text:
Talk:Fluid dynamics

Page Doesn't Link to Hebrew Page
The Hebrew page https://he.wikipedia.org/wiki/%D7%94%D7%99%D7%93%D7%A8%D7%95%D7%93%D7%99%D7%A0%D7%9E%D7%99%D7%A7%D7%94 links to the English page but not vice versa. 147.236.176.90 (talk) 05:53, 22 July 2022 (UTC)

Fluid mechanics vs. fluid dynamics vs. continuum mechanics
I don't like the definition: "Fluid mechanics is a branch of continuum mechanics." Continuum fluid mechanics is only a subset of the entire field of fluid mechanics. Statistical mechanics, in which a fluid is not assumed to be a continuum, is even mentioned later in the paragraph. A dictionary defines fluid mechanics as: "a branch of mechanics dealing with the properties of liquids and gases." I think that in an encyclopedia this should described in further detail, maybe: "a branch of physics, or mechanics, dealing with the properties of liquids and gases, specifically with stationary fluids, hydrostatics, and fluids in motion, fluid dynamics. The study of fluid mechanics is dependant on the principles of conservation of mass (see continuity equation) and conservation of momentum (see Navier-Stokes equations,) and often relies on the study of thermodynamics. The object of the study of fluid mechanics is most often to calculate the forces exerted by a fluid flow (aerodynamics), to calculate the mass flow rate at a certain region within a fluid flow (pipes and plumbing), to describe the motion of a solid within a fluid (such as boat or an airplane wing,) to describe the noise generated by or propagating through a fluid, or even to describe the properties of a fluid." I would change the article myself, but I feel such a major change should be discussed. --Sean

Better, Thanks. -Sean

 * To me, fluid mechanics (or dynamics if you prefer) is a subset of continuum mechanics (which also includes elasticity). So, there'll be an inconsistency at one level or another no matter what you do. I don't have a strong opinion, otherwise. -- hike395 21:37, 31 Dec 2003 (UTC)

I think the problem is in the way of defining the concept of "fluid". If you define "fluid" as "liquids and gases" you're in troubles. If you define "fluid" as a "continuum which is perfectly deformable..." Things are clear: liquids and gases are phases of matter and are studied by statistical mechanics; fluids are continuos media and are studied by fluid mechanics or dynamics (this alternative remains) --crodrigue1 29 Jun 2004

 * This is a GOOD idea, we could say something like "continuum which is perfectly deformable...", e.g. liquid and gases in usual conditions to be precise and clear to everybody. --achab 14:05, 15 November 2005 (UTC)

 * To be precise, the definition of a fluid is a substance which deforms continuously under the action of a shear force, however small. For clarity, both definitions could probably be given. -EndingPop 21:10, 28 February 2006 (UTC)

 * The term fluid dynamics is actually a subset of fluid mechanics. Whereas dynamics relates to motion, mechanics is a broader term that includes both dynamics and statics. So hydrostatics is not actually a subset of fluid dynamics, but it is a subset of fluid mechanics. Moreover, the course actually taught to undergraduate engineers is generally called fluid mechanics. Therefore, I'd like to change back the title. Unfortunately, Wikipedia is not letting me do so. Any suggestions, apart from involving an admin?CO GDEN  02:46, Nov 5, 2004 (UTC)

I'd agree: I think Fluid Mechanics should redirect to Fluid mechanics instead of this article.

 * Actually, I created a separate fluid mechanics page.CO GDEN  20:52, Nov 13, 2004 (UTC)

I meant have Fluid Mechanics redirect to fluid mechanics instead of fluid dynamics - Reubot

Alright I've changed the redirect, also COGDEN, you might want to have a look at this WikiProject Fluid dynamics/Top_draft - Reubot

Fluidics
Michael Hardy suggested: The material at fluidics should be incorporated into this article, and then that page should be redirected to this one.

About incorporation of Fluidics into Fluid dynamics: it is hardly advisable IMO. Modern usage of the term fluidics indicates that it differs from Fluid dynamics like, say electronics from Electromagnetism: fluidics is about control devices based on fluid dynamics. Mikkalai 19:43, 7 Sep 2004 (UTC)

 * Agreed. A more appropriate solution is to expand the stub entry on fluidics into a complete standalone article. Kaszeta 20:36, 7 Sep 2004 (UTC)

Continuity?
Any particular reason that the continuum assumption is being called "the continuity assumption"? I've always heard it referred to as a "continuum assumption" or "continuum approximation."

Continuity refers to the conservation of mass control volume equation, so it should not be used to mean a continuum specifically so we can avoid ambiguity. - EndingPop

Compressible vs incompressible flow
It's much better now. Thanks. Roger Jeurissen.

 * I read "where D / Dt is the substantial derivative, which is the sum of local and convective derivatives" but Material derivative page states "substantial derivative" = "convective derivative." Personally, I like "total derivative" (as opposed to a partial derivative) but perhaps this is too mathematically oriented.  Lots of legacy language to sort thru on first reading.  IDave2 (talk) 05:30, 27 May 2009 (UTC)

iw links
I tried to sort out the iw links in fluid dynamics and fluid mechanics. It's very confusing because some wikipedias have only one article for both concepts, while others have separate articles. Someone could clear this up... -Easlak 08:11, 10 November 2005 (UTC)

help
ok i need help which shape best travels through water?
 * a Streamlined shape.

Where are the governing equations?
Is there any page regarding governing equations of fluid dynamics (continuity, momentum, energy)? I would love to add some basic definitions if there is none. Cheers, MrMo 10:59, 30 December 2005 (UTC)

 * There's a whole section on the governing equations, which points to Navier-Stokes equations -- Kaszeta 14:01, 30 December 2005 (UTC)

 * I suspect the Navier-Stokes equations are what most people will be looking for, but they only provide the three momentum equations. There is a page for the continuity equation in fluid dynamics (conservation of mass) that should probably be linked to somewhere on this page as well. I have been unable to find a page for the energy equation for fluid dynamics, but it should probably be included in this article somehow. 134.117.72.229 (talk) 19:43, 12 August 2010 (UTC)

Citation of "Pope, 2000"
Could someone who knows the reference matieral please properly cite this source. I can't find any materials published by (I'm assuming Alan) Pope in 2000. The closest I can find is "Low-speed wind tunnel testing" from 1999. --Ig0r 22:11, 21 August 2006 (UTC)

It seems most likely that "turbulent flows" by Stephen B. Pope, published in 2000 by cambridge university press, is the cited reference. I've not combed the book to search for this specific remark, but on page 357, in the chapter on DNS, I found the following sentence:"Computer times are typically on the order 200 h on a supercomputer, and then only flows with low or moderate Reynolds numbers can be simulated." This, together with the observation that most macroscopic aerodynamic or hydrodynamic flows are of high Reynolds number, supports the statement. I didn't write this part, so I cannot guarantee that this exact statement is not in the book. I've changed the citation, but not the quote. Roger Jeurissen. —Preceding unsigned comment added by 86.82.146.207 (talk) 16:38, 29 July 2007

Other fundamental engineering topics
Why is there a separate section for Fluid dynamics? It would be better to make a template for those topics. -- Myth (Talk) 05:42, 9 March 2007 (UTC)

Steady vs unsteady flow
Pretty much everything in this section seems to be factually inaccurate, so I think it could do with a complete rewrite. I'm not sure this is the place to discuss streamlines. Is there somewhere better to define them and also the related concepts of steaklines and pathlines? Also, it would probably be better to separate the issues of time-dependence and irrotationality too. The significance of irrotationality (i.e. following from irrotational initial conditions) should probably be explained with reference to Kelvin's circulation theorem.
 * Streamline definition http://scienceworld.wolfram.com/physics/Streamline.html
 * Oscillating Poiseuille flow in a circular pipe is not steady, but particle trajectories follow the (axial) streamlines.
 * Flow is potential flow iff there's a velocity potential iff it's irrotational.
 * Classical stagnation point flow and a 2D vortex are both potential flow, but neither have have uniform velocity over any 'cross-section'.

 * -- Rjw62 21:28, 18 July 2007 (UTC)

I've rewritten it completely, but left the original text commented out. Streamlines, potential flow etc. are useful concepts that deserve mention, but they have no relation to steadiness of the flow in particular. They should be described elsewhere. This part still needs editing. Roger Jeurissen.

 * That's much better :-). Streamlines, streaklines and pathlines are already covered in their own article and linked from this one at the bottom. A new section for potential / irrotational flow would probably be worthwhile though (at the same level as the steady/unsteady section). -- Rjw62 18:59, 30 July 2007 (UTC)

Repetition in Other approximations
The section on Stokes flow seems almost identical to part of "Viscous and Inviscid flow" further up the page but going into more depth. Is this intentional or would it be better to write these two sections together? -- Estantia

I agree that this section seems to be factually incorrect. Steady flow has little to do with streamlines or turbulence. The only important consideration is that the system does not change with time.

Hydrodynamics merge proposal
Since hydrodynamics is only a list of people, references and links, without its own description of topics typical for hydrodynamics, I propose to redirect it to here (that is Fluid dynamics). I already included some of the references. Also the figure and the link to magnetohydrodynamics can be moved here. The part with the list of historic contributions can be added in this Talk page, for the case somebody is interested to start a History section. Kraaiennest (talk) 23:41, 17 February 2008 (UTC)
 * In my opinion it is better to keep a separte page for hydrodynamics. Although hydrodynamics is a subset of fluid dynamics, it is a major topic by itself. I agree with you that the present article mainly consists of list of people who contributed the developments of hydrodynamics. But it can be cleaned up to meet wikipedia standards. May be magnetohydrodynamics can merge with hydrodynamics.--Salih (talk) 12:57, 14 March 2008 (UTC)

 * Can you specify why hydrodynamics is a "major topic by itself". As far as I can see, it is mostly an old synonym for fluid dynamics, or a synonym for fluid dynamics applied to water motion. E.g. Lamb's Hydrodynamics (ISBN 0521458684), from 1892, does not only deal with water or liquids, but also viscous flows, air flows and sound waves (in air).
 * It has not been possible to convert the hydrodynamics article into a good article, since it's creation in 2001. Also no attempts have been made since the merge-tag was attached to it. Neither has there been, up to now, discussion on the proposed merger. To my opinion, this is because it is mainly a synonym for fluid dynamics (if you wish, applied to liquids or water).
 * Further, a merger of hydrodynamics into magnetohydrodynamics does not seem logical to me. Magnetohydrodynamics studies the interaction between fluid dynamics and electromagnetism, in salt water, plasma's and liquid metals. While hydrodynamics is a synonym of fluid dynamics (eventually: applied to water or other liquids). Searching for hydrodynamics, I would not expect to be redirected to magnetohydrodynamics.
 * Crowsnest (talk) 16:22, 14 March 2008 (UTC)
 * The ideas from hydrodynamics (study of ideal fluid flows) are still used in boundary layer theory (determination of pressure field outside the boundary layer) to match the inviscid solution and viscous solution at the edge of the boundary layer. However, since there are no objections from other editors apart from mine, you may proceed with the merger proposal. --Salih (talk) 13:15, 15 March 2008 (UTC)

I merged hydrodynamics into this article, and changed it into a redirect. The old text of hydrodynamics, containing interesting information on its history, can be found here. Crowsnest (talk) 00:35, 24 March 2008 (UTC)

What to do with Hydromechanics?
There also exists the article Hydromechanics, seemingly mainly a copy of the Encyclopædia Britannica (1911) article. In those days, fluid mechanics was called hydromechanics. It gives a nice background on the history of fluid dynamics until 1900. Any suggestions what to do with this? Leave as it is, or transform into an article on the History of fluid dynamics, merge into a History section over here, delete and change into a redirect? Crowsnest (talk) 23:22, 10 June 2008 (UTC)

 * Hi Crowsnest. I am in favour of transforming it into a sub-article on the history of fluid dynamics, posting it into Fluid dynamics, and changing Hydromechanics into a redirect.  Dolphin51 (talk) 02:52, 11 June 2008 (UTC) Q: @everyone,  isn't hydrostatics under hydromechanics? Ema--or (talk) 23:24, 18 February 2021 (UTC)

Anyone know about single-phase vs poly-phase flows?
Perhaps some chemical engineer should put that in. Commutator (talk) 06:53, 11 September 2008 (UTC)

Just need some advice please
I am in the middle of a gedanken experiment and need to find an article about fluid behaviour i came across earlier once.

But alas for the life of me, i can't remember the name of the principle involved. I thought this would be the perfect place to look but no luck.

It involved the behaviour of a small stream water, say coming from a restricted tap, following the contours of the back of a spoon when held in it's path. As you can see, i can't for the life of me work out how the heck to phrase that into a question the wiki search engine would recognise. I do remember though that the principle had a name associated with it's discoverer.

As i said before. Sorry to bother everyone, especially as this is a talk page, but i didn't know where else to go.

As a princess with Danish for hair once said " ...you're my only hope!"

Outofthewoods (talk) 21:35, 26 January 2009 (UTC)

 * I think you will find the information you want at Coanda effect. Dolphin51 (talk) 22:01, 26 January 2009 (UTC)

Would it really do that?
Sorry if this is a bit lame, but this question has bothered me for a while, and I don't have the skill to answer it myself.

In the opening credits of Star Trek Voyager (I know, but try to keep reading anyway), there is a scene that shows the ship passing through, presumably, a nebula. YouTube has the opening credits if you want to look.

Anyway, the ship causes some nice vortexes, very similar to the Rayleigh–Taylor image in the article.

My question: would it really?

A nebula is, well, nebulous. Is it considered a fluid? I visualize it as sparse particles in a vacuum. At what point are there enough particle available that they interact and form those swirls. I think that you'd really see a perfect wake - a 'V' or cone spreading from the ship.

Where is the line between "dust particle scattered about in a near-vacuum" and "fluid"?

Any ideas? Thanks in advance. 208.38.59.162 (talk) 17:50, 13 January 2010 (UTC)

 * Questions of this kind are best posted at WP:Reference desk/Science.

 * I agree it is unlikely a nebula would behave like a fluid. Widely-distributed dust particles behave like individual bodies, not like a fluid continuum.  I think it is more likely that, as a body (space vehicle) enters the nebula at very high relative speed, it would strike those particles in its direct path and propel them forward, a bit like a racing car leaving the track at high speed and entering a safety barrier made of dunces hats or used tyres.  The particles that are not in the direct path of the body would be unaffected by the passing of the vehicle - they wouldn't move forwards, backwards or sidewards because there is nothing to transmit any force across the void between body and particle.  Even if the body misses a particle by only one millimetre the particle will not move (unless it collides with another particle propelled forward by a collision with the body.) Dolphin51 (talk) 22:28, 13 January 2010 (UTC)

Replace bong with more "academic" example
I undid someone's edit that deleted a section that is scientifically accurate, but contains an example (a bong) that is somewhat distracting from the overall mood of the page. In the edit summary for the undo, I ask for a different image that illustrates the same principle.

I don't with to hassle with providing fair-use justification for a borrowed image, and have not yet had the chance to create a replacement of my own, but if someone knows of a free or GPL'd example of more or less the exact same thing (gas purification by bubbling through a liquid column) used in industry, the petroleum industry comes to mind, that would be ideal for the article, I think. Thanks! 70.162.59.107 (talk) 19:46, 27 February 2010 (UTC)

 * Yes the image of bong spoils the overall mood of the page. More than that, it is inappropriate to include an image, which illustrates only a multiphase flow situation, in a section on "Compressible vs incompressible flow". In fluid dynamics, compressible flow has only one meaning that is always defined in terms of Mach number of the flow. Considering these factors I feel it is better to remove the image of bong from the article. Salih (talk ) 06:16, 28 February 2010 (UTC)

 * Thats not exactly true overall, although I can see how you could make this point for specific applications that do not involve any liquid interface. Here is an example of what I am talking about.. An understanding of both the fluid dynamics of both compressible and incompressible flows is necessary to model the interaction between hydrogen gas under pressure being bubbled through a heated unsaturated hydrocarbon for the purposes of conversion of it to a saturated hydrocarbon. Fluid dynamics will play a direct role in modeling this because the surface area of hydrogen gas exposed to the fluid has a direct relationship with the reaction speed achieved in the reactor. (I presume surface area exposed also has an effect on water filtration as well.) What I would like to see replace the current image (a bong used to filter smoke) is a free image that illustrates this at least as graphically. I've been looking for one, but haven't found it yet. Zaphraud (talk) 01:44, 1 March 2010 (UTC)
 * I agree, but my point is that the image does not go well with the content of the section in which the image is displayed. Salih (talk ) 13:44, 2 March 2010 (UTC)

Too technical too quick
There's a great graphic showing an aerodynamic shape and explaing how it works. However it doesn't say, simply, WHAT that shape is optimal. The article doesn't state simply and early why a pointy bit at the front isn't the best shape. Can anyone help explain this? LookingGlass (talk) 16:31, 9 November 2013 (UTC)

Use of closed-volume integral signs for continuity equations
I find the use of confusing because, being a volume integral, there's no higher dimensional volume which it could "wrap around" and enclose, unless time were considered that higher dimension (even then, this would not be a "closed volume", since there's no four-dimensional volume enclosed by that volume). The continuity equation article uses the normal $$\iiint$$ anyways, so I'd think it would be a good idea to use the loop-less sign here as well.--Jasper Deng (talk) 23:34, 16 November 2013 (UTC)
 * Agree that the loop symbol is unnecessary here. We can get rid of it and have only loop-less integral sign. Salih (talk ) 07:00, 17 November 2013 (UTC)
 * I boldly carried out the replacement because of the lack of objection.--Jasper Deng (talk) 10:51, 18 November 2013 (UTC)

"Constant" viscosity for Newtonian fluids
In the section "Inviscid vs Newtonian and non-Newtonian fluids," a sentence reads "These Newtonian fluids are modelled by a constant viscosity, depending only on the specific fluid." Would it not be more accurate to say that the viscosity of a Newtonian fluid is merely independent of strain rate? Even for Newtonian fluids, viscosity is often a strong function of temperature for example. — Preceding unsigned comment added by 192.28.0.15 (talk) 23:07, 19 January 2015 (UTC)
 * You are correct. While it is common, in my experience, to model Newtonian fluids with a constant viscosity, this is always done under the assumption of small temperature changes. I suspect this is where the confusion comes from. I've gone ahead and made the change, although I tried to maintain the idea that the viscosity primarily depends on the fluid. 209.87.255.222 (talk) 19:07, 12 May 2015 (UTC)

Assessment comment
Substituted at 15:17, 29 April 2016 (UTC)

Terminology in Fluid Dynamics
I cleaned up the part of this section dealing with compressible fluids a bit, but it occurs to me that this whole section is focused on stagnation and static properties. I think that it would be appropriate to turn the whole section as it is into a single discussion on stagnation, dynamic, and static properties, rather than repeating essentially the same thing for incompressible and compressible flows. Additionally, more terminology could be added - several of the sections above would be more appropriate for a "Terminology" section than for an "Equations" section. In fact, the last six sections of the "Equations of Fluid Dynamics" don't have a single equation. — Preceding unsigned comment added by 209.87.255.222 (talk) 22:17, 17 November 2016 (UTC)

Request for comment: Plasma (physics)
There is a request for comment on the lede of Rfc Plasma (physics) that might interest fluid dynamics editors. Attic Salt (talk) 14:25, 14 October 2017 (UTC)

The article is also being considered for demotion from "good article" status:. Please consider weighing in. Attic Salt (talk) 14:50, 20 October 2017 (UTC)

Todo

 * [ ] Can someone please add proper citation for this heading "Flows according to Mach regimes" i couldnt find any proper results outside wikipedia 🔎classification on the basis of mach number - The tutorialspoint article saying "the various regimes are" is most suitable i found, but aint sure about if it is a good cite. Also, the tutorialspoint . com is blocked on wiki. Yashpalgoyal1304 (talk) 13:54, 2 April 2021 (UTC)

Outline of fluid dynamics
There used to be a section titled "About" which looked like an outline, so I propose to split it as per Outlines. fgnievinski (talk) 02:43, 29 July 2023 (UTC)

 * Are you saying this article, Fluid dynamics, used to contain a section titled “About”? I haven’t been able to find it. Are you able to nominate a date on which “About” existed as a Section in the article? Dolphin ( t ) 03:52, 29 July 2023 (UTC)
 * ✅ See Outline of fluid dynamics.  — The Transhumanist   04:18, 4 October 2023 (UTC)

title: Talk:Fluid dynamics


text:
Talk:Baal

Baal as an Israelite and Judahite God
There is a need for a section that specifically refers to Baal worship among Israelites and Judahites, whether in opposition to, or alongside the cult of YHWY. What is the best way of introducing this material. The article should not have Baal under the heading of Judaism. Judaism is OR, and does not refer to anything before the Babylonian exile.Johnmcintyre1959 (talk) 07:25, 31 August 2015 (UTC)
 * There is a section on the worship of the Canaanite Ba'al. It's under the Canaanite area. Feel free to add RS about his worship among the Israelites under Jezebel &c. There's no need for a separate section about his worship among the Israelites until it's well-referenced and long enough that it's helpful to the article's structure. Otherwise, it can be a paragraph or two within the existing section.

 * #Ba'al as a divine title in Israel and Judah, besides being unpleasant to look at, needlessly un, and out of line with the other section heads... is obviously confusing enough to you that you didn't realize it's not talking about the Canaanite Ba'al at all: it deals with Ba'al as a title of the Israelite god Yahweh, always has, and has just been reworded into a terser form to make that clear.

 * It's fine if you think the way forward is to the content (the Yahweh bit is already dealt with at Names of God in Judaism, e.g.) or turn this page into a, but as it's stood for years it's not about a single entity—given that it obviously changed over time and with context—but about the term. Early on, it may have been limited to Ba'al Haddu; by the 1st millennium, he was a separate god from Ba'al; similarly, the Israelites' use of the name for Yahweh is a separate use of the term, which is within the current  of this article but needs a separate section. —  Llywelyn II   23:53, 31 August 2015 (UTC)

 * There appears to have been no consensus for the change from the title Ba'al as a divine title in Israel and Judah. That title was used for a long time. It is you who is confused, the section has not been about Baal as a title for YHWH, that is simply your OR.  The section has been about Israelite and Judahite worship of Baal.  No one is claiming that this article is solely about a single entity. It has always been about the use of the term Baal in all its meanings.  You seem to want to change the scope of the article to match opinions which are not backed up by the RSJohnmcintyre1959 (talk) 17:32, 1 September 2015 (UTC)
 * It is not about that at all and you are completely misreading both the section and the source, which are talking about the name Ba'al being applied to the Lord of Israel Yahweh, not the Canaanite god. You're about to hit so kindly restrict yourself to the talk page before building some consensus for your scope and definitional change. —  Llywelyn II   00:24, 5 September 2015 (UTC)
 * As for Baal being applied to the LoI, we should remove this RS. Ayles (1904), p. 103.  Nowhere in the text do the names Jerubaʿal, Eshbaʿal or Beeliada occur, so I suggest that it should be removed.Johnmcintyre1959 (talk) 20:37, 7 September 2015 (UTC)

Scope of the article
It has been suggested (on my talk page, rather than here, I do not know why) that
 * Glad you finally went to the talk page there. Kindly keep it there since you're about to bang up against and I'm sure you're well-meaning: it just seems like you just haven't read through the DDD article and are misunderstanding the article's . Hadad deals with Hadad; Baal has always been about the general term, in reference to Hadad, to Yahweh, and to other local gods. If you'd like to change that scope, I understand the idea but think it's a mistake since it would involve  it with the Hadad article and I don't think the scholarship is really settled on that point. Anyway, let's talk about it over there and, if you don't like my take on it, present your thoughts and let's do a  or something to get some more opinions.  Also see this from a recent reversion.  Undid revision 678739348 by Johnmcintyre1959 (talk) This article is not about a single god Ba'al. Read its history and reread the article

My italics.

This reveals a fundamental misunderstanding about the scope pf this article. I am not claiming that this article should only be about the multilple references to a single God known as Baal, or to multiple local Baals. However lets look at the history, as invited.

Here is the present lede.
 * Baal (/ˈbeɪəl/),[1][n 1] properly Baʿal (Ugaritic: 𐎁𐎓𐎍;[5] Phoenician: 𐤋𐤏𐤁; Biblical Hebrew: בעל, pronounced [ˈbaʕal]),[6] was a title and honorific meaning "lord" in the Northwest Semitic languages spoken in the Levant during antiquity. From its use among people, it came to be applied to gods. Scholars previously associated the theonym with solar cults and with a variety of unrelated patron deities, but inscriptions have shown that the name Baʿal was particularly associated with the storm and fertility god Hadad and his local manifestations.[7] The Hebrew Scriptures, compiled and curated over a span of centuries, include early use of the term in reference to their God Yahweh, generic use in reference to various Levantine deities, and finally pointed application towards Hadad, who was decried as a false god. This use was taken over into Christianity and Islam, sometimes under the opprobrious form Beelzebub.

Here it is with my change.
 * Baal, properly Baʿal' , was a god worshiped in many ancient Middle Eastern communities, especially among the Canaanites, who considered him a fertility deity and one of the most important of the gods.

Followed by the above.

Now this version of the lede is from 21 May 2012 !!!!!
 * Baʿal (Biblical Hebrew בעל, pronounced [ˈbaʕal], usually spelled Baal in English) is a Northwest Semitic title and honorific meaning "master" or "lord"[1] that is used for various gods who were patrons of cities in the Levant and Asia Minor, cognate to Akkadian Bēlu. A Baalist or Baalite means a worshipper of Baal.

 * "Baʿal" can refer to any god and even to human officials; in some texts it is used as a substitute for Hadad, a god of the rain, thunder, fertility and agriculture, and the lord of Heaven. Since only priests were allowed to utter his divine name, Hadad, Ba‛al was commonly used. Nevertheless, few if any Biblical uses of "Baʿal" refer to Hadad, the lord over the assembly of gods on the holy mount of Heaven, but rather refer to any number of local spirit-deities worshipped as cult images, each called baʿal and regarded in the Hebrew Bible in that context as a "false god".

Note that it also contains the sub section Baʿal as a divine title in Israel and Judah

This article has for a long time been about Baal as a God or Gods. The use of the article to discuss the meaning of the word lord, master, etc is not the primary purpose of the article.

I am not changing the article, I am restoring it to what has always been its primary purpose.Johnmcintyre1959 (talk) 17:16, 1 September 2015 (UTC)

Encyclopaedia Judaica vol EJ vol III pg 12 article Baal worship  Nevertheless, despite the biblical tendency to avoid the use of the word as a proper name, it is now quite clear that by pre-Israelite times the term had become the usual name of the weather-god of Syria-Palestine. is an RS for the use of the term in reference to God/Gods. Also https://books.google.co.uk/books?id=n7i7k06rq7IC&pg=PA55&dq=baal&hl=en&sa=X&ved=0CCMQ6AEwAThQahUKEwi79rWowNbHAhX0K9sKHfgpDR4#v=onepage&q=baal&f=false The Dictionary of Demons Baal the Cannanite name for God or Lord. Also Zondervan Illustrated Bible Dictionary  By J. D. Douglas, Merrill C. Tenney  the word Baal in the OT (sic) most often refers to a Semitic deity. in early years used for the God of Israel - Yahweh.Johnmcintyre1959 (talk) 19:03, 1 September 2015 (UTC)
 * I really don't know what to say to you if you think that "Baal... is a Northwest Semitic title and honorific meaning "master" or "lord"" [the scope which has actually been upheld by myself and other editors] being turned into "Baal was a god" isn't a scope change. It's so obviously incorrect that there's really nothing more to say except for you're up against your and should refrain from editing this page until you've gathered support for your changes on the talk page. This article has started the way it has and focused the way it has since the very first copy-and-paste from the Britannica in 2002. I'm not even saying that's the best way to handle it: it's just how it's always been. As I told you on your talk page [because it was an issue for you rather than the page itself], I suggest launching a  and getting some other voices involved so you don't feel you're being stymied by a single other editor and can make some peace with the magnitude of your error and/or build a consensus to change the article to reflect the  you think it should have instead of the one it always has. —  Llywelyn II   00:19, 5 September 2015 (UTC)
 * I really don't know what to say to you if you think that a single sentence from a cut and paste from Britannica justifies your claim that this article is only about Baal as a term for lord or master. The original article refers to the God Baal, and to the various Baals known by their local names.  The article overwhelming supports this longstanding text which I wish to restore so that we can get back to the original purpose of the article.

Baʿal (Biblical Hebrew בעל, pronounced [ˈbaʕal], usually spelled Baal in English) is a Northwest Semitic title and honorific meaning "master" or "lord"[1] that is used for various gods who were patrons of cities in the Levant and Asia Minor, cognate to Akkadian Bēlu. A Baalist or Baalite means a worshipper of Baal. "Baʿal" can refer to any god and even to human officials; in some texts it is used as a substitute for Hadad, a god of the rain, thunder, fertility and agriculture, and the lord of Heaven. Since only priests were allowed to utter his divine name, Hadad, Ba‛al was commonly used. Nevertheless, few if any Biblical uses of "Baʿal" refer to Hadad, the lord over the assembly of gods on the holy mount of Heaven, but rather refer to any number of local spirit-deities worshipped as cult images, each called baʿal and regarded in the Hebrew Bible in that context as a "false god".

How you can claim that it is a scope change to say that Baal is a God is beyond me. The article has always said that Baal is both a title meaning lord etc, and a God/Gods. Will you accept that something close to this text above be restored to the lede, or shall we take it to dispute?Johnmcintyre1959 (talk) 21:34, 5 September 2015 (UTC)

 * Whilst the article may have started with a cut and paste from the 1911 Encyclopedia Britannica, the current EB article on Baal makes it very clear as to the current scope and meaning of the word. Baal, god worshiped in many ancient Middle Eastern communities, especially among the Canaanites, who apparently considered him a fertility deity and one of the most important gods in the pantheon. As a Semitic common noun baal (Hebrew baʿal) meant “owner” or “lord,” although it could be used more generally; for example, a baal of wings was a winged creature, and, in the plural, baalim of arrows indicated archers  My bold.  If we want to restrict ourselves then we could change the title to more meaningfully reflect the limited relevance of the article to what is now understood to be the meaning of the word Baal.Johnmcintyre1959 (talk) 20:04, 7 September 2015 (UTC)

"Do not caste your pearls amongst swine" This means dont teach them about how to make your temple incense or utter your gods name amongst those who are foreign. For instance Baal zibbul is probably Herucles of the peleset and theyre probably mocking his feats by saying hes the lord or curing plagues of maggots here:

5. Clean the Augean stables in a single day the Augean stables were the home of 3,000 cattle with poisoned faeces which Augeas had been given by his father Helios. Heracles was given the near impossible task of cleaning the stables of the diseased faeces. He accomplished it by digging ditches on both sides of the stables, moving them into the ditches, and then diverting the rivers Alpheios and Peneios to wash the ditches clean. — Preceding unsigned comment added by 2605:A601:A0C6:1200:A0CA:F01A:DFA8:7963 (talk) 12:36, 19 October 2022 (UTC)

Request for RS
I cannot find an RS that backs up this claim;  From its use among people, it came to be applied to gods. If no one can find one I propose to remove it. Johnmcintyre1959 (talk) 21:36, 5 September 2015 (UTC)
 * It's good that you come here and talk about it but you're making it very hard to your good faith with such tendentious requests. The  and continuing meaning of the word is "owner", "lord", and "husband", as backed up by numerous cites in the text; the Semitic languages don't use the word for leaseholders and husbands because it was originally applied to gods; it went the other way around and  covers this point entirely.  suggests we not use citations in the lead for things that are well established in the text. (Here, in the #Word section.)

 * So... it'd be better if you just withdrew the tendentious request. That said, does permit citations in the lead for challenged points and if you really were doubting that it's correct, we can add the cite. I really feel that it's needless and bad form, but it's not something we'll have to remove until this article goes up for  status and that seems like it's aways off. —  Llywelyn II   01:39, 7 September 2015 (UTC)

 * The argument that it can be derived from the text in the article just makes me more certain that the cite is required. I see that you have added EB 1878. The latest online version of EB does not contain that text, so I suggest that we need another RS, as that one is so out of date.Johnmcintyre1959 (talk) 17:39, 7 September 2015 (UTC)

Something wrong with the link to Bel
This page: https://en.wikipedia.org/wiki/Bel_(mythology)

does not show up as a Wikipedia link in the "See Also" section for "Bel and Temple of Bel."

The words "Temple of Bel" in that section do link properly, but the first word "Bel" is obviously supposed to show up and link to the Wikipedia entry "Bel (mythology)." But it doesn't and I can't figure out why not.

Can somebody fix this? — Preceding unsigned comment added by 182.225.181.137 (talk) 05:28, 25 December 2018 (UTC)

Baalenciaga ad
In it’s latest drop advertisement balenciaga on purpose spelled baalenciaga on a piece of merch which in latin translates into baal is king. 41.200.129.199 (talk) 00:13, 3 December 2022 (UTC)

 * incorrect. That is gibberish - Baal is king would be Baal est rex. Don't trust google translate on its face 136.53.80.94 (talk) 23:50, 8 December 2022 (UTC)

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

title: Talk:Baal


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User:Quux

Oof, long break...

title: User:Quux


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User talk:Quux

Brianism
Hi Quux. I notice you have made some good edits to the Skepticism page. If you support skepticism then I would expect you would want to keep Brianism at Wikipedia. (Brianism is a branch of Skepticism.) Would you care to have a look at Talk:Brianism and perhaps vote? (To keep I hope, but vote what you think!) Thanks! SpellBott 12:55, 18 Jan 2004 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:53, 23 November 2015 (UTC)

title: User talk:Quux


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A Night at the Opera

A Night at the Opera may refer to:

 * A Night at the Opera (film) (1935), a Marx Brothers comedy film
 * A Night at the Opera (Queen album) (1975), by rock band Queen
 * A Night at the Opera (Blind Guardian album) (2002), by power metal band Blind Guardian
 * A Night at the Opera (chess), a famous chess game played during an opera, in which Paul Morphy defeated Duke Karl II of Brunswick and Count Isouard
 * "A Night at the Opera", an episode of the television series Never the Twain
 * "A Night at the Opera", a TV special stand-up comedy show by comedian Jackie Mason.

Night at the opera may refer to:
 * Initial states of the Belgian Revolution of 1830

title: A Night at the Opera


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Talk:East Detroit, Michigan

Hi Mav. I changed this back to the way I had it, sort of wanted East Detroit to have it's own link, even if it is small for now. It holds a place in my heart. This is my first day here though, so if proper ettiquitte would have it with just a redirect to the current name of the city (as you did it), go ahead and change it back, and maybe I can put some more info about East Detroit in when I have time to type it up.

 * The city has a new name - it isn't a different city. The name change is just part of the city's history. All other history should be at the article that has the current name. Size isn't really an issue here. --mav

title: Talk:East Detroit, Michigan


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I Sing the Body Electric (disambiguation)

"I Sing the Body Electric" is an 1855 poem from Leaves of Grass by Walt Whitman.

I Sing the Body Electric, or similar, may also refer to:

 * "I Sing the Body Electric" (The Twilight Zone), a 1962 episode of the TV series, written by Ray Bradbury
 * I Sing the Body Electric! (short story collection), by Ray Bradbury, 1969, including the short story of the same name
 * I Sing the Body Electric (album), by Weather Report, 1972
 * "I Sing the Body Electric", a song from the 1980 film Fame


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Barbet (dog breed)

The Barbet is a medium-sized breed of French water dog. It is a rare breed. The breed's name comes from the French word barbe, meaning 'beard'.

Appearance

The barbet is a prototypic water dog, with a long, woolly, and curly coat. Their coats grow continuously and must be trimmed and must be groomed regularly, otherwise the coat can become matted.

Most Barbets, especially those shown in conformation shows, are black or brown, sometimes with white markings. Other rare colors include fawn, grey, pari, creme, and pied.

Male Barbets are usually 21 to 25 in tall and between 40 and 60 lb, while females usually reach 20 to 23 in and 30 to 50 lb.

Temperament
The Barbet is described as friendly, obedient, and intelligent. Due to their history as water dogs, many Barbet love swimming and playing in water.

They are capable retrievers for waterfowl hunting. In France, the barbet can take the test d'aptitudes naturelles (TAN), a basic water-retrieving test, and has recently been permitted to participate in the brevet de chasse a l'eau (BCE), a general hunting-dog test involving field and water trials. In Germany, the barbet takes part in field trials.

Health

Barbets are a relatively healthy breed with a life expectancy of 13 to 15. Due to the rarity of the breed, there is limited data on breed-specific concerns. They can have hip dysplasia, epilepsy, and like most long-eared dogs are prone to ear infections.

The Barbet is a rare breed, which limits the genetic variety available. A 2006 study found a coefficient of inbreeding of 12.4%, significantly higher than the eight other French breeds examined in the study, while a 2013 study found a coefficient of 9.1%, likewise very high.

History
The Barbet as it is known today is a fairly rare and recent breed development. Over the centuries, the breed existed in various forms, at times serving simply as a companion or guardian dog, but more often utilised as an all-around flushing or working dog. The term barbet gradually became a generic name for any dog with a long, curly, and/or woolly coat. Barbets are perhaps best-known for being a retriever of hunters' quarry, valued by duck, goose, and other fowl-hunters amongst the marshes, wetlands, estuaries and along the coastal areas of France; this wet and dirty job eventually spawned the term "muddy as a barbet", popularised in the 19th century. Between the late 18th and early 19th centuries, the same type of dog was known as the barbet in France, the barbone in Italy, and the Pudel in Germany; additionally, for nearly 100 years, barbets and poodles were considered the same breed.

Like many others, the breed went nearly extinct after WWII. In the 1970s, French breeders attempted to revive the breed. In France, there were 307 Barbets registered between 1975 and 2001. Due to cross-breeding with the Standard Poodle and other breeds, the modern Barbet is notably taller than the historical breed. The dogs with more Poodle in them also tend to have smaller, tighter curls.

It is listed in Group 8 (retrievers, flushing dogs and water dogs) by the Société Centrale Canine, the French Kennel Club, and the Fédération Cynologique Internationale (International Canine Federation), a similar category of breeds as the "sporting" dogs of North American kennel clubs. It was introduced to the US in 1994 and recognized by the American Kennel Club in 2020.

Great Britain (UK)
The first Barbet, a male, was brought into the UK in 2001, although he did not reproduce. In 2007, two unrelated females were brought in from France; the majority of Barbets currently in the UK are descendants of these. Since then, further examples of the breed have been imported from France, Netherlands, Canada, Poland, and Sweden.

In April 2018, the Barbet became the 220th breed recognized by The Kennel Club of the UK and the Barbet can now be shown in Import Register classes at all UK dog shows held under The Kennel Club rules. Barbets born in the UK prior to this date were registered in France by the Société Centrale Canine (SCC), a national affiliate of the Fédération Cynologique Internationale (FCI). There are on average only one or two British-born litters born per year. In 2018, there were approximately 140 barbets living in the UK.

The majority of Barbets in the UK are kept as pets, although a small number are used regularly as gun dogs, agility dogs, and for search-and-rescue work; they can also take part in conformation shows in the UK and in FCI-member countries, with two British Barbets achieving French Champion status in 2014.

Notable Barbets

 * Moustache (1799 – 1812) a barbet who is reputed to have played a part in the French Revolutionary and Napoleonic Wars.

title: Barbet (dog breed)


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Kim Cattrall

Kim Victoria Cattrall (born 21 August 1956) is a British and Canadian actress. She is known for her portrayal of Samantha Jones on HBO's Sex and the City (1998–2004), for which she received five Primetime Emmy Award nominations and four Golden Globe Award nominations, winning the 2002 Golden Globe for Best Supporting Actress. She reprised the role in the feature films Sex and the City (2008) and Sex and the City 2 (2010), as well as in a cameo on its revival And Just Like That... (2023).

Cattrall made her film debut in Rosebud (1975) and went on to star opposite Jack Lemmon in his Oscar-nominated film Tribute (1980) and in Ticket to Heaven (1981). She came to prominence with starring roles in films such as Porky's (1982), Police Academy (1984), Big Trouble in Little China (1986), Mannequin (1987), and Star Trek VI: The Undiscovered Country (1991). She is also known for her theatre work, with credits including Wild Honey (Broadway, 1986), Miss Julie (McCarter Theatre, 1993), Private Lives (West End, 2010), Antony and Cleopatra (Liverpool Playhouse, 2010), and Sweet Bird of Youth (The Old Vic, 2013).

From 2014 to 2016, Cattrall starred on and served as executive producer of HBO Canada's Sensitive Skin, for which she received a nomination for the 2016 Canadian Screen Award for Best Actress in a Comedy Series. She went on to star on the Paramount+ series Tell Me a Story (2018–2019), the Fox series Filthy Rich (2020), the Peacock revival series Queer as Folk (2022), and the Netflix series Glamorous (2023). From 2022 to 2023, she played "future" Sophie on the Hulu sitcom How I Met Your Father.

Early life
Kim Victoria Cattrall was born on 21 August 1956 in the Mossley Hill area of Liverpool, Lancashire (now Merseyside), the daughter of secretary Gladys Shane (née Baugh; 1929–2022) and construction engineer Dennis Cattrall (1925–2012). She has two sisters and she also had a brother named Christopher Cattrall (1963–2018). When she was three months old, her family emigrated to Canada and settled in Courtenay, British Columbia. At age 11, she returned to her native British city of Liverpool when her grandmother became sick. She took acting examinations at the London Academy of Music and Dramatic Art, but returned to Canada after one year and moved to New York City at the age of 16 for her first acting role.

1970s–2000s
Cattrall began her career after graduating from Georges P. Vanier Secondary School in 1972, when she left Canada for New York City. There, she attended the American Academy of Dramatic Arts, and upon her graduation signed a five-year film deal with director Otto Preminger. She made her film debut in Preminger's action thriller Rosebud (1975). A year later, Universal Studios bought out that contract and Cattrall became one of the last participants in the contract player system of Universal (also referenced as MCA/Universal during this period) before the system ended in 1980. The Universal system's representative in New York, Eleanor Kilgallen (sister of Dorothy Kilgallen), cast Cattrall in numerous television guest-star roles. One of the first jobs Kilgallen got her was in a 1977 episode of Quincy, M.E. starring Jack Klugman, whom Kilgallen also represented.

In 1978, Cattrall played the house guest of a murderous psychologist in an episode of Columbo and also in "Blindfold", an episode of the 1970s action series Starsky & Hutch, in which Starsky (played by Paul Michael Glaser) is grief-stricken since he accidentally blinded Cattrall's character, young artist Emily Harrison, by a shot of his gun. She starred in The Bastard (1978) and The Rebels (1979), two television miniseries based on the John Jakes novels of the same names. In 1979, she played the role of Dr. Gabrielle White on The Incredible Hulk and would go down in television Hulk lore as one of the few characters who knew David Banner (alter ego of the title character) was alive and was the creature. Her work in television paid off and she quickly made the transition to cinema. She starred opposite Jack Lemmon in his Oscar-nominated film Tribute (1980), and in Crossbar, the film about a high jumper who loses his leg and still participates in the Olympic trials, with Cattrall's help. The following year, she appeared in Ticket to Heaven.

In 1981, Cattrall played PE teacher Miss Honeywell in Porky's, followed three years later by a role in the original Police Academy. In 1985, she starred in three films: Turk 182, City Limits and Hold-Up, the last with French star Jean-Paul Belmondo. In 1986, she played Kurt Russell's brainy flame in the action film Big Trouble in Little China. In 1987, her lead role in the cult comedy film Mannequin proved a huge success with audiences. One of her best-known film roles is that of Lieutenant Valeris in Star Trek VI: The Undiscovered Country; Cattrall assisted in developing the character by designing her own hairstyle and even helped come up with the name.

Aside from her film work, Cattrall is also a stage actress, with performances in Arthur Miller's A View from the Bridge and Anton Chekhov's Three Sisters and Wild Honey to her credit. In addition, she can be heard reading the poetry of Rupert Brooke on the CD Red Rose Music SACD Sampler Volume One.

In 1997, she was cast in Sex and the City, Darren Star's series which was broadcast on HBO. As Samantha Jones, Cattrall gained international recognition. She capitalized on her success by appearing in steamy television commercials promoting Pepsi One. Sex and the City ran for six seasons and ended as a weekly series in spring 2004 with 10.6 million viewers. Cattrall reprised the role of Samantha Jones in the 2008 Sex and the City film, as well as the 2010 sequel Sex and the City 2. For her role on the television series, she was nominated for five Emmy Awards, and four Golden Globe Awards, winning one in 2002. She also won two ensemble Screen Actors Guild Awards, shared with her co-stars Sarah Jessica Parker, Kristin Davis and Cynthia Nixon. However, she revealed that she and Sarah Jessica Parker never get along with each other. She was ranked number eight in TV Guide's 50 sexiest stars of all-time list in 2005. In 2008 she was honoured by the Cosmopolitan UK Ultimate Women Of The Year Awards with the Ultimate Icon Award for her role as 'Samantha' on the hit series. She was also awarded the NBC Universal Canada Award of Distinction at the 2008 Banff World TV Festival.

In 2005, she appeared in the Disney film Ice Princess, in which she played Tina Harwood, ice skating coach of the film's lead character. She portrayed Claire, a paralysed woman who wants to die, in the West End drama revival of Whose Life Is It Anyway?. She was honoured that year by Glamour Magazine for the "Woman of the Year Awards" for Theatre Actress. She appeared to rave reviews in a 2006 West End production of David Mamet's The Cryptogram at the Donmar Warehouse in London. She appeared in a number of British television commercials for Tetley Tea from 2005, as well as ads for Bacardi's Island Breeze cocktails. In 2006, a commercial for Nissan cars, which featured Cattrall as Samantha Jones, was withdrawn from New Zealand television, apparently because of complaints about its innuendo. She later starred alongside Brendan Gleeson in John Boorman's film The Tiger's Tail (2006), a black comedy that focuses on the impact of the Celtic Tiger economy on Irish people. On ITV, she starred alongside David Haig, Daniel Radcliffe and Carey Mulligan in My Boy Jack, the story of author Rudyard Kipling's search for his son lost in the First World War.

2010s–2019
Cattrall played Amelia Bly in Roman Polanski's well-received The Ghost Writer (2010) and voiced the character Dee in the Canadian adult animated sitcom Producing Parker, the latter, for which she was awarded a Gemini for Best Performance in an Animated Program or Series. Cattrall has a star on Canada's Walk of Fame in Toronto. While filming Sex and the City 2 in Marrakech, she took part in a seminar, 'Being directed' with director John Boorman as part of the third edition of the Arts in Marrakech Festival. Cattrall acted opposite Matthew Macfadyen in a 2010 revival of Noël Coward's play Private Lives at the Vaudeville Theatre on London's West End, for which she received a Whats on Stage nomination for Best Actress. " In the same year, Cattrall starred as Gloria Scabius (alongside Macfadyen once again) in the critically acclaimed Channel 4 adaptation of William Boyd's novel Any Human Heart.

Cattrall played Cleopatra in a 2010 production of Antony and Cleopatra, directed by Janet Suzman, opposite Jeffery Kissoon as Anthony, in Liverpool at the Playhouse, with a subsequent revival at Chichester Festival Theatre (with Michael Pennington as Anthony) in 2012. In 2010, Cattrall was named an Honorary Fellow of Liverpool John Moores University in recognition of her contributions to the dramatic arts. In 2011, Cattrall reprised her role as Amanda in a production of Private Lives opposite Canadian actor Paul Gross in Toronto and on Broadway. The New York Times theatre critic raved about Cattrall's performance and she received a Drama League Award nomination. That year, Cattrall also appeared in Uptown Downstairs Abbey, the Comic Relief parody of the critically acclaimed historical television dramas Downton Abbey and Upstairs, Downstairs. Playing Lady Grantham, she starred alongside Jennifer Saunders, Joanna Lumley, Victoria Wood, Harry Enfield, Patrick Barlow, Dale Winton, Olivia Colman, Tim Vine, Simon Callow, Michael Gambon and Harry Hill.

In 2013, Cattrall starred in the Old Vic's production of Tennessee Williams's Sweet Bird of Youth, directed by Olivier Award-winner Marianne Elliott. In 2014, she starred in and executive produced HBO Canada's Sensitive Skin, an adaptation of the 2005 British series. In 2015, the show was nominated for an International Emmy Award. The show was nominated for numerous Canadian Screen Awards with Cattrall receiving a nomination in 2017 for her role as Davina Jackson in the series. The show is now available for streaming on Netflix.

Cattrall was originally cast in the title role of Linda in a 2015 play by Penelope Skinner, to be directed by Michael Longhurst and produced at London's Royal Court Theatre. She was forced to drop out of that production a few days before the opening, due to "chronic, debilitating insomnia". She returned to New York and started a program of cognitive behaviour therapy to train herself to be able to sleep better. The therapy was successful; it included developing certain evening rituals, removing electronic devices from her bedroom, and limiting the use of the bed to two activities, one of which would be sleeping. Meanwhile, for the scheduled opening of Skinner's play, actress Noma Dumezweni took over the role to much acclaim and publicity. Cattrall opened up to the BBC Woman's Hour on her insomnia journey and how she was able to manage it. Cattrall later returned that year to guest edit the BBC's Woman's Hour to discuss "Choosing to Be Child Free" and "Being a Parent Without Giving Birth" which raised controversial response and opinions. She was also seen in 2015 on the SkyArts short Ruby Robinson, a physical comedy where Cattrall starred as Ruby, a woman living with a troupe of unusual acrobat helpers, who is taught a valuable lesson by her nephew.

Catrall took part in the BBC Arts' I'm with the Banned, the flagship event in Belarus Free Theatre's (BFT) tenth-anniversary celebrations. Commissioned by The Space, the concert took place at London's KOKO and was broadcast worldwide. Radical underground company BFT brought together a unique line-up of musicians and performers to stand up for artistic freedom of expression and against injustice.

In 2016, Cattrall starred in the BBC mini-series The Witness for the Prosecution based on the Agatha Christie short story. The celebrated two part mini-series was nominated for a 2017 BAFTA award for "Best Mini-Series." In 2017, Cattrall also joined the cast of the hit Swedish TV show Modus, playing the President of the United States. Modus first aired in Sweden in 2015 and was later broadcast by BBC Four in the UK. The show also airs in Canada, Australia, France and Japan and is handled by FremantleMedia International. From 2018 to 2019, Cattrall starred on the Paramount+ series Tell Me a Story.

2010s–present
In 2020, Cattrall starred on the Fox drama Filthy Rich, where she played Margaret Monreaux, the matriarch of a Southern family which has become mega-rich and famous for creating a wildly successful Christian television network. After her husband dies in a plane crash, Margaret and family are stunned to learn that he fathered three illegitimate children, all of whom are written into his will — threatening their family name and fortune. Cattrall also served as a producer on the series. Cattrall was honoured at the 2020 Atlanta TV festival with the Icon Award for the show.

Development began on a revival of Sex and the City following the cancellation of a third film adaptation. Catrall previously expressed that she did not want to return for the third film due to disagreeing with its planned storylines, involving killing off Mr. Big, and Samantha receiving nude pictures from Miranda's 14-year-old son, Brady. The reboot titled And Just Like That... premiered in 2021. In 2022, Sarah Jessica Parker spoke on The Hollywood Reporter Award Chatter podcast about why Cattrall wasn't asked to be a part of the revival. She stated, "We did not ask her to be part of this because she made it clear that that wasn't something she wanted to pursue, and it no longer felt comfortable for us, and so it didn't occur to us". In 2023, however, Catrall reprised her role as Samantha for a brief cameo for the season 2 finale.

In 2021, Cattrall was cast in the How I Met Your Mother spinoff series, How I Met Your Father led by Hilary Duff, in the pivotal narrator role originated by Bob Saget. The series ran for two seasons. She joined Robert De Niro in the comedy film About My Father (2023) inspired by the life of stand-up comedian Sebastian Maniscalco, who also stars. Cattrall featured prominently in the permanent exhibition Wondrous Place celebrating Liverpool's cultural heritage. In 2022, she starred on the Peacock revival series Queer as Folk. In 2023, Cattrall starred on the Netflix series Glamorous.

Personal life
Cattrall has been married three times. Her first marriage, from 1977 to 1979, was to Larry Davis, but was annulled. Her second marriage, from 1982 to 1989, was to Andre J. Lyson; the couple lived in Frankfurt, where she learned to speak German fluently, but she admits she has forgotten a lot over the years. Her third marriage, from 1998 to 2004, was to American audio equipment designer Mark Levinson; the couple co-wrote the book Satisfaction: The Art of the Female Orgasm (2002).

Cattrall briefly dated former Canadian Prime Minister Pierre Trudeau (and in 2016 was misidentified on 60 Minutes, from a 1981 photo, as Margaret, the mother of his sons Justin, Alexander, and Michel). She has also been connected to Brazilian-American actor Daniel Benzali, American musician Gerald Casale, French public intellectual Bernard-Henri Lévy, and British-Sudanese actor Alexander Siddig. She has been dating BBC employee Russell Thomas since 2016.

On 21 December 1988, Cattrall narrowly escaped death when she was booked on the Pan Am Flight 103 but, a day prior to travelling, re-arranged to fly later that evening, in order to do some Christmas shopping in Harrods.

Cattrall has held dual British and Canadian citizenship for most of her life and became an American citizen in 2020 in order to vote in that year's election.

Cattrall does not drink alcohol, saying that, "I'm not a big drinker and when I do, I get a headache."

In 2009, Cattrall took part in the BBC One documentary series Who Do You Think You Are? She discovered that her grandfather George Baugh disappeared in 1938, having abandoned his family (including Cattrall's then eight-year-old mother and her two younger sisters) and turned out to have bigamously married his new wife the following year in Tudhoe; he subsequently had another four children. Cattrall was told that Baugh immigrated to Australia in 1961, became a postmaster, retired in 1972, and died in Sydney in 1974. Her mother and aunts had known nothing of their father's life after he left until they heard what the Who Do You Think You Are? researchers had discovered, nor had the family previously seen a clear photograph of him. An edited version of the episode was later shown as a part of the U.S. series of the same name.

In 2018, Cattrall joined Judi Dench as an ambassador for the Royal Botanical Kew Gardens in London.

Cattrall has been awarded an honorary fellowship from Liverpool John Moores University in 2010, for "outstanding and sustained contributions to the dramatic arts", and an honorary Doctor of Laws (LL.D. h.c.) from the University of British Columbia in 2018, for "her contributions as an activist, advocate and humanitarian".

Cattrall funds an annual bursary at her high school alma mater, Georges P. Vanier Secondary School in Courtenay, British Columbia. The Kim Cattrall Bursary for the Performing Arts awards $3,000 to "applicants seeking post-secondary education and/or vocational training in the performing arts."

On 4 February 2018, Cattrall announced that her brother Christopher had disappeared in Alberta. She asked for public help in finding him, but he was found dead several hours later, having taken his own life.

title: Kim Cattrall


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Talk:National Electric Code

"Telecommunication"? The Code has a few chapters about it, but is mainly concerned with power transmission, especially near people, (homes and businesses)

title: Talk:National Electric Code


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Talk:Kim Catrall

I'm pretty sure there are two t's in her name: http://us.imdb.com/Name?Cattrall,+Kim -- Notheruser 23:56 22 Jul 2003 (UTC)

title: Talk:Kim Catrall


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BBC Radio 3

BBC Radio 3 is a British national radio station owned and operated by the BBC. It replaced the BBC Third Programme in 1967 and broadcasts classical music and opera, with jazz, world music, drama, culture and the arts also featuring. The station describes itself as "the world's most significant commissioner of new music", Through its New Generation Artists scheme promotes young musicians of all nationalities. The station broadcasts the BBC Proms concerts, live and in full, each summer in addition to performances by the BBC Orchestras and Singers. There are regular productions of both classic plays and newly commissioned drama.

Radio 3 won the Sony Radio Academy UK Station of the Year Gold Award for 2009 and was nominated again in 2011.

According to RAJAR, the station broadcasts to a weekly audience of 1.9 million with a listening share of 1.6% as of March 2024.

History
Radio 3 is the successor station to the Third Programme which began broadcasting on 29 September 1946. The name Radio 3 was adopted on 30 September 1967 when the BBC launched its first pop music station, Radio 1 and rebranded its national radio channels as Radio 1, Radio 2 (formerly the Light Programme), Radio 3, and Radio 4 (formerly the Home Service).

Radio 3 was the overall label applied to the collection of services which had until then gone under the umbrella title of the Third Network, namely: All these strands, including the Third Programme, kept their separate identities within Radio 3 until 4 April 1970, when there was a further reorganisation following the introduction of the structural changes which had been outlined the previous year in the BBC document Broadcasting in the Seventies.
 * the Third Programme proper (as launched in 1946, an evenings-only offering of demanding cultural fare, both musical and spoken)
 * the Music Programme (a daytime service of classical music)
 * sports coverage (chiefly on Saturday afternoons) and adult educational programming in the early part of weekday evenings (known as Network Three).

Broadcasting in the Seventies
On 10 July 1969 the BBC published its plans for radio and television in a policy document entitled Broadcasting in the Seventies. Later described in 2002 by Jenny Abramsky, Head of Radio and Music, as "the most controversial document ever produced by radio", the document outlined each station's target audience and what content should be broadcast on each channel. This concept went against the earlier methods laid out by the BBC's first Director General John Reith and caused controversy at the time, despite laying out the radio structure that is recognisable today.

At the time of the review, Radio 3 faced several problems. An early option to cut costs, required under the proposals, was to reduce the number of networks from four to three, so that Radio 3 would not broadcast during the day and would use the frequencies of either Radio 1 or 2 as the two stations would merge content. However "Day-time serious music would be the casualty" of these proposals and caused some controversy. A further rumour was expressed that Radio 3 could be closed altogether as a strong statistical case existed against the station according to The Guardian. However, the Director-General, Charles Curran, publicly denied this as "quite contradictory to the aim of the BBC, which is to provide a comprehensive radio service". Curran had earlier dismissed any suggestion that Radio 3's small audience was a consideration: "What is decisive is whether there is a worthwhile audience, and I mean by worthwhile an audience which will get an enormous satisfaction out of it."

As a result of Broadcasting in the Seventies, factual content, including documentaries and current affairs, were moved to BBC Radio 4 and the separate titled strands were abolished. The document stated that Radio 3 was to have "a larger output of standard classical music" but with "some element in the evening of cultural speech programmes – poetry, plays". Equally, questions were being asked by the poet Peter Porter about whether other spoken content, for example poetry, would remain on the station. These concerns also led to the composer Peter Maxwell Davies and the music critic Edward Greenfield to fear that "people would lose the mix of cultural experiences which expanded intellectual horizons". However, Radio 3 controller Howard Newby reassured these concerns by replying that only the coverage of political and economic affairs would be passed to Radio 4, and Radio 3 would keep drama, poetry, and talks by scientists, philosophers and historians.

The Broadcasting in the Seventies report also proposed a large cutback in the number and size of the BBC's orchestras. In September 1969, a distinguished campaign group entitled the Campaign for Better Broadcasting was formed to protest, with the backing of Sir Adrian Boult, Jonathan Miller, Henry Moore and George Melly. The campaign objected to "the dismantling of the Third Programme by cutting down its spoken word content from fourteen hours a week to six" and "segregating programmes into classes". Mention of the campaign even reached debate in the House of Commons.

The "arts" controllers
From the launch until 1987, the controllers of Radio 3 showed preferences towards speech and arts programming as opposed to focus on classical music and the Proms. The first controller, Newby, made little contribution to the station, focusing on the transition from the Third programme to Radio 3 and as a result of the Broadcasting in the Seventies report.

The second controller, Stephen Hearst who assumed the role in 1972, was different. As Hearst had previously been head of television arts features his appointment was seen with scepticism among the staff who viewed him as a populariser. According to Hearst when interviewed for Humphrey Carpenter's book, the main rival candidate for controller Martin Esslin, head of Radio Drama, had said to the interviewing panel that audience figures should play no part in the decision making process over programming. Hearst said he responded to the same question about this issue by commenting that as the station was financed by public money it needed to consider the size of its audience – there was a minimum viable figure but this could be increased with "a lively style of broadcasting".

Hearst attempted to make the content of the channel more accessible to a wider audience, but his efforts, which included the evening drivetime programme Homeward Bound and Sunday phone-in request programme Your Concert Choice (the former an uninterrupted sequence of musical items identified only at the end of the programme; the latter a resurrection from the old Home Service), were criticised. However, during this time the long running arts discussion programme Critics' Forum was launched as well as themed evenings and programmes of miscellaneous music including Sounds Interesting.

In 1978, Ian McIntyre took over as controller of Radio 3 but quickly faced uncomfortable relationships between departments. At approximately the same time Aubrey Singer became managing director of Radio and began to make programming on the station more populist in a drive to retain listeners in face of possible competition from competitors using a "streamed format". An example of this is the replacement of Homeward Bound in 1980 with an extended, presenter-driven programme called Mainly for Pleasure. The same year an internal paper recommended the disbandment of several of the BBC's orchestras and of the Music Division, resulting in low morale and industrial action by musicians that delayed the start of the Proms. Senior management was also getting dissatisfied with listening figures leading to the Director-General Alasdair Milne to suggest that presentation style was "too stodgy and old-fashioned".

The "music" controllers
In 1987 the positions of Controller of Music and Controller of Radio 3 were merged, and with it the operation of the Proms, under the former Music Controller John Drummond. Drummond, like Hearst, believed that the music programmes' presentation was too stiff and formal and he therefore encouraged announcers to be more natural and enthusiastic. Repeats of classic drama performances by the likes of John Gielgud and Paul Scofield were also included because, in his view, newer drama was "gloomy and pretentious". He also introduced features and celebrations of the anniversaries of famous figures including William Glock, Michael Tippett and Isaiah Berlin. Drummond also introduced the show Mixing It which targeted the music genres that fell between Radios 1 and 3, often seen as a precursor to the programme Late Junction.

During Drummond's time, Radio 3 also began to experiment with outside broadcasts, including an ambitious Berlin Weekend to mark the reunification of Germany in 1990, and a much praised weekend of programming that was broadcast from London and Minneapolis-St Paul – creating broadcasting history by being the first time a whole weekend had been transmitted "live from another continent". However, Drummond complained about the former that "not one single senior person in the BBC had listened to any part of it", reflecting his general feeling that the BBC senior management paid little attention stating: "I can't remember ever having a serious conversation with anyone above me in the BBC about Radio 3 ... I would much rather have had the feeling that they thought it mattered what Radio 3 did."

Drummond's successor was Nicholas Kenyon, previously chief music critic of The Observer, who took over in February 1992 and was immediately faced with the looming launch date for commercial competitor Classic FM who were, and still remain, Radio 3's biggest rivals. Kenyon, similar to Singer a decade earlier, believed that Radio 3 had to make changes to its presentation before the new station began broadcasting rather than react later. As a result, three senior producers were sent to study classical music stations in the United States and the station hired advertising agents Saatchi & Saatchi to help improve public perception. Kenyon's tenure was to meet with much controversy: in attempts to update the station's presentation, popular announcers Malcolm Ruthven, Peter Barker and Tony Scotland were axed as well as drama being cut by a quarter, resulting in a letter of protest to The Times signed by Harold Pinter, Tom Stoppard and Fay Weldon among others; new weekday programmes for breakfast time and drive time, entitled On Air and In Tune respectfully, were launched,  as was a new three-hour programme of popular classics on Sunday mornings fronted by Brian Kay.

These moves were defended by Kenyon who argued that the changes were not "some ghastly descent into populism" but were instead to create "access points" for new listeners. However, there was still "widespread disbelief" when it was announced in the summer that a new morning programme would take the 9am spot from the revered Composer of the Week and would be presented by a signing from Classic FM – the disc jockey Paul Gambaccini. The criticism, especially once the programme went on air a few weeks later, was so unrelenting that Gambaccini announced the following spring that he would not be renewing his contract with Radio 3.

However, Kenyon's controllership was marked by several highly distinguished programming successes. Fairest Isle was an ambitious project from 1995 which marked the 300th anniversary of the death of Henry Purcell with a year-long celebration of British music and the programme Sounding the Century, which ran for two years from 1997, presented a retrospective of 20th-century music. Both won awards. He also introduced a number of well received specialist programmes including children's programme The Music Machine, early music programme Spirit of the Age, jazz showcase Impressions, vocal music programme Voices and the arts programme Night Waves.

BBC Radio 3 began nighttime transmissions in May 1996 with the introduction of Through the Night, consisting of radio recordings from members of the European Broadcasting Union and distributed to some of these other stations under the title Euroclassic Notturno since 1998. The introduction of 24-hour broadcasting resulted in the introduction of a fixed programming point at 22:00 so that if live programme overran, later programming could be cancelled to allow Through the Night to begin promptly.

In 1998, Roger Wright took over as controller of the station. Soon after his appointment some changes were made to showcase a wider variety of music; a new, relaxed, late-night music programme Late Junction featured a wide variety of genres; programmes focusing on jazz and world music were given a higher profile as were programmes presented by Brian Kay, focusing on light music, and Andy Kershaw, whose show was previously dropped by Radio 1. In these changes, Wright believed that, in the case of the former, he was addressing "this feeling people had that they didn't want to put Radio 3 on unless they were going to listen carefully" and in the latter cases that he was "not dumbing down but smarting up" the programmes.

By 2004, Radio 3's programming and services were being recognised by the Corporation at large, as seen in the 2003/4 Charter renewal application and the Annual report for the year which reported that Radio 3 had "achieved a record [audience] reach in the first quarter of 2004", and by the government: the Secretary of State's foreword to the government's Green Paper in 2005 made special mention of "the sort of commitment to new talent that has made Radio 3 the largest commissioner of new music in the world" as a model for what the BBC should be about.

By 2008, however, the station faced pressures to increase its audience by making programmes more accessible while loyal listeners began to complain about the tone of these new changes. Presentation was described as "gruesome in tone and level" and global music output was mocked as "street-smart fusions" and "global pop". At the same time RAJAR began to record lower listening figures and decisions on policy were being changed resulting in the children's programme Making Tracks, experimental music programme Mixing It, theatre and film programme Stage and Screen and Brian Kay's Light Programme all being dropped, a reduction in the number of concerts and format changes to several other programmes. In spite of the changes, figures still continued to fall.

The mid- to late 2000s did, however, offer new projects undertaken on the station: The Beethoven Experience in June 2005 saw the broadcast of his works broadcast non-stop for six days. A similar project occurred six months later when A Bach Christmas was run for ten days in the lead to Christmas and in February 2007 when a week was similarly given over to the works of Tchaikovsky & Stravinsky, and Schubert in March 2012. As part of the original Beethoven Experience, the BBC trialled its first music downloads over the internet by offering free music downloads of all nine symphonies as played by the BBC Philharmonic Orchestra under Gianandrea Noseda. The stated aim was "to gauge audiences' appetite for music downloads and their preferred content, and will inform the development of the BBC strategy for audio downloads and on demand content". The experiment was wildly successful, attracting 1.4 million downloads but was met with anger from the major classical record labels who considered it unfair competition and "devaluing the perceived value of music". As a result, no further free downloads have been offered, including as part of the BBC iPlayer service, and the BBC Trust has ruled out any classical music podcasts with extracts longer than one minute.

In 2007, Radio 3 also began to experiment with a visual broadcast as well as the audio transmissions. In October 2007, Radio 3 collaborated with the English National Opera in presenting a live video stream of a performance of Carmen, "the first time a UK opera house has offered a complete production online" and in September 2008, Radio 3 launched a filmed series of concerts that was available to watch live and on demand for seven days "in high quality vision". This strategy was also introduced to some of the BBC Proms concerts.

By the latter years of the 2000s, Radio 3's prospects were improving. The year 2008/9 saw the introduction of more concerts and other innovations had introduced Radio 3's largest event to a wider audience. The introduction of family orientated concerts to the BBC Proms, which are broadcast live on Radio 3, helped the station to introduce itself to a younger audience. Innovations of this type began in 2008 with the introduction of a concert celebrating the music from the television programme Doctor Who as composed by Murray Gold and was later followed by a further Doctor Who prom in 2010, a free family prom in 2009, another free Horrible Histories prom in 2011 and a Wallace and Gromit prom in 2012. These particular concerts were introduced by Wright, who became Proms Director in addition to his duties at Radio 3 in October 2007, and many were also televised for broadcast at a later date. The mix in these proms of classical music to combine with music of a classical nature from the programmes was hoped to introduce a much younger audience to the genres catered for by Radio 3.

Radio 3 was having to undergo further changes as a result of recent findings from the BBC Trust. In the station's latest service review, carried out in 2010, the Trust recommended the station become more accessible to new audiences, easier to navigate through the different genres and to review the output of the BBC's orchestras and singers. Soon after this verdict, the license fee was capped and the BBC given more services to pay for with the same level of income. As a result, the corporation had to reduce its costs. In the proposal entitled Delivering Quality First, the BBC proposed that Radio 3 contribute by broadcasting 25% fewer live or specially recorded lunchtime concerts and reducing the number of specially recorded evening concerts. The Trust did recognise, however, that "Radio 3 plays a vital role in the cultural and creative life of the UK" and as a result, the report did agree to reinvest in the Proms, to retain the long dramas found on the station and to continue to broadcast a new concert live each evening.

The current controller of Radio 3 is Sam Jackson, who replaced Alan Davey in April 2023.

Operation
BBC Radio 3 broadcasts from studios inside the 1930s wing of Broadcasting House in central London. However, in addition to these studios, certain programmes and performances are broadcast from other BBC bases including from BBC Cymru Wales' Cardiff headquarters and BBC North's headquarters at MediaCityUK, Salford. The BBC also has recording facilities at the Royal Albert Hall, the Royal Festival Hall and the Queen Elizabeth Hall which can be used to record and broadcast performances at these London venues.

Radio 3 is broadcast on the FM band between 90.2 and 92.6 MHz, on DAB Digital Radio, the digital television services Freeview, Freesat, Sky, Virgin Media, TalkTalk TV and Virgin Media Ireland and on BBC Sounds both online and on the app, where Radio 3 programmes can be listened back to.

On its FM frequencies, the station uses less dynamic range compression of the volume of music than rival station Classic FM. On DAB it uses dynamic range control (DRC) which allows compression to be defined by the user.

The station also uses a BBC-designed pulse-code modulation digitisation technique similar to NICAM, which is used for outside broadcasts running through a telephone line. This runs at a sample rate of 14,000 per second per channel. A similar technique was later used for recording at the same rate. In September 2010, for the final week of the Proms broadcasts, the BBC trialled XHQ (Extra High Quality), a live Internet stream transmitted at a rate of 320kbit/s, instead of Radio 3's usual 192 kbit/s, using its AAC-LC 'Coyopa' coding technology. This technology was later developed further, and Radio 3 became the first BBC Radio station to broadcast permanently in this High Definition Sound (as it has been termed) format.

Breakfast
BBC Radio 3's Breakfast programme originally launched in 1992 as On Air and took on its current name in 2007. It airs every day and is on air on weekdays from 6:30am until 9:30am, with a 9:00 am finish at the weekend. Short news bulletins are broadcast on the hour. The programme is presented by Petroc Trelawny, Hannah French and Kate Molleson during the week and by Tom McKinney and Elizabeth Alker at the weekend.

Choral Evensong
The Anglican service of sung evening prayer is broadcast on Wednesday afternoons. It is broadcast live from cathedrals, university college chapels and churches throughout the UK. On occasion, it broadcasts Choral Vespers from Catholic cathedrals, (such as Westminster Cathedral), Orthodox Vespers, or a recorded service from choral foundations abroad. Choral Evensong is the BBC's longest-running outside broadcast programme, the first edition having been relayed from Westminster Abbey on 7 October 1926. Its 80th anniversary was celebrated, also live from Westminster Abbey, with a service on 11 October 2006.

When Choral Evensong was moved from Radio 4 to Radio 3 with effect from 8 April 1970 and reduced to just one broadcast per month, the BBC received 2,500 letters of complaint, and weekly transmissions were resumed on 1 July.

In 2007 the live broadcast was switched to Sundays, which again caused protests. The live transmission was returned to Wednesdays in September 2008, with a recorded repeat on Sunday afternoons at approximately the same time. Choral Evensong forms part of Radio 3's remit on religious programming though non-religious listeners have campaigned for its retention.

Composer of the Week
Composer of the Week was launched in the BBC Home Service on 2 August 1943 under its original title of This Week's Composer. From 15 December 1964 the programme became a regular feature in the schedule of the newly established daytime "Third Network" classical music service, the Music Programme (later to be absorbed into Radio 3). The programme was renamed Composer of the Week on 18 January 1988.

Each week, in five daily programmes, which air at midday, the work of a particular composer is studied in detail and illustrated with musical excerpts. Bach, Beethoven, Haydn, Mozart and Handel have all featured once most years, a different aspect of their work being chosen for study each time. However, the programme also covers more 'difficult' or less-widely known composers, with weeks devoted to Rubbra, Medtner, Havergal Brian, Kapralova, and the Minimalists among others. On 2 August 2013, in honour of the station's 70th year, listeners were asked to nominate a composer who had never before been featured for a special broadcast at Christmas. The composer listeners chose was Louise Farrenc. The programme is written and presented by Donald Macleod or on some weeks from May 2023 onwards, Kate Molleson.

Lunchtime / Afternoon Concerts
These two programmes showcase live or recorded performances from venues across the country. Lunchtime Concert broadcasts from 1to 2pm, with the Afternoon Concert following from 2 pm until 5 pm, with presenters being rotated weekly for the latter programme. The live Monday edition of the Lunchtime Concert is repeated on Sunday at the same time.

The Early Music Show
The Early Music Show presents European music dating up to the time of Bach, broadcast at 2pm each Sunday. Episodes cover the music, the performers, and occasional discussions of musical style. Regular presenters include Lucie Skeaping and Hannah French.

In Tune

In Tune is "Radio 3's flagship early evening music programme". It was first broadcast on 13 July 1992 and was launched in response to the forthcoming launch of the competitor radio station Classic FM. Since 1997 the programme has been presented by Sean Rafferty and (since 2017) Katie Derham, and features a mix of live and recorded classical and jazz music, interviews with musicians, and arts news. The show is noted for its relaxed, convivial style of presentation.

Jazz Record Requests

Jazz Record Requests was the first weekly jazz programme on the Third Programme. First presented by the jazz musician Humphrey Lyttelton, the 30-minute programme was launched on 12 December 1964 and is still running. Now an hour long, it was broadcast on Saturdays, usually in the late afternoon, until October 2019 when it moved to Sunday afternoon. Presenters on Radio 3 have included Ken Sykora, Steve Race, Peter Clayton, Charles Fox and Geoffrey Smith. Alyn Shipton became the presenter in May 2012.

Pied Piper
Pied Piper was a children's programme, presented by early music specialist, David Munrow, with the sub-title Tales and Music for Younger Listeners and ran from August 1971 until 1976. Lively and varied, it was aimed at the 6–12 age group, though much older children and adults also listened. The programme ran for five series and a total of 655 episodes until Munrow's death in May 1976.

Opera on 3
Broadcast on Saturday nights between 6 and 9:30pm, featuring live performances by the Metropolitan Opera from the Metropolitan Opera House in New York City.

The Proms

The annual BBC Proms concerts are broadcast live each summer on Radio 3. Broadcasting the Proms began in 1927, when the Third Programme transmitted the Thirty-Second Season of the Promenade Concerts live from the Queen's Hall, conducted by Sir Henry Wood. The BBC's involvement with the Proms led to the creation of the BBC Symphony Orchestra and the BBC Wireless Orchestra to perform music. Television transmission began in 1947 and today, selected concerts are also simulcast on BBC Four. Promenade concerts are centred on the Royal Albert Hall with broadcasts from other venues around the UK.

Radio 3 in Concert
Radio 3 in Concert (originally Live in Concert) is a weeknight programme, broadcast between 7:30 and 10pm, with recorded concerts from various venues around the country and Europe. Regular presenters include Nicola Heywood-Thomas, Martin Handley and Petroc Trelawny. The last broadcast with the Live in Concert name was on 15 July 2015.

Record Review
Record Review is a Saturday morning programme (usually airing from 9am to 11:45am) dealing with recent classical music releases, topical issues and interviews. The programme title is a return of Record Review which was broadcast on Network Three occasionally from 1949, then weekly from 1957. the regular presenter of Record Review is Andrew McGregor.

From 1998 to 2015 it became CD Review, until on 2 January 2016, its title reverted to Record Review to reflect the diversity of media proliferating (CDs, downloads, streaming, and so forth).

It includes the feature Building a Library which surveys and recommends available recordings of specific works.

Through the Night
The show broadcasts for six hours, beginning weekdays at 0:30 and weekends at 1:00. It currently has four regular presenters: Danielle Jalowiecka, John Shea, Jonathan Swain and Catriona Young. The show is a national version of the BBC's Euroclassic Notturno.

The Verb
This show, presented by poet Ian McMillan, is described as a "cabaret of the word, featuring the best poetry, new writing and performance". It broadcasts for 44 minutes at 10pm on Friday nights.

News broadcasts
BBC Radio 3's remit focuses mainly on music and the arts, and news is a minor part of its output, though the station does provide concise news bulletins every half hour from 06:30 to 08:00 throughout the Breakfast programme and also at 13:00, 17:00 and 18:00 to give listeners the chance to switch to a more news-oriented station should they want more details about a particular news item. Following the Delivering Quality First proposals, it was suggested that Radio 3 share bulletins with Radio 4, so that the same bulletins would be broadcast on both channels. During weekdays the 1pm, 5pm and 6pm news bulletins are read by a member of the Radio 4 presentation team.

From 30 March until 12 July 2020 due to the COVID-19 pandemic, the Radio 3 bespoke bulletins were replaced by network news bulletins from BBC Radio 2. These were broadcast at 08:00, 13:00 and 18:00 on weekdays, and at 08:00 and 13:00 on weekends. This format came back into effect from 24 December 2020 until 4 April 2021. Since then, normal service resumed with the exception of the 8.30am and 5pm bulletins, which were dropped entirely.

Performing groups
Much of Radio 3's orchestral output is sourced from the BBC's Orchestras and Singers. These groups are:

 * The BBC Symphony Orchestra and BBC Symphony Chorus, based in London
 * The BBC Concert Orchestra, based in Watford
 * The BBC Philharmonic, based in Salford
 * The BBC National Orchestra of Wales and the BBC National Chorus of Wales, based in Cardiff
 * The BBC Scottish Symphony Orchestra, based in Glasgow
 * The BBC Singers, based in London.

In addition to the BBC's own orchestras it also has broadcast commitments to the BBC Big Band, which is externally managed, and also broadcasts some works of the Ulster Orchestra, which it part funds.

Controllers

 * 1967–1971 Howard Newby
 * An author, he published four novels during his time at the Third Programme/Radio 3, winning the first Booker Prize for fiction in 1969. Oversaw the implementation of Broadcasting in the Seventies and an increase in the amount of classical music on Radio 3.

 * 1972–1978 Stephen Hearst
 * Previously head of BBC's television music and arts department, Hearst attempted to make Radio 3 more accessible to a wider audience by introducing drivetime and request programmes as well as themed weekends. Some of these ventures were poorly viewed by critics.

 * 1979–1987 Ian McIntyre
 * Previously controller of Radio 4, McIntyre faced budgetary cuts that closed several orchestras and uncomfortable relations with the Music Division. The possibility of future competition to Radio 3 also resulted in more programmes viewed as populist by critics in an attempt to retain listeners.

 * 1987–1992 John Drummond
 * Previously an artistic administrator for events including the Edinburgh Festival, Drummond introduced repeats of classic drama performances and celebrations of artists anniversaries. His work also included programmes targeting fringe genres and ambitious outside broadcasts.

 * 1992–1998 Nicholas Kenyon
 * Kenyon, previously chief music critic of The Observer, made many controversial decisions relating to accessibility to the service in light of the launch of Classic FM including new drive time programmes. However several celebrated programmes and series of programmes were launched and Radio 3 began 24-hour broadcasting.

 * 1998–2014 Roger Wright
 * Wright attempted to ensure that all of the station's musical genres were represented more equitably, and to "smarten up" programmes. While some of these measures were recognised by the BBC and Government, the audience began to decrease, and attempts by Wright to make programmes more accessible were met with complaints from listeners. It was announced in March 2014 that Wright would step down in early September 2014.

 * 2015–2023 Alan Davey
 * Davey became Controller in January 2015, having been chief executive of Arts Council England since 2008.

 * 2023–present Sam Jackson
 * Jackson became controller after a career in the music industry, most recently as Executive Vice-President of Global Classics & Jazz for Universal Music Group.

Criticisms
Controller Nicholas Kenyon summed up the perennial problem of Radio 3 as "the tension between highbrow culture and popular appeal …the cost of what we do and the number of people who make use of it": elitism versus populism (or 'dumbing down') and the question of cost per listener. This argument has included members of the BBC, listeners and several different protest groups.

In 1969, two hundred members of the BBC staff protested to the director general at changes which would 'emasculate' Radio 3, while managing director of radio Ian Trethowan described the station in a memorandum as "a private playground for elitists to indulge in cerebral masturbation". Later, former Radio 3 controller John Drummond complained that the senior ranks of the BBC took no interest in what he was doing.

In 1995/6 listeners and press critics protested against the introduction into a slot formerly used for Composer of the Week of a programme presented by Paul Gambaccini, a former Radio 1 and Classic FM presenter. This was seen as part of a wider move towards popularisation, to compete with Classic FM and to increase ratings. Gambaccini is quoted as saying: "I had a specific mission to invite [Radio 4's] Today listeners to stay with the BBC rather than go to Classic FM."

Several groups were formed to protest against any changes to the station. These have included:

 * The Third Programme Defence Society (1957) opposed cuts in broadcasting hours and the removal of what the BBC considered "too difficult and too highbrow". Supported by TS Eliot, Ralph Vaughan Williams, Laurence Olivier
 * The Campaign for Better Broadcasting (1969) opposed proposed cuts in Radio 3's speech output. Supported by Sir Adrian Boult, Jonathan Miller, Henry Moore, George Melly.
 * Friends of Radio 3 (FoR3), a listeners' campaign group set up in 2003 to express concern at changes to the station's style and scheduling, including the shift to presenter-led programmes stripped through the week, as on Classic FM and other commercial music stations. Officially, the BBC stated that "the network's target audience has been redefined and broadened and the schedule began to be recast to move towards this during 1999." The group's stated aim is "To engage with the BBC, to question the policies which depart from Radio 3's remit to deliver a high quality programme of classical music, spoken arts and thought, and to convey listener concerns to BBC management." The group is supported by Dame Gillian Weir, Robin Holloway, Andrew Motion, Dame Margaret Drabble. The BBC has rejected claims that the network has 'dumbed down'.

In March 2019, more than 500 signatories including Jarvis Cocker, Shabaka Hutchings, and Norma Waterson called on the BBC "to think again about changes to its schedules", as a result of proposed cuts to specialist music programming on the station.

title: BBC Radio 3