with his songs as with his green eyes."

In May 1994, his second studio album Aacayipsin was released in Turkey; it was subsequently released in Germany and Russia in 1996 and 1998 respectively. Artists Sezen Aksu, Ümit Sayın, Ozan Çolakoğlu and Yıldız Tilbe were among those who were featured on the album. Tarkan wrote the lyrics for four songs, three of which were also composed by him; "Hepsi Senin mi?", "Unutmamalı", "Gül Döktüm Yollarına", "Kış Güneşi", "Şeytan Azapta", "Dön Bebeğim" and "Bekle" were the songs that got separate music videos. Aacayipsin sold two and a half million copies and earned Tarkan the "Best Male Pop Music Artist" award at the Turkey Music Awards. The song "Hepsi Senin mi?" was also awarded with the "Best Lyrics", "Best Composition" and "Best Song" awards.

In 1994, he experienced a dip in his celebrity status after he made a gaffe during an interview on a live broadcast marking the anniversary of the private Turkish TV channel ATV. When asked how he was on live television, his response was "Çişim var, ağabey." ("I've gotta pee, man.") He was publicly criticised for the comment and only after performing traditional songs on another TV special did he endear himself again to the nation. In part to remove himself from media scrutiny, Tarkan moved to New York in 1994 to learn English and complete his education at Baruch College. During this period he filmed a video to another song from his second album, "Dön Bebeğim", in New York. Again Tarkan stripped for this project, but this time he was sharing a bed with a female American model for the slow love song. While in the United States, he met the Turkish founder of Atlantic Records, Ahmet Ertegun. Tarkan has described Ertegun as his mentor in music and business. Ertegun, who died in December 2006, had long been preparing Tarkan for an American career.

In 1997, Tarkan found his own production company Hitt Müzik and in the same year he released his third studio album Ölürüm Sana, which sold three and a half million copies. Tarkan himself did the songwriting and composition for many of the songs on this album. "Şımarık", "İkimizin Yerine", "Salına Salına Sinsice", "Ölürüm Sana" and "Kır Zincirlerini" were the songs for which music videos were made. "Şımarık" became a hit in many countries; ranking third in France, the Netherlands, Sweden and Switzerland; second in Norway; and first in Belgium; it also ranked 26th on Billboard list of Latin Pop Songs. The song was later performed by many other artists. The song "Kır Zincirleri" also made it into Germany, Belgium and France's music charts. A copyright dispute erupted between Tarkan and Aksu over the track "Şımarık", which ultimately blocked the singer's chance to release an English-language version of the song. The music was initially credited as composed by Aksu, Tarkan and Çolakoğlu, but Tarkan later admitted in a 2006 interview that this had been done without Aksu's consent, and that Aksu was the true copyright owner. This dispute ended their successful musical partnership and friendship.

In 1998, Tarkan signed a contract with Universal Music Group. In the same year, his compilation album Tarkan was released in a number of countries including France, Argentina, Russia and the Netherlands, and it also contained his signature songs from his previous albums. Tarkan sold one and a half million copies worldwide earning the singer a platinum certification from Mexico, and gold certifications from Germany, Belgium, France, the Netherlands, Sweden, Colombia and Luxembourg. In 1999, Tarkan, who already had high sales figures around the world, was honored at the World Music Awards as the Best-Selling Turkish Artist. As the first artist of Turkish origin to sell 500,000 albums in France, in an interview for CNN he said: "It feels wild, you know, because in the beginning I never thought it was going to really happen. It's all in Turkish, you know, and nobody understands a word. But I think it's a groove. It's the kisses that are universal."

His entry into the European musical consciousness started a Turkish pop boom in Germany and Turkey in the 1990s, with his European successes signalling that the musical borders between Turkey and Europe, more specifically Germany, were dissolving. Because of his success, he became the prime example of a Turkish pop performer with an audience outside Turkey. His erotic persona was enhanced when the artist posed naked and semi-naked for the most popular Turkish magazines of the period.

2001–06: Karma, Dudu and Come Closer
Tarkan released the lead single of his fourth studio album "Kuzu Kuzu" in May 2001, which sold 200,000 copies on cassettes and 500,000 copies in CD format. Three months later, in July 2001 his fourth studio album Karma was released. Tarkan wrote and composed six of the songs, and Nazan Öncel, Mete Özgencil and Mazhar Alanson helped in its preparing. The album Karma sold one and a half million copies. Although Karma was not released worldwide, it was distributed in large shipments to Russia, where he had become the largest-selling non-Russian pop star. A million copies shipped to other areas of Europe, including Denmark. "Hüp" and "Verme", became the album's other songs to get music videos, and the clip for "Hüp" was subject to various negative criticisms. When the video, directed by Ferzan Özpetek, was released, the Turkish Radio and Television Supreme Council considered banning it from television broadcast, as some viewers complained that the scene in which Tarkan kisses actress Sinemis Candemir was too "explicit" and "pornographic". The case was reported through Europe by the BBC. At the Golden Butterfly Awards, "Hüp" was awarded with the "Best Video Clip" award; and Tarkan himself received the "Best Male Turkish Pop Music Soloist" award in addition to an honorary award. Tarkan's so-called Karma-era style projected an image totally different from his earlier persona in respect to both music and looks. His appearance – tight trousers, loose, unbuttoned shirts or tight T-shirts – and his new hairdo set a trend among young Turkish men, who started to copy his looks. According to hairdressers, his Kuzu Kuzu hairstyle was the most frequently requested style in the salons of Turkey. During this time he met Michael Lang, co-organiser of the Woodstock Festival, who became his international manager. According to Lang, Tarkan is a great singer and his performance is great.

In 2001 researcher Dr. N Aysun Yüksel published a book titled Tarkan – Yıldız Olgusu (Tarkan – Anatomy of a Star), which was withdrawn from bookshelves by a court order after Tarkan's lawyer Süheyl Atay sued the writer. According to the court's decision the book published personal information and copyrighted photos of the artist, and violated his good reputation. In 2002, Tarkan released two new singles "Özgürlük İçimizde" and "Bir Oluruz Yolunda"; modifications in the song "Bir Oluruz Yolunda" were made for the Turkish national football team's entry to the 2002 FIFA World Cup.

Tarkan's EP album Dudu was produced by Ozan Çolakoğlu and released in summer 2003 in Turkey, Ukraine, Russia and Japan. It was the first album of its kind to sell over a million copies in Turkey, while the title track won Tarkan a "Song of the Year Award" in Russia. Although musically a continuation from Karma, in terms of image Dudu presented different visuals from the 2001–2003 period. Sexuality became secondary in terms of fashion and concerts were toned down to become intimate affairs. The new image portrayed a more laid back Tarkan sporting shorter hair and wearing less glamorous designs. It was a declaration that glitz and sex were no longer a necessary tool to sell his works. Indicating his desire to show different sides of his personality, he said of his new look: "It's not important how sexy I look or whether I dance sexy". "Dudu", "Sorma Kalbim", "Gülümse Kaderine" and "Uzun İnce Bir Yoldayım", were the song from the EP that were made into music videos. The album sold one million copies. In 2004, Tarkan was chosen as the "Best Male Pop Music Artist" at the Turkey Music Awards.

In 2005, Tarkan released the single "Ayrılık Zor" followed by "Bounce" in 2006, which was sold in Europe as well. In April 2006, after a long period of preparations, he released his English studio album Come Closer on 7 April. It included 15 songs in total. The plans for Come Closer had begun in 1995, when media mogul Ahmet Ertegun encouraged Tarkan to break into the international market. The album, ranked 18th on Germany's music charts, 43rd on Switzerland's charts, 50th on Austria's charts; and sold 110,000 copies in Turkey. A Turkish music pirate, well before the official release, leaked four stolen demo recordings from the debut English album onto the internet. Thousands of copies were downloaded illegally before the album's official release. The leaked songs garnered considerable airplay in dance clubs in Turkey before Tarkan's management took legal action against DJ's playing them.

2007–15: Metamorfoz and Adımı Kalbine Yaz
On 23 December 2007, Tarkan's sixth studio album Metamorfoz was released. Tarkan wrote all of the songs of this album, and composed seven of them. For the Turkish idioms and proverbs widely used in the lyrics, he was praised by the Turkish Language Association, showing in the association's view a good example to Turkish youth in preserving the culture of the Turkish language. The critical response to Metamorfoz was lukewarm. Most music critics found the album musically lacking in comparison with Tarkan's earlier albums. Ecevit Kılıç, columnist for Sabah newspaper, hailed Tarkan on his return and called him the "Orhan Pamuk of music", saying that Tarkan, just like Nobel award recipient Pamuk, always does everything his own way, despite all the attacks he has received from the press. The album sold 200,000 copies and the songs "Vay Anam Vay", "Pare Pare", "Arada Bir" and "Dilli Düdük" were made into music videos. Tarkan received gold and diamond certifications from MÜ-YAP in 2008 and 2009 respectively. In 2008, the remixed versions of the songs from Metamorfoz were released in two CDs under the title Metamorfoz Remixes. Dutch DJ Tiësto served as the remix album's producer. In the same year, the singer released the song "Uyan", which he prepared to support Doğa Derneği (Nature Society).

In July 2010, Tarkan's seventh studio album Adımı Kalbine Yaz was released and sold 355,000 copies. The song "Sevdanın Son Vuruşu", which was released before the album, won the "Best Song", "Best Composition", and "Best Lyrics" award at the Turkey Music Awards; the album itself was chosen as the Best Album. The songs "Öp", "Acımayacak", "Kayıp" and "Adımı Kalbine Yaz" were turned into music videos, and "Öp" won the "Best Video Clip" award at the Turkey Music Awards. According to a survey conducted in 2011, Tarkan was the most searched artist on Google in Turkey.

In 2012, Tarkan recorded the song "Aşk Gitti Bizden" for Ozan Çolakoğlu's debut album 01. In the early months of 2013, he started working on his new album. In June 2013, he was featured on the album Aysel'in, in tribute to Aysel Gürel, and performed the song "Firuze". In August 2014, he recorded and performed the song "Hop De" for İskender Paydaş's album Zamansız Şarkılar 2. On 22 August 2014, he became the first Turkish singer to perform at the closing concert of Monte Carlo Sporting Summer Festival on its fortieth anniversary.

2016–present: Ahde Vefa and 10
On 11 March 2016, Tarkan's ninth studio album Ahde Vefa was released. It was produced by Hitt Müzik and distributed by DMC. Ahde Vefa is Tarkan's first Classical Turkish album. Within one week of its release, it sold 170,000 copies.

On 14 July 2016, his single "Cuppa" was released. At the 43rd Golden Butterfly Awards, Ahde Vefâ was chosen as the "Best Project" in the Turkish Classical Music category. Tarkan released his new album 10 under the label DMC on 15 June 2017. Out of the 14 songs in the album, "Yolla" was released as the lead single and made into music video. The songs "Beni Çok Sev", "Çok Ağladım", "Kedi Gibi", and "O Sevişmeler" were also released with separate music videos. Out of these songs, "Yolla" and "Beni Çok Sev" both topped the official music chart in Turkey.

According to Telifmetre, Tarkan was the male artist with the most streams in Turkey in the first six months of 2019.

On 17 February 2022, Tarkan released a new song, titled "Geççek". The song was widely shared by politicians of oppositional parties in Turkey, causing a political controversy.

Popularity

According to Ahmet Ertegun: "He's a great dancer, he moves beautifully, and he has the magic that all big hit artists share, which is the ability to get an emotion across through a recording."

His song "Şımarık" has been sampled by various artists in these countries, and the film industry in India has also used several Tarkan hits, including "Şıkıdım", "Kuzu Kuzu" and "Dudu", for various Bollywood films. His "Kış Güneşi" song has been chosen as one of "The Unforgettable Hits of Turkish Music" by Hürriyet.

Military service
At the height of his fame in 1999, Tarkan was called up for military service, which had been legally deferred since 1995. The deadline for beginning his service had passed in 1998, but due to contractual obligations abroad after the success of his compilation album he did not return to Turkey to do his military service. The media discussed whether Tarkan should be viewed as a deserter and stripped of his citizenship. Even the Turkish parliament discussed the issue. After the August 1999 earthquake shook Turkey, legislation was enacted that allowed those covered by the law to pay $16,000 for the benefit of the earthquake victims in return for shortening their military service obligation to 28 days. Tarkan returned to Turkey in 2000, took advantage of this law, and completed his service. Of his shortened time in military training, he said: "It was January and snowing like crazy. It was tough; the food was terrible. Eighteen months of my life for nothing? I thought my own dreams were more important."

Relationships and rumours
Tarkan was in a relationship with a French model in the early 1990s, and with a Turkish journalist between 1994 and 1996. Because Tarkan prefers to keep information about his personal life private, there has been speculation about his sexual orientation in the popular press. Photos stolen from his house in New York in 2001 were portrayed as compromising; they were photos with other men in swimwear at a public nude beach. In one of the pictures, he appears to be kissing a man. In an interview with Hürriyet, Tarkan contested the widespread assumption that he was gay. He claimed that other men had spread these rumours about him because he didn't conform to their image of being a man. One of his ex-girlfriends also denied he was gay. Tarkan later gave fewer and fewer interviews and television appearances, limiting himself to a small number of trusted journalists. In 2006, he said that his relationship with the media had gone wrong.

He was in a relationship with a lawyer, Bilge Öztürk, for seven years until they amicably parted in 2008. He has told the media that he regards the institution of marriage as outdated, stating he would only get married for the benefit of any children he might have. Tarkan owns a ranch-like property in Polonezköy, Istanbul, where he cultivates fruit trees and keeps animals, and owned a flat in Murray Hill, New York City.

Marriage
On 29 April 2016, Tarkan married his long-time girlfriend, Pınar Dilek. The couple met in 2011 after a concert in Germany. Dilek had been a fan of Tarkan long before they got acquainted. On 12 July 2018, the couple had their first child, a daughter named Liya.

Health
Tarkan, who had been suffering from sleeping issues and voice disorders due to thyroid nodules, underwent a successful surgery at Maslak Acıbadem Hospital in June 2019.

Albums

 * Yine Sensiz (December 1992)
 * Aacayipsin (May 1994)
 * Ölürüm Sana (July 1997)
 * Tarkan (International debut) (September 1998)
 * Karma (July 2001)
 * Come Closer (First English album) (April 2006)
 * Metamorfoz (December 2007)
 * Adımı Kalbine Yaz (July 2010)
 * Ahde Vefa (March 2016)
 * 10 (June 2017)
 * Kuantum 51 (June 2024)

Other releases

 * Dudu (EP) (June 2003)
 * Metamorfoz Remixes (July 2008)
 * Geççek (February 2022)

Awards

 * 1998 Kral TV Music Awards
 * Yılın Şarkısı (Song of the Year): Şımarık
 * 2001 MGD Golden Objective Awards
 * Yılın En İyi Pop Müzik Sanatçısı (Best Pop Singer of the Year)
 * 2001 Kral TV Music Awards
 * Yılın Erkek Pop Sanatçısı (Male Pop Singer of the Year)
 * Yılın Şarkısı (Song of the Year): Kuzu Kuzu
 * Yılın Videosu (Video of the Year): Hüp
 * 2002 MGD Altin Objektif Ödülleri
 * En İyi Erkek Yorumcu (Best Male Singer)
 * Yılın Albümü (Album of the Year): Karma
 * 2003 Kral TV Music Awards
 * En İyi Pop Erkek (Best male pop singer)
 * 2011 Kral TV Müzik Ödülleri
 * En İyi Albüm (Best Album): Adımı Kalbine Yaz
 * En İyi Erkek Sanatçı (Best Male Artist)
 * En İyi Şarkı (Best Song): Sevdanın Son Vuruşu
 * En İyi Beste (Best Composition): Sevdanın Son Vuruşu
 * Radyolarda En Çok Çalınan Sanatçı (Most Played Artist for Airplay)
 * Mü-Yap (Yılın En Çok Satan Albümü) (Best-Selling Album of the Year): Adımı Kalbine Yaz
 * 2011 Golden Butterfly Awards
 * En İyi Türk Pop Müzik Erkek Solist (Best Turkish Pop Music Male Soloist)
 * Yılın En İyi Şarkısı (Best Song of the Year): Sevdanın Son Vuruşu
 * 2017 Golden Butterfly Awards
 * En İyi Türk Pop Müziği Erkek Solist (Best Turkish Pop Music Male Soloist)
 * Yılın En İyi Şarkısı (Best Song of the Year): Beni Çok Sev

title: Tarkan (singer)


text:
B. A. Santamaria

Bartholomew Augustine Santamaria (14 August 1915 – 25 February 1998), usually known as B. A. Santamaria or Bob Santamaria and sometimes writing under the pseudonym John Williams, was an Australian Roman Catholic anti-communist political activist and journalist. He was a guiding influence in the founding of the Democratic Labor Party (DLP), the party that split from the Labor Party (ALP) in the 1950s.

Early and family life
Santamaria was born in Melbourne. The son of a greengrocer who was an immigrant from the Aeolian Islands in Italy, Santamaria was educated at St Ambrose's Catholic Primary School in Brunswick, behind his father's shop, and later at St Joseph's College in North Melbourne by the Christian Brothers. He finished his secondary education at St Kevin's College as dux of the school. One of his teachers, Francis Maher, belonged to a newly founded Roman Catholic association, the Campion Society. Santamaria attended the University of Melbourne, where he graduated in arts and law. He completed his Master of Arts degree with a thesis entitled Italy Changes Shirts: The Origins of Italian Fascism. Santamaria was a political activist from an early age who earned recognition as a leading Catholic student activist. During the Spanish Civil War, he was a strident supporter of the Nationalist side.

Santamaria was married in 1939 and had eight children. In 1980 his wife, Helen, died. He later married Dorothy Jensen, his long-time secretary. His younger brother, Joseph (Joseph Natalino Santamaria; also known as Joe), was a Melbourne surgeon and prominent in the Roman Catholic bioethics movement. His daughter Bernadette Tobin, is a leading Catholic bioethicist, and his son Joseph Santamaria is an Australian jurist and a former judge of the Court of Appeal of the Supreme Court of Victoria.

Catholic Worker movements
In 1936 he co-founded The Catholic Worker, a newspaper influenced by the social teaching of the Roman Catholic Church, particularly the encyclical Rerum novarum of Pope Leo XIII. He was the first editor of the paper which declared itself opposed to both communism and capitalism. Although the group campaigned for the rights of workers and against what it saw as the excesses of capitalism, Santamaria came to see the Communist Party of Australia, which in the 1940s made great advances in the Australian trade union movement, as the main enemy. In 1937 he was persuaded by Archbishop Daniel Mannix to join the National Secretariat of Catholic Action, a lay activist organisation.

During World War II, Santamaria gained an exemption from military service. In 1972 Arthur Calwell, a leading Catholic Labor politician, confirmed that Santamaria had "dodged" war service after Mannix had approached him to gain the exemption. When asked, Calwell stated "I want to put the record straight because apparently the Department of Defence cannot find any of the records, nor can the Department of Labour and National Service." Santamaria and two other men (Maher and K. W. Mitchell) were, argued Mannix, "members of the Secretariat of Catholic Action and that their work was equivalent to that of a minister of religion." Calwell said 'I regret my part in it... I want the country to know that these three men who have been pestering and opposing and demonstrating against the Australian Labor Party for the last 30 years were people who dodged military service'. He reflected on the Vietnam War and noted that all three supported it and "conscription of men for military service", adding "I regret that these people who benefited from our generosity did not beget any children who went out to fight in the war in Vietnam. Their sons were exempted, all of them, because they were employed in reserve institutions as were their fathers." Santamaria denied the allegation that he had ever sought an exemption and stated that 'if Mr Calwell repeated his statement outside of parliament he would take appropriate action'. Calwell moderated his statements regarding Maher, but not on Mitchell or Santamaria. In May 1972, previously missing records were found confirming Calwell's version.

In 1941, Santamaria founded the Catholic Social Studies Movement, generally known simply as "the Movement" or Groupers, which recruited Catholic activists to oppose the spread of communism, particularly in the trade unions. The movement gained control of the Industrial Groups in the unions, fighting the communists and gaining control of many unions. This activity brought him into conflict not only with the Communist Party but with many left-wing Labor Party members, who favoured a united front with the communists during the war. During the 1930s and 1940s Santamaria generally supported the conservative Catholic wing of the Labor Party, but as the Cold War developed after 1945 his anti-communism drove him further away from Labor, particularly when H.V. Evatt became Leader of the Labor Party in 1951.

Labor split and the National Civic Council
Events leading to "The Split" included a well publicised incident in the Parliament of Victoria. In October 1954, the Sydney Sun-Herald reported on a letter sent by the Victorian Minister for Lands, Robert W. Holt, to the federal secretary of the Australian Labor Party, a Mr J. Schmella, which the paper described as "probably as explosive, politically, as any document in Australia". Holt stated "My charge is that the Victorian branch is controlled and directed in the main by one group or section through Mr. B. Santamaria ... My criticism is not personal. It is leveled against those ideas which are contrary to what I believe Labor policy to be. Moreover, I have been requested by my numerous and trusted friends, who happen to be Catholic, to fight against the influence of Mr. Santamaria and those he represents, when he seeks to implement his ideas through an abuse of a political movement, designed to serve a truly political purpose."

Holt spoke of events the previous year and described attending a meeting of Santamaria's National Catholic Rural Movement Convention, following which he was, as Minister of Lands, approached by Santamaria and Frank Scully, where he was asked to use his position to make Crown land available to "Italians with foreign capital". When he refused, "Santamaria stated that I might not be in the next parliament", and Scully agreed. Holt considered this "a direct threat" which was confirmed when another M.L.A. confided that there was 'pressure' to oppose him for party selection for his seat. He added that "subsequent events which happened during the selection ballot' had convinced him that the ALP's "Victorian branch is not free to implement Labor policy and connives with this method". He concluded by stating his belief in:"a party machine which permits the true expression of opinion of its members, regardless of who or what they may be. The only requirement is loyalty to Labor ideals and principles. This is not possible in the present circumstances..."

Holt introduced the Land Bill without Santamaria's desired advantage and it was at first amended by another ALP member, then defeated, amended again and passed – with what Santamaria wanted – after two Liberal party members "switched sides". In December 1954, Santamaria launched a suit against Holt for libel, citing the letter published in-full by the Sun-Herald. The libel action was withdrawn, without explanation, in April 1955.

In 1954 Evatt publicly blamed "the Groupers" for Labor's defeat in that year's federal election, and after a tumultuous National Conference in Hobart in 1955, Santamaria's parliamentary followers were expelled from the Labor Party. The resulting split (now usually called "The Split", although there have been several other "splits" in Labor history) brought down the Labor government of John Cain senior in Victoria. In Victoria, Dr Mannix strongly supported Santamaria, but in New South Wales, Norman Cardinal Gilroy, the first Australian-born Roman Catholic prelate, opposed him, favouring the traditional alliance between the Church and Labor. Gilroy's influence in Rome helped to end official Church support for the Groupers. In January 1955, Santamaria used Dr Mannix as his witness to the statement, "There is no Catholic organisation seeking to dominate the Labor Party or any other political party ... So that there will be no equivocation, Catholics are not associated with any other secular body seeking to dominate the Labor Party or any other political party."

Santamaria made this statement when he denied charges from the general secretary of the Australian Workers' Union (Mr T Dougherty) that the "No. 2-man in the Victorian ALP" (Frank McManus), the "No. 2-man in the NSW Labor Party" (J. Kane) and the "secretary of the Australian Rules Football Association of Queensland" (Mr Polgrain) were Santamaria's "top lieutenants in The Movement". For his part, McManus suggested that Dougherty "appeared to have contracted an ailment from one of his political colleagues ... the chief symptom of this ailment was that the sufferer believed he was always detecting conspiracy theories".

Santamaria founded a new organisation no longer an organ of Catholic Action, the National Civic Council (NCC), and edited its newspaper, News Weekly, for many years. His followers, known as Groupers, continued to control a number of important unions. Those expelled from the Labor Party formed a new party, the Democratic Labor Party (DLP), dedicated to opposing both Communism and the Labor Party, which they said was controlled by Communist sympathisers. Santamaria never joined the DLP but was one of its guiding influences.

Anti-communist and social conservative
During the 1960s and 1970s, Santamaria regularly warned of the dangers of communism in Southeast Asia, and supported South Vietnam and the United States in the Vietnam War. He founded the Australian Family Association and the Thomas More Centre (for Traditional Catholicism) to extend the work of the NCC. However, his political role gradually declined. The death of the 99-year-old Archbishop Mannix (in 1963) ended the Roman Catholic Church's support for the NCC, even in Victoria. In 1974 the DLP lost all its seats in the Senate, and was wound up a few years later. Santamaria ran the NCC in a highly personal and (according to his critics) autocratic way, and in 1982 there was a serious split in the organisation, with most of the trade unionists leaving it.

The first of four unions disaffiliated after the split of 1955, attempted to return at the ALP Victorian State Conference in 1983. The Federated Clerks' Union and three others similarly aligned 'right-wing' unions – the Shop, Distributive and Allied Employees Association, the Federated Ironworkers' Association of Australia and the Amalgamated Society of Carpenters and Joiners – had their re-affiliation cases considered by a special Victorian ALP committee of ten which split on the decision 5 against 5 and had submitted separate reports to the State Conference. The Federated Clerks' case, 'after a bitter and at times acrimonious 3 and a 1/2-hour debate', which was 'centred on alleged links' with Santamaria, the National Civic Council, and the Industrial Action Fund, was defeated at the State Conference by 289 votes to 189. It was noted in a news report of the time that all four were likely to appeal to the federal ALP executive and that they had the support of then Prime Minister Bob Hawke. The ALP federal executive supported the re-affiliation before the 1985 Victorian State Conference while two of the unions were refused re-affiliation in the Northern Territory later that year. Ultimately, all four returned as ALP affiliated unions in some form; the Federated Clerks' Union amalgamated into the affiliated Australian Services Union in 1993, the Shop, Distributive and Allied Employees Association is a current ALP affiliated union, while the Federated Ironworkers' Association of Australia and the Amalgamated Society of Carpenters and Joiners amalgamated with the affiliated Australian Workers' Union.

But Santamaria's personal stature continued to grow, through his regular column in The Australian newspaper and his regular television spot, Point of View (he was given free air time by Frank Packer, owner of the Nine Network). He was one of the most articulate voices of Australian conservatism for more than 20 years.

According to historians David McKnight and C. J. Coventry, Santamaria worked for the United States of America as an informer in the 1960s and 1970s discreetly providing information about Australia to diplomatic officials.

He was offered a knighthood by Malcolm Fraser but declined it.

Traditionalism in the Catholic Church
Santamaria also opposed what he saw as liberal and non-traditional trends in the Catholic Church following the Second Vatican Council (which he had sought to attend as an independent observer), and founded a magazine through his Thomas More Centre, called AD 2000, to argue for traditionalist views. He welcomed Pope John Paul II's return to conservatism in many areas.

The conservative Archbishop of Melbourne, George Cardinal Pell, a staunch supporter of Santamaria, delivered the panegyric at his funeral, which was held at St. Patrick's Cathedral, Melbourne. Santamaria had died from an inoperable brain tumour at age 82 at Caritas Christi Hospice, Kew, Victoria. On his death Santamaria was praised by conservatives for his opposition to communism, but also by some on the left (such as veteran left-wing Labor ex-Cabinet Minister Clyde Cameron) and by social democrats (such as former Governor-General Bill Hayden) for his consistent critique of unrestricted capitalism.

Books

 * The Price of Freedom : the Movement – after ten years (1964) Campion Press
 * Point of View (1969) Hawthorn Press
 * The defence of Australia (1970) Hawthorn Press
 * Against the Tide (1981) Oxford University Press
 * Daniel Mannix : the quality of leadership (1984) Melbourne University Press
 * Australia at the crossroads : reflections of an outsider (1987) Melbourne University Press
 * Santamaria : a Memoir (1997) Oxford University Press (Revised ed. of Against the tide)
 * Your Most Obedient Servant : selected letters, 1938–1996 (edited by Patrick Morgan) (2007) Miegunyah Press (in association with the State Library of Victoria)
 * Running the Show : selected documents, 1939–1996 (edited by Patrick Morgan) (2008) Miegunyah Press (in association with the State Library of Victoria)

Pamphlets

 * What the church has done for the worker (1940) Renown Press
 * The fight for the land : the program and objectives of the National Catholic Rural Movement (1942) * Advocate Press
 * Self-government and the land : War Agricultural Committee Organisation (1943) NCRM
 * The earth - our mother (A study of the future of Australian agriculture) (1945) Araluen Publishing
 * Correspondence with Professor N. W. Arndt (1956)
 * The pattern of a Christian society (1956) Renown Press
 * Catholics and the fight against communism in Australia (1956) NCRM
 * Religious apostolate and political action (1956)
 * The mission of the layman : an analysis of the thought of Pius XII on the mission of the layman in the modern world (1957) Australian Catholic Publications
 * Peace or war? : The global strategy of world communism (1958) Renown Press
 * New Guinea : the price of weakness (1959) Australian Catholic Publications
 * The peace game (1959) National Civic Council
 * Spotlight on Santamaria : a commentary on the present and future of Australia (1960) Hawthorn
 * Equality in education (1960) Institute of Social Order
 * Communism returns to Yallourn (1960) Renown Press
 * The Movement 1941-60 : an outline (1961) Hawthorn Press
 * State aid in perspective (1966) Hawthorn Press
 * Determined to survive (1966) Hawthorn Press
 * The politics of 1966 (1966) Hawthorn Press
 * Contraception : reflections on the Pope's ruling (1968)
 * The Australian Labor movement (1966-71) : the issue of control (1971) Hawthorn Press
 * Philosophies in collision (1973) National Civic Council
 * Archbishop Mannix : his contribution to the art of public leadership in Australia (1978) Melbourne University Press
 * A.N.Z.U.S. in the "eighties" (1979) Australia Defence Association
 * The movement into the eighties : a study paper (1981) National Civic Council
 * The challenge of the eighties : a study paper (1981) National Civic Council Extension Committee
 * Test tube babies? (1984) Australian Family Association
 * The church in Australia : the visit of John Paul II in perspective (1986) National Civic Council
 * Presentation of discussion papers to the Society by Bob Santamaria and Clyde Cameron, Elder Hall Adelaide University, 26 October 1997 (2000) Society for the Study of Labour History

Critical studies, reviews and biographies of Santamaria

 * Ross Fitzgerald: The Pope's Battalions: Santamaria, Catholicism and the Labor Split: St. Lucia, University of Queensland Press: 2003; ISBN 0-7022-3389-7
 * Gerard Henderson: Mr Santamaria and the Bishops: Sydney: Hale and Iremonger: 1983; ISBN 0-86806-059-3
 * Xavier Connor, et al.: Santamaria: The Politics of Fear: Richmond: Spectrum: 2000; ISBN 0-86786-294-7
 * Joseph N. Santamaria: The Education of Dr Joe: Ballan: Connor Court Publishing: 2006; ISBN 0-9758015-3-8
 * Gerard Henderson: Santamaria: A Most Unusual Man: Melbourne: Miegunyah: 2015; ISBN 9780522868586

title: B. A. Santamaria


text:
Jimmie Lunceford

James Melvin Lunceford (June 6, 1902 – July 12, 1947) was an American jazz alto saxophonist and bandleader in the swing era.

Early life
Lunceford was born on a farm in the Evergreen community, west of the Tombigbee River, near Fulton, Mississippi, United States. The 53 acre farm was owned by his father, James. His mother was Idella ("Ida") Shumpert of Oklahoma City, an organist of "more than average ability". Seven months after James Melvin was born, the family moved to Oklahoma City.

The family next moved to Denver where Lunceford attended high school and studied music under Wilberforce J. Whiteman, father of Paul Whiteman, whose band was soon to acquire a national reputation. As a child in Denver, he learned several instruments. After high school, Lunceford continued his studies at Fisk University. In 1922, he played alto saxophone in a local band led by the violinist George Morrison which included Andy Kirk, another musician destined for fame as a bandleader.

Career
In 1927, while an athletic instructor at Manassas High School in Memphis, Tennessee, Lunceford organized a student band, the Chickasaw Syncopators, whose name was changed to the Jimmie Lunceford Orchestra. Under the new name, the band started its professional career in 1929, and made its first recordings in 1930. Lunceford was the first public high school band director in Memphis.

After a period of touring, in 1934 the band accepted a booking at the Harlem nightclub The Cotton Club for their revue "Cotton Club Parade" starring Adelaide Hall. The Cotton Club had already featured Duke Ellington and Cab Calloway, who won their first widespread fame from their inventive shows for the Cotton Club's all-white patrons. With their tight musicianship and the often outrageous humor in their music and lyrics, Lunceford's orchestra made an ideal band for the club, and Lunceford's reputation began to steadily grow.

Jimmie Lunceford's band differed from other great bands of the time because it was better known for its ensemble than for its solo work. Additionally, he was known for using a two-beat rhythm, called the Lunceford two-beat, as opposed to the standard four-beat rhythm. This distinctive "Lunceford style" was largely the result of the imaginative arrangements by trumpeter Sy Oliver, which set high standards for dance-band arrangers of the time. Though not well known as a musician, Lunceford knew how to play several instruments and was even featured on flute in "Liza".

Comedy and vaudeville played a distinct part in Lunceford's presentation. Songs such as "Rhythm Is Our Business" (featured in a 1937 musical short with Myra Johnson (Taylor) on vocals), "I'm Nuts about Screwy Music", "I Want the Waiter (With the Water)", and "Four or Five Times" displayed a playful sense of swing, often through clever arrangements by trumpeter Sy Oliver and bizarre lyrics. Lunceford's stage shows often included costumes, skits, and obvious jabs at mainstream white bands, such as Paul Whiteman's and Guy Lombardo's.

Despite the band's comic veneer, Lunceford always maintained professionalism in the music befitting a former teacher; this professionalism paid off and during the apex of swing in the 1930s, the Orchestra was considered the equal of Duke Ellington's, Earl Hines' or Count Basie's. This precision can be heard in such pieces as "Wham (Re-Bop-Boom-Bam)", "Lunceford Special", "For Dancers Only", "Uptown Blues", and "Stratosphere". The band's noted saxophone section was led by alto sax player Willie Smith. Lunceford often used a conducting baton to lead his band.

The orchestra began recording for the Decca label and later signed with the Columbia subsidiary Vocalion in 1938. They toured Europe extensively in 1937, but had to cancel a second tour in 1939 because of the outbreak of World War II. Columbia dropped Lunceford in 1940 because of flagging sales. (Oliver departed the group before the scheduled European tour to take a position as an arranger for Tommy Dorsey). Lunceford returned to the Decca label. The orchestra appeared in the 1941 movie Blues in the Night.

Lunceford's band was hired to play at the Elks Ballroom in Los Angeles on September 26, 1940 and again on June 26, 1947, by Leon Hefflin Sr. Most of Lunceford's sidemen were underpaid and left for better paying bands, leading to the band's decline.

Death
After playing McElroy's Ballroom in Portland, Lunceford and his orchestra were in Seaside, Oregon, to play at The Bungalow dance hall on July 12, 1947. Before the performance Lunceford collapsed during an autograph session at a local record store. He died while being taken by ambulance to the Seaside hospital. Lunceford was 45. Dr Alton Alderman performed an autopsy in nearby Astoria, Oregon, and concluded that Lunceford died of coronary occlusion.

Lunceford had complained about an aching leg as they arrived in Seaside, and had been suffering with high blood pressure for a while, and had recently complained about not feeling well. Allegations and rumors circulated that he had been poisoned by a restaurant owner, who was unhappy at having to serve a "Negro" in his establishment. He was buried at Elmwood Cemetery in Memphis.

Legacy
Band members, such as Eddie Wilcox and Joe Thomas, kept the band going for a time but finally had to break up the Jimmie Lunceford Orchestra in 1949.

In 1999, band-leader Robert Veen and a team of musicians set out to acquire permission to use the original band charts and arrangements of the Jimmie Lunceford canon. "The Jimmie Lunceford Legacy Orchestra" officially debuted in July 2005 at the North Sea Jazz Festival in the Netherlands.

The Jimmie Lunceford Jamboree Festival was founded by Bro. Ronald Cortez Herd II aka R2C2H2 Tha Artivist in 2007 with the aim of increasing recognition of Lunceford's contribution to jazz, particularly in Memphis, Tennessee. The Jimmie Lunceford Legacy Awards were created by the festival to honor exceptional musicians with Memphis ties as well as those who have dedicated their careers to excellence in music and music education.

Lunceford's music continues to have an impact. Most recently the tune "Rhythm is Our Business" was included as track on the compilation set Memphis Jazz Box in 2004 in honor of Lunceford's close ties to Memphis.

On July 19, 2009, a brass note was dedicated to Lunceford on the Beale Street Walk of Fame in Memphis.

Discography

 * "Chickasaw Stomp'"/"Memphis Rag" (Columbia W-145.373/4) - recorded Memphis, December 13, 1927

 * "In Dat Mornin'"/"Sweet Rhythm" (Victor V-38141) - recorded Memphis, June 6, 1930
 * "Flaming Reeds and Screaming Brass"/"While Love Lasts" (test pressings for Columbia, not released until 1967 on LP) - recorded New York, May 15, 1933
 * "Jazznocracy"/"Chillun, Get Up" (Victor 24522) - recorded New York, January 26, 1934
 * "White Heat"/"Leaving Me" (Victor 24586) - recorded New York, January 26, 1934
 * "Breakfast Ball"/"Here Goes" (Victor 24601) - recorded New York, March 20, 1934
 * "Swingin' Uptown"/"Remember When" (Victor 24669) - recorded New York, March 20, 1934,

Decca recordings

 * Jazz Heritage Series #3- Jimmie Lunceford 1: Rhythm Is Our Business (1934-1935) (LP: Decca #79237, 1968/LP reissue: MCA #1302, 1980)
 * Jazz Heritage Series #6- Jimmie Lunceford 2: Harlem Shout (1935-1936) (LP: Decca #79238, 1968/LP reissue: MCA #1305, 1980)
 * Jazz Heritage Series #8- Jimmie Lunceford 3: For Dancers Only (1936-1937) (LP: Decca #79239, 1968/LP reissue: MCA #1307, 1980)
 * Jazz Heritage Series #15- Jimmie Lunceford 4: Blues In The Night (1938-1942) (LP: Decca #79240, 1968/LP reissue: MCA #1314, 1980)
 * Jazz Heritage Series #21- Jimmie Lunceford 5: Jimmie's Legacy (1934-1937) (LP: MCA #1320, 1980)
 * Jazz Heritage Series #22- Jimmie Lunceford 6: The Last Sparks (1941-1944) (LP: MCA #1321, 1980)
 * Stomp It Off (1934-1935 Decca recordings) (CD: GRP #608, 1992)
 * For Dancers Only (1935-1937 Decca recordings) (CD: GRP #645, 1994)
 * Swingsation: Jimmie Lunceford (1935-1939 Decca recordings) (CD: GRP #9923, 1998)
 * The Complete Jimmie Lunceford Decca Sessions (Mosaic, 2014) 7-CD box set

Columbia recordings

 * Lunceford Special (1939-1940 Columbia Records recording) (78rpm 4-disc album set/8 songs/#C-175: 1948; original LP issue/12 songs/#CL-634: 1956; expanded LP reissue/16 songs/#CL-2715 and #CS-9515: 1967; CD release/22 songs/#CK-65647: 2001 Sony-Legacy )

Majestic recordings

 * Margie (1946-1947 Majestic recordings) (LP/13 songs/#SJL-1209: 1989 from Savoy Jazz label)

The Chronological...Classics series
Apart from live recordings and alternate takes, every recording by Jimmie Lunceford & His Orchestra is included in this 10 volume series from the Classics reissue label: note: these last recordings (1948-1949) were made after Lunceford's death by his long-time band under the joint-direction of Eddie Wilcox (his piano player) and Joe Thomas (his tenor sax player/vocalist).
 * The Chronological Jimmie Lunceford & His Orchestra 1930-1934 (#501)
 * The Chronological Jimmie Lunceford & His Orchestra 1934-1935 (#505)
 * The Chronological Jimmie Lunceford & His Orchestra 1935-1937 (#510)
 * The Chronological Jimmie Lunceford & His Orchestra 1937-1939 (#520)
 * The Chronological Jimmie Lunceford & His Orchestra 1939 (#532)
 * The Chronological Jimmie Lunceford & His Orchestra 1939-1940 (#565)
 * The Chronological Jimmie Lunceford & His Orchestra 1940-1941 (#622)
 * The Chronological Jimmie Lunceford & His Orchestra 1941-1945 (#862)
 * The Chronological Jimmie Lunceford & His Orchestra 1945-1947 (#1082)
 * The Chronological Jimmie Lunceford's Orchestra 1948-1949 (#1151)

CD compilations from different reissue labels

 * Rhythm Is Our Business (ASV/Living Era, 1992) -note: all tracks recorded 1933–1940, both the Decca and Columbia periods successively.
 * It's the Way That You Swing It: The Hits of Jimmie Lunceford (Jasmine, 2002) 2-CD set
 * Jukebox Hits 1935–1947 (Acrobat 2005)
 * Quadromania: Jimmie Lunceford–Life Is Fine (1935–45, Membran/Quadromania Jazz, 2006) 4-CD box set
 * Strictly Lunceford (Proper, 2007) 4-CD box set

title: Jimmie Lunceford


text:
Talk:Cafe Society

Untitled
Some sources put an accent on the e in Cafe and some don't. I'm looking for a photo.

Split this Up
I think this should be two categories, one for the collection of people that we know of as Cafe Society, and a second one for the New York business. -- k72ndst 11:36, 21 December 2005 (UTC)

"bright young things", how cute!!

You have neglected to include all the current cabaret happenings, such as the annual cabaret convention held in New York in October at Jazz at Lincoln Center, and the many cabaret performers around the country from Barbara Cook to KT Sullivan to Andrea Marcovicci, and all the men and women appearing at clubs like the Carlyle etc. Bobby Short was the ultimate cabaret singer, and the songs of Cole Porter, Berlin, Gershwin, whether or not they were in Broadway shows, are typical cabaret songs. They tell a story, they require an actor/singer to do it well. Cabaret lives!

First integrated nightclub?
Is it correct to say that this was the United States's first integrated nightclub? Badagnani 06:31, 22 May 2007 (UTC)

title: Talk:Cafe Society


text:
Café society

Café society was the description of the "Beautiful People" and "Bright Young Things" who gathered in fashionable cafés and restaurants in New York, Paris and London beginning in the late 19th century. Maury Henry Biddle Paul is credited with coining the phrase "café society" in 1915.

Members attended each other's private dinners and balls, and took holidays in exotic locations or at elegant resorts. In the United States, café society came to the fore with the end of Prohibition in December 1933, and the rise of photojournalism to describe the set of people who tended to do their entertaining semi-publicly—in restaurants and nightclubs—and who would include among them movie stars and sports celebrities. Some of the American nightclubs and New York City restaurants frequented by the denizens of café society included the 21 Club, El Morocco, Restaurant Larue, and the Stork Club.

title: Café society


text:
Member of the Scottish Parliament

Member of the Scottish Parliament (MSP; Ball Pàrlamaid na h-Alba, BPA; Memmer o the Scots Pairliament, MSP) is the title given to any one of the 129 individuals elected to serve in the Scottish Parliament.

Electoral system
The additional member system produces a form of proportional representation, where each constituency has its own representative, and each region has seats given to political parties to reflect as closely as possible its level of support among voters. Each registered voter is asked to cast 2 votes, resulting in MSPs being elected in one of two ways:
 * 73 are elected as First past the post constituency MSPs and;
 * 56 are elected as Regional additional member MSPs. Seven are elected from each of eight regional groups of constituencies.

Types of candidates
With the additional members system, there are 3 ways in which a person can stand to be a MSP:
 * a constituency candidate
 * a candidate named on a party list at the regional election
 * an individual candidate at the regional election

A candidate may stand both in a constituency and on a regional list. Constituency seats are decided first. Candidates who succeed in being elected to a constituency seat will then have their name removed from the regional list process.

Elections
All MSP positions become simultaneously vacant for elections held on a five-year cycle. The Scotland Act 1998 as amended by the Fixed-term Parliaments Act 2011 sets out that ordinary general elections for the Scottish Parliament are held on the first Thursday in May, every five years.

If a vacancy arises at another time, due to death or resignation, then it may be filled in one of two ways, depending on whether the vacancy is for a first-past-the-post constituency MSP or for an additional-member MSP.

A constituency vacancy may be filled by a by-election. An additional-member vacancy may be filled by the next available candidate on the relevant party list. In case there is no next available person, then the vacancy will remain. This situation occurred in April 2014 following the death of Margo MacDonald, independent MSP for the Lothian region.

Title
An MSP is known as Name MSP (Name BPA in Gaelic). For instance, Mike Russell can be entitled either Mike Russell, MSP, or Mìcheal Ruiseal, BPA.

title: Member of the Scottish Parliament


text:
Talk:Eastern Finland Province

Untitled
Because county is a word usually associated with the UK, Ireland and the US. Province is used more often by Europeans to describe regional areas. County has too many possible meanings. FearÉIREANN 03:44 9 Jul 2003 (UTC)

The coat of arms is mirrored and also wrong, it should be rounded in the bottom. / MoRsE 23:13, 17 May 2005 (UTC)]

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title: Talk:Eastern Finland Province