text:
Wire recording

Wire recording, also known as magnetic wire recording, was the first magnetic recording technology, an analog type of audio storage. It recorded sound signals on a thin steel wire using varying levels of magnetization. The first crude magnetic recorder was invented in 1898 by Valdemar Poulsen. The first magnetic recorder to be made commercially available anywhere was the Telegraphone, manufactured by the American Telegraphone Company, Springfield, Massachusetts in 1903.

The wire is pulled rapidly across a recording head which magnetizes each point along the wire in accordance with the intensity and polarity of the electrical audio signal being supplied to the recording head at that instant. By later drawing the wire across the same or a similar head while the head is not being supplied with an electrical signal, the varying magnetic field presented by the passing wire induces a similarly varying electric current in the head, recreating the original signal at a reduced level.

Magnetic wire recording was replaced by magnetic tape recording by the 1950s, but devices employing one or the other of these media had been more or less simultaneously under development for many years before either came into widespread use. The principles and electronics involved are nearly identical.

History

The first wire recorder was invented in 1898 by Danish engineer Valdemar Poulsen, who gave his product the trade name Telegraphone. Wire recorders for dictation and telephone recording were made almost continuously by multiple companies (mainly the American Telegraphone Company) through the 1920s and 1930s, but use of this new technology was extremely limited. Dictaphone and Ediphone recorders, which still employed wax cylinders as the recording medium, were the devices normally used for these applications during this period.

The peak of wire recording lasted from approximately 1946 to 1954. It resulted from technical improvements and the development of inexpensive designs licensed internationally by the Brush Development Company of Cleveland, Ohio and the Armour Research Foundation of the Armour Institute of Technology (later the IIT Research Institute of the Illinois Institute of Technology). The two organizations (Brush and Armour) licensed dozens of manufacturers in the U.S., Japan, and Europe. Examples are Wilcox-Gay, Peirce, Webcor, and Air King. Sales elsewhere encouraged Sears to provide a model, and some authors to prepare specialized manuals.

These improved wire recorders were not only marketed for office use, but also as home entertainment devices that offered advantages over the home acetate disc recorders which were increasingly sold for making short recordings of family and friends and for recording excerpts from radio broadcasts. Unlike home-cut phonograph records, the steel wire could be reused for new recordings and allowed much longer uninterrupted recordings to be made than the few minutes of audio per side possible with disc recorders.

The earliest magnetic tape recorders, not commercially available in the United States until 1948, were too expensive, complicated, and bulky to compete with these consumer-level wire recorders. During the first half of the 1950s, however, tape recorders which were sufficiently affordable, simple, and compact to be suitable for home and office use started appearing and they rapidly superseded wire recorders in the marketplace.

Exceptionally, the use of wire for sound recording continued into the 1960s in Protona's Minifon miniature recorders, in which the importance of maximizing recording time in a minimum of space outweighed other considerations. For any given level of audio quality, the nearly hair-thin wire had the advantage that it was a much more compact storage medium than tape. The Minifon wire recorder was designed for stealth use and its accessories included a microphone disguised as a wristwatch.

Wire recording was also used in some aircraft flight recorders beginning in the early 1940s, mainly for recording radio conversations between crewmen or with ground stations. Because steel wire was more compact, robust, and heat-resistant than magnetic tape (which is plastic-based), wire recorders continued to be manufactured for this purpose through the 1950s and remained in use somewhat later than that. There were also wire recorders made to record data in satellites and other uncrewed spacecraft of the 1950s to perhaps the 1970s.

Magnetic format

Poulsen's original Telegraphone and other very early recorders placed the two poles of the record/replay head on opposite sides of the wire. The wire is thus magnetized transversely to the direction of travel. This method of magnetization was quickly found to have the limitation that as the wire twisted during playback, there were times when the magnetization of the wire was at right angles to the position of the two poles of the head and the output from the head fell to almost zero.

The recorder was improved by placing the two poles on the same side of the wire so that the wire was magnetized along its length or longitudinally. Additionally, the poles were shaped into a V so that the head wrapped around the wire to some extent. This increased the magnetizing effect and also increased the sensitivity of the head on replay because it collected more of the magnetic flux from the wire. This system was not entirely immune to twisting but the effects were far less marked.

Media capacity and speed
Compared to tape recorders, wire recording devices have a high media speed, made necessary because of the use of the solid metal medium. Standard postwar wire recorders use a nominal speed of 24 inches per second (610 mm/s), making a typical one-hour spool of wire 7,200 feet (approx. 2200 m) long. This enormous length is possible on a spool less than 3 in in diameter because the wire was very fine, having a diameter of .004 to .006 in for later models, an improvement over Poulsen's Telegraphone of 1898 which used .01 in wire. Smaller 30- and 15-minute lengths of wire were employed by the majority of recorders made after 1945. Some heavy-duty recorders use the larger Armour spools, which can contain enough wire to record continuously for several hours. Because the wire is pulled past the head by the take-up spool, the actual wire speed slowly increases as the effective diameter of the take-up spool increases. Standardization prevented this peculiarity from having any impact on the playback of a spool recorded on a different machine, but audible consequences can result from substantially altering the original length of a recorded wire by excisions or by dividing it up onto multiple spools.

Fidelity
The audio fidelity of a wire recording made on one of these post-1945 machines is comparable to a contemporary phonograph record or one of the early tape recorders, given a microphone or other signal source of equal quality. Because of its homogeneous nature and very high speed, wire is relatively free of the noticeable background hiss that characterized tape recordings before the advent of noise reduction systems. The Magnecord Corp. of Chicago briefly manufactured a high-fidelity wire recorder intended for studio use, but soon abandoned the system to concentrate on tape recorders.

Handling and editing
To facilitate handling as the user threaded the wire across the recording head and affixed it to the take-up spool, some manufacturers attached a strip of plastic to each end of the wire. This was designed to press-fit snugly into either spool. To prevent the wire from piling up unevenly on the spool as it was recorded, played or rewound, on the majority of machines the head assembly slowly oscillates up and down or back and forth to distribute the wire evenly. On some machines, moving wire guides perform this function. These are similar to mechanisms that distribute line across a fishing reel. After recording or playback, the wire has to be rewound before any further use can be made of the machine. Unlike reel-to-reel tape recorders, the take-up reel on most wire recorders is not removable.

A break in the wire is repaired by tying the ends together and trimming. When such a repair is made to an existing recording, a jump in the sound results during playback, but because of the high speed of the wire the loss of an inch due to tying and trimming is trivial and might pass unnoticed. Unfortunately, if the wire breaks it can easily become tangled, and snarls are extremely difficult to fix. Sometimes the only practical solution is to carefully cut the tangled portion away from the spool—an operation which runs the risk of endlessly enlarging the problem—and discard it. The difficulty of handling the wire itself when necessary is arguably the only serious shortcoming, among several definite advantages, of steel wire as a monophonic recording medium.

Editing is accomplished by cutting and splicing. As the knot of each splice passes through the head during playback, a very brief loss of normal contact is inevitable and the resulting dropouts can make editing musical recordings problematic. Although wire is not as suitable for editing as magnetic tape (a plastic-based material) would prove to be, in the field of radio broadcasting it offered tremendous advantages over trying to edit material recorded on transcription discs, which was usually accomplished by dubbing to a new transcription disc with the aid of multiple turntables and stopwatches. The first regularly scheduled network radio program produced and edited on wire was CBS' Hear It Now with Edward R. Murrow.

Notable uses

In 1944–1945, the 3132 Signal Service Company Special of the U.S. Army's top secret Ghost Army used wire recorders to create sonic deception on the Western Front in the Second World War. Multiple battlefield scenarios were recreated using military sounds recorded at Fort Knox, Kentucky. The wire-recorded audio, which was played back through powerful amplifiers and speakers mounted on vehicles, was used to conceal real Allied deployments, locations and operations.

In 1944 at the Middle East Radio Station of Cairo, Egyptian composer Halim El-Dabh used wire recorders as a tool to compose music.

In 1946, David Boder, a professor of psychology at Illinois Institute of Technology in Chicago, traveled to Europe to record long interviews with "displaced persons"—most of them Holocaust survivors. Using an early wire recorder from the Armour Research Foundation, Boder came back with the first recorded Holocaust testimonials and in all likelihood the first recorded oral histories of significant length.

In 1946, Norman Corwin and his technical assistant, Lee Bland, took a wire recorder on their One World Flight, a round-the-world trip subsidized by friends of Wendell Willkie and patterned after Willkie's own 1942 trip. Corwin documented the post-war world and used his recordings in a series of 13 broadcast documentaries on CBS—which were also among the first broadcast uses of recorded sound allowed by the radio networks.

In 1947, Maya Deren, an American experimental filmmaker, purchased a wire recorder from her Guggenheim Fellowship funds to record Haitian Vodou ceremonies for her documentary: Meditation on Violence.

In 1949 at Fuld Hall in Rutgers University, Paul Braverman made a 75-minute recording of a Woody Guthrie concert using a wire recorder. The recording only came to light in 2001, and appears to be the only surviving live recording of Woody Guthrie; it was restored over several years and released on CD in 2007. The CD, The Live Wire: Woody Guthrie in Performance 1949, subsequently won the 2008 Grammy Award for Best Historical Album.

One of the world's first stored-program computers, SEAC, built in 1950 at the U.S. National Bureau of Standards, used wire recorders to store digital data.

In 1952, the Harvard University physics department's musical variety show The Physical Revue, written by Tom Lehrer and performed by a cast including Lehrer, Lewis M. Branscomb and others, was recorded on wire by a later winner of the Nobel Prize, Norman Foster Ramsey Jr. This recording was recently rediscovered and made available online.

Wire recorders sometimes appear in motion pictures made during the time of their widest use. For example, in office scenes in the original 1951 version of The Thing, a typical Webster-Chicago unit is plainly visible on a small table by the window. In some shots (e.g., at 0:11:40 on the 2003 DVD release), its detached lid, carrying two extra spools of wire, is also visible. In this instance the recorder is simply set dressing and is not shown in operation. Ann Robinson's character in the 1954 Dragnet feature film carried and used a Protona Minifon wire recorder to gather evidence in a pivotal scene. The 1958 spy thriller Spy in the Sky! uses a wire recording as a plot device. In the episode "The Relaxed Informer" (S1E24) of Danger Man the spy courier is smuggling a recording made on wire secreted inside the handle holding a puppet's strings. The recording wire is later shown being played in an office using a wire player. In episode 2.18 of Adventures of Superman, "Semi-Private Eye", PI Homer Garrity has a wire recorder he uses to surreptitiously record his clients.

The fictional Allied officers of Hogan's Heroes used a wire recorder to record a meeting in Kommandant Klink's office on a device that was disguised as a sewing box made of wooden thread spools. A wire recording was the subject of a 1966 Mission Impossible episode titled "A Spool There Was". The Department S episode "A Cellar Full of Silence" revolves around a blackmail recording on a wire disguised as part of another object. A wire recorder is also used as a plot device in Arthur Miller's 1949 play, Death of a Salesman.

Similarly, in the 1990 film Dick Tracy, set in the 1930s, Warren Beatty, in the title role, is shown manipulating a wire on which the voice of Mumbles (played by Dustin Hoffman) is recorded, in order to decipher the otherwise unintelligible speech of the fictitious criminal.

In the 1990 film The Two Jakes, set in 1948, the plot centers around a wire recording made in a divorce-case-turned-homicide.

In the TV series Bones, Series 10, Episode 2, "The Lance to the Heart", an old wire recording of JFK is found in the house of a former agent of J. Edgar Hoover.

More recently in a UK Sky History TV series "U-boat Wargamers", in the last episode Captain Gilbert Roberts CBE debriefs the German U-boat Admiral Eberhard Godt using a Wirex Electronics Ltd of Edgware, London model B1 wire recorder to record the debrief (the machine is shown running). He secretly uses a second machine, hidden in an attache case, to record the more casual conversation after the main unit is switched off. The main machine depicted was actually not manufactured until 1951.

title: Wire recording


text:
DRI

DRI or D.R.I. may stand for:

Business

 * DRI, the NYSE stock symbol for Darden Restaurants, Inc.
 * Digital Research Inc, first large software company in the business for microcomputers
 * Data Resources Inc., a former distributor of economic data, now part of IHS Global Insight
 * Diamond Resorts International Inc. a vacation ownership company

Computing

 * Declarative referential integrity, in databases
 * Direct Rendering Infrastructure, a software interface

Government

 * United States District Court for the District of Rhode Island
 * Directorate of Revenue Intelligence, Intelligence Agency of India

Healthcare and bioscience

 * Dietary Reference Intake, dietary recommendation
 * Doncaster Royal Infirmary, South Yorkshire, UK
 * Dopamine reuptake inhibitor, class of drugs
 * Former Dundee Royal Infirmary, Scotland, UK

Other organisations

 * Desert Research Institute, environmental research
 * Direct Relief, health NGO
 * Directly Responsible Individual, Project specific title in Apple Computer's Corporate ecosystem.

Other

 * Direct reduced iron, used in steel production
 * D.R.I. (band), Dirty Rotten Imbeciles, an American crossover thrash band

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

title: DRI


text:
Casti connubii

Casti connubii (Latin: "of chaste wedlock") is a papal encyclical promulgated by Pope Pius XI on 31 December 1930 in response to the Lambeth Conference of the Anglican Communion. It stressed the sanctity of marriage, prohibited Catholics from using any form of artificial birth control, and reaffirmed the prohibition on abortion. It also explained the authority of church doctrine on moral matters, and advocated that civil governments follow the lead of the church in this area.

Topics
Casti connubii was a response to the Lambeth Conference of 1930 in which the Anglican Communion approved the use of birth control in limited circumstances. It covered four major topics: the sanctity of marriage, opposition to eugenics, positions on birth control and the purpose of sexuality, and reaffirmation of the prohibition on abortion.

Sanctity of marriage
Pope Pius XI's encyclical references and confirms Arcanum (1880) on Christian marriage by Pope Leo XIII. Catholic doctrine has always considered matrimony to be a most holy state of life for those called to the married life (Thomas Aquinas Summa Theologica; Augustine of Hippo On the Goods of Marriage). This encyclical reaffirms that marriage is a sacrament, and a means to sanctifying grace.

The encyclical also affirms the church's opposition to adultery and divorce, and its support of wives as homemakers. It calls for wives to be obedient to their husbands, while commanding husbands to love their wives as "Christ loved His Church".

"This ... does not deny or take away the liberty which fully belongs to the woman both in view of her dignity as a human person, and in view of her most noble office as wife and mother and companion; nor does it bid her obey her husband's every request if not in harmony with right reason or with the dignity due to wife; ... For if the man is the head, the woman is the heart, and as he occupies the chief place in ruling, so she may and ought to claim for herself the chief place in love."

Opposition to eugenics
Casti connubii speaks out against the eugenics laws, then popular, that forbade those deemed 'unfit' from marrying and having children: "Those who act in this way are at fault in losing sight of the fact that the family is more sacred than the State and that men are begotten not for the earth and for time, but for Heaven and eternity."

It also took a strong stand against forced sterilizations. Pius XI stated that if no crime has taken place and there is no cause present for grave punishment, magistrates have no direct power over the bodies of their subjects. He cited Thomas Aquinas: "St. Thomas teaches this when inquiring whether human judges for the sake of preventing future evils can inflict punishment, he admits that the power indeed exists as regards certain other forms of evil, but justly and properly denies it as regards the maiming of the body."

Birth control and the purpose of sexuality
Prior to this encyclical, it was believed by some Catholics that the only licit reason for sexual intercourse was an attempt to create children. At the time, there was no official church position on any non-procreative purposes of intercourse. Casti connubii does repeat several times that the conjugal act is intrinsically tied with procreation: "... any use whatsoever of matrimony exercised in such a way that the act is deliberately frustrated in its natural power to generate life is an offense against the law of God and of nature, and those who indulge in such are branded with the guilt of a grave sin."

However, Casti connubii also acknowledges the unitive aspect of intercourse as licit: "Nor are those considered as acting against nature who in the married state use their right in the proper manner although on account of natural reasons either of time or of certain defects, new life cannot be brought forth. For in matrimony as well as in the use of the matrimonial rights there are also secondary ends, such as mutual aid, the cultivating of mutual love, and the quieting of concupiscence which husband and wife are not forbidden to consider so long as they are subordinated to the primary end and so long as the intrinsic nature of the act is preserved."

Casti connubii also reaffirms the dignity of the human conjugal act as distinct from the conjugal acts of animals, by its volitive nature; that is, the act is not merely biological but rooted in the will and therefore a personal act.

The 'natural reasons of time or of certain defects' are universally accepted as meaning menopause and infertility. This paragraph thus means menopausal and infertile couples may morally engage in intercourse, even though there is no possibility of children resulting from the act.

The 'natural reasons of time' is interpreted by some to also mean the infertile portion of a woman's menstrual cycle. The practice of avoiding pregnancy by abstaining from sexual relations when the woman is fertile (natural family planning) was first addressed in rulings by the Sacred Penitentiary in 1853 and 1880, which declared the practice moral. However, a few Catholic theologians continued to hold that such practices were equivalent to contraception and thus immoral, and some historians consider two 1951 speeches by Pope Pius XII to be the first explicit church acceptance of natural family planning. The church's view of contraception was explored further in the 1968 encyclical Humanae vitae by Pope Paul VI, and by Pope John Paul II's lecture series later entitled Theology of the Body.

Abortion
This encyclical repeats the church's condemnation of abortion in all circumstances. It also draws a connection between contracepting couples and couples that have abortions: "... those wicked parents who seek to remain childless, and failing in this, are not ashamed to put their offspring to death."

Reactions and impact
In a 1932 article published in The Nation, Margaret Sanger gave her personal reaction to the encyclical, saying that it was an obstacle to general approval of the birth-control movement by political leaders unwilling to oppose the leadership of the church. She also asserts that it is "not in accord with science and definitely against social welfare and race improvement".

Casti connubii is most noted for its anti-contraception position. Unlike major Protestant denominations, the Catholic Church has continued its opposition to artificial birth control. This encyclical, along with Humanae vitae, has come to represent that stance.

title: Casti connubii


text:
Wikipedia:WikiProject Poetry

Welcome to the Poetry WikiProject! To start exploring poetry on Wikipedia, visit the main poetry page. For information on creating poetry-related articles, please read on.

For poetry-related deletion discussions, see WikiProject Deletion sorting/Poetry.

Scope and objectives
The primary objective of WikiProject Poetry is to provide comprehensive, accurate, reliable information, and other resources on poetry, poets, and various subjects related to poetry. These topics include biographies of individual poets, works of poetry, national poetries, poetry movements and groups, poetic genres, forms, styles, and techniques. We accomplish this objective through the creation and improvement of articles, lists, and other resources that aim to provide Wikipedia's reader with well-written, adequately sourced historical information, analysis, and interpretation of topics relevant to poetry and the appreciation of poetry.

Articles on these subjects should be categorized in the Category:Poetry or one of its subcategories, and the WikiProject banner placed on the article's talk page.

Tasks
Please nominate current activities on the talk page.
 * Poetry assessment drive: Please visit Category:Unknown-importance Poetry articles and assess as either High, Mid, or Low importance.
 * Ongoing activity: Add the WP:Poetry template to the talk pages of articles related to poets, poems, and poetry collections to affiliate them with this project.
 * Continue to improve Outline of poetry, which provides a coverage of the entire subject. It in turn is part of Wikipedia's outline system which is one of Wikipedia's main contents systems. Please look it over and fill-in missing topics. If Wikipedia has an article or article section about those topics, please add links to them.It was built as a "reverse outline", a structural model of an existing work, which in addition to being a summary of the work, can reveal the gaps and other weaknesses for revision purposes.
 * While analyzing the outline, please ask yourself (and fix the outline as needed) if (1) the outline has anything missing; (2) whether the structure of the outline (sections and indents) is representative of the subject; and (3) whether the outline helps a reader understand the relationships between the topics presented in the best way possible.
 * Work on the Blake task force articles or Canterbury Tales task force

Notability

 * All articles on poets, poetry and topics related to poetry must meet the general notability guidelines.
 * The merits for inclusion of biographical articles on poets ought to be considered against the minimum criteria for biographies WP:ANYBIO and the notability guidelines for creative professionals (known as WP:AUTHOR or WP:CREATIVE); or if the poet is an academic, the notability guideline for academics measured by their academic achievements (known as WP:ACADEMIC). Articles on people who do not meet these criteria can be proposed for deletion. Articles on poets and other persons who are still living must comply with the policies regarding biographies of living persons (WP:BLP).
 * Articles on poetic movements or groups must be the subject of multiple, non-trivial published works appearing in sources that are independent of the book itself, in considering the criteria of WP:AUTHOR and the very similar application toward bands and musicians, WP:BAND or WP:MUSBIO.
 * Articles on books—be it poetry collections, anthologies, chapbooks, pamphlets, or works of literary scholarship or criticism need to be eligible for inclusion under Wikipedia:Notability (books), with special attention to the criteria listed at WP:BKCRIT.
 * Articles on individual poems should be considered as we consider articles on individual songs or albums, per WP:NSONGS, in that they must be the subject of multiple, non-trivial published works appearing in sources that are independent of the book itself.
 * If an individual poem does not meet similar notability standards, it is generally advisable to discuss any material on that individual poem in an article on the collection it was from, or at the biography article for the poet. Per the notability guideline for derivative articles, WP:BKD, "it is a general consensus on Wikipedia that articles on books should not be split and split again into ever more minutiae of detail treatment, with each split normally lowering the level of notability." This would be applicable to articles on less-than-notable individual poems—despite however beautiful or meaningful the poem may be.
 * Many poetry prizes, poetry journals, literary magazines are often not notable. If a prize, journal, or magazine is to be considered notable, like other topics, must be the subject of multiple, non-trivial published works appearing in sources that are independent of the prize, journal, or magazine.

Article naming and title formatting
Unfortunately, Wikipedia's Manual of Style and its Naming Conventions are often in conflict or inconsistent when it comes to the naming of articles on creative works. For more information about titling articles, see: Manual of Style, Article titles, Manual of Style, Manual of Style/Capital letters.
 * Generally, article titles are based on what the subject is called in reliable sources. When this offers multiple possibilities, editors choose among them by considering several principles: the ideal article title resembles titles for similar articles, precisely identifies the subject, and is short, natural, and recognizable.
 * In foreign names, the choice between anglicized and local spellings should follow English-language usage—settling on the usage that predominates in English language reliable sources (per WP:UE).
 * If a poem, lyric or composition has a title, it is usually formatted in title case. If it is an untitled work and that poem, lyric, or composition uses the first line of text as its title, the title should be formatted in sentence case.
 * If an article title is the name of a book or long poem, the title should be presented in italic text. In order to italicize the name of an article, add at the top of the article. Mentions of the poem title throughout the article should be italicized. See WP:ITALICTITLE, MOS:ITALIC.
 * If an article is about a short poem or lyric, italicization is not necessary, and the title of the poem should be placed in quotation marks. Do not add quotation marks in the name of the article.
 * The distinction between a short poem and a long poem is never well-defined and an editor is advised to exercise judgment. The Chicago Manual of Style (8.179) advises to place poem titles in quotation marks except for "very long poems" that could be book length which should be italicized. A good suggestion is that a poem of 80 lines or less can be considered a short poem; and poems greater than 80 to 100 lines, a long poem.
 * Example (short poems): Robert Frost's "After Apple Picking" (42 lines)
 * Example (long poems): Walt Whitman's When Lilacs Last in the Dooryard Bloom'd (206 lines)

Use of infoboxes

 * WikiProject Poetry does not require or prohibit the use of infoboxes. Per WP:INFOBOXUSE: The use of infoboxes is neither required nor prohibited for any article. Whether to include an infobox, which infobox to include, and which parts of the infobox to use, is determined through discussion and consensus among the editors at each individual article.
 * Articles with an existing infobox that was put in by consensus, or by the article's major contributors, or (on articles that don't get much editing attention) has been in place for a while, usually ought to stay in place.
 * We discourage bickering on questions of whether to use infoboxes since it leads to unnecessary edit wars and bitterness. When discussing the issue to reach a consensus, focus on the article's content improvement needs—and what best conveys that content. Neither a position of "I don't like infoboxes, period", nor one of "every article needs an infobox" is a valid rationale.  The needs of properly conveying content in the article are what matter.
 * Useful infoboxes for our project's articles: Template:Infobox writer, Template:Infobox poem, Template:Infobox book, Template:Infobox hymnal, Template:Infobox publisher, Template:Infobox journal, Template:Infobox award,

Citing and sourcing information

 * All articles must comply with the expectations of Wikipedia's policies and guidelines on citing sources, reliable sources, and verifiability.
 * While Wikipedia does not favour any particular citation style over another, scholarly writings on topics relating to literature and the humanities typically employ the MLA or Chicago citation styles, as exemplified in the MLA Style Manual and Guide to Scholarly Publishing  and the MLA Handbook for Writers of Research Papers, both official publications of the Modern Language Association (MLA); or the Chicago Manual of Style as published by the University of Chicago Press.
 * The use of "Harvard Style" parenthetical citations within the article text is strongly discouraged as it reduces the readability of an article and compromises the flow of the prose.
 * It is not appropriate to provide analysis or interpretation of a poem that is not supported by reliable sources. Any analysis and interpretation ought to be supported by appropriate citations to relevant books, journal articles and other scholarship from established literary scholars, critics, and historians. Anything that is not appropriately sourced may be construed as original research and removed.
 * Per WP:CITEVAR, "Editors should not attempt to change an article's established citation style merely on the grounds of personal preference, to make it match other articles, or without first seeking consensus for the change." We usually defer to an article's first major contributor regarding the choice of citation style, or to the format already in use at an article. This means that an article using tags or citation templates continues to use that style, unless a consensus is established to change it. If an article's citation format is inappropriate for the article, incomplete, or inconsistently used, raise the question of converting the citation style on the article's talk page and wait at least one week to allow other contributors to comment on the proposal. It is an expected courtesy to contact any major contributors to an article for their comments on the matter.

Quoting from poems and copyright issues

 * Do not quote poems at length or in their entirety if the poem is still under the protection of copyright. The only exception to this is the brief quotation (only a few lines) of a copyrighted text, under fair use doctrine, if it is analyzed or used to illustrate a point, establish context, or attribute a point of view or idea. Any quotation of copyrighted text must be attributed through an appropriate citation. Any text that is copyrighted and inappropriately used may be removed immediately.
 * Quoting a poem at length or in its entirety is only permissible if and only if (a) if the material is in the public domain or copyright has otherwise expired; or (b) permission has been given by the copyright owner.
 * For more information, see Wikipedia's policy on non-free content and the guideline for quoting song lyrics and poetry. If you have any questions, ask. If you are in doubt as to the copyright status of a work, ask.

Style for quoting from poems

 * Do not italicize quoted text.
 * All quotations should be cited, either with an appropriate reference tab or citation template, or with a simple parenthetical, like "(lines 31–35)" at the end of the quoted text.
 * For discussion of how to format or present scansion, the rhythmic and metrical analysis of verse, see the section on Scansion below.
 * If you are quoting only one line of poetry, treat it like any other short quotation.
 * If you choose to quote two or three lines of poetry, most style guides advise to quote them within the structure of a sentence by separating the lines by the insertion of a forward slash. While some writers prefer to set off two-line quotations as a block quotation for emphasis, it is not advisable for Wikipedia.
 * Example: "Eliot began his poem The Love Song of J. Alfred Prufrock with an unexpected simile: "Let us go then, you and I / When the evening is spread out against the sky / Like a patient etherized upon a table".
 * If you are quoting four or more lines of poetry, most style guides advise to indent the poem as one would a block quotation. Wikipedia has several formatting methods for block quotations (see Quotations), including the and  templates, or the HTML element for blockquotes, which ought to be used with the element for poems within the blockquoted passage. See also the template.
 * Example of the blockquote HTML elements use, quoting T. S. Eliot "A Song for Simeon" (1928), lines 25–30:

Style for rhyme schemes

 * Articles that explain the rhyme scheme used by a type of poem or a specific poem or author, should link to the article rhyme scheme, so readers who don't know what that is can find out.
 * Articles that use notation to specify a rhyme scheme (e.g. ABAB) should use the same notation as so readers who have questions about the notation can learn the details.
 * If the rhyme scheme being discussed in the article cannot be handled by any of the notations listed, add a new notation in a similar style to, with a link back to the main article for the phenomenon (as is done for internal rhyme).
 * When using mixed uppercase and lowercase, specify in the article whether capital letters represent lines repeated verbatim or if they represent masculine rhymes. (The same notation is used for two different meanings.)
 * When quoting from a poem and indicating the rhyme scheme line by line, use a table to line up the letters and prevent them from wrapping in a narrow browser window. (See example at the top of rhyme scheme.)

Translations into English of non-English works

 * If you are providing a translation of a poem or text, it is advisable to present the comparison between source text and translated text in two columns—the left-hand column being the source text in its original language, the right-hand column being the translation into English. A good example of its use in an article can be found in the article on Gustav Mahler's Das Lied von der Erde. Alternatively, Verse translation can be used to aid formatting. If the source text is in a language whose alphabetic writing system does not use Latin scripts (i.e. Arabic, Sanskrit, Greek, Chinese, etc.), use three columns if possible: The left=hand column displaying the source text in its original, non-Latin characters; the center column offering the source text in an established system of transliteration or script conversion into Latin letters, and the right-hand column offering a translation in English. If you do not know how to use columns, ask another Wikipedian for help on this WikiProject's talk page.
 * It is preferred that if a translation is necessary in an article on a poem or lyrical text that an editor use a verbatim or literal translation of the source text. Many translations, especially those created before the twentieth century, are not accurate because the focus of many translations is constrained by rhyme and meter or artistic license is taken by the "translator". Earlier translators either did not give priority to accurately translating the text, or their work does not accurately represent the source text.
 * We can use a translation of a poem only if the translation is (a) in the public domain, (b) its copyright has expired, or (c) permission is granted to use said translation by the copyright owner. Do not use a translation of a poem that is currently under copyright. Any texts, including translations, that are under copyright must be removed per Non-free content and Lyrics and poetry
 * If you are analyzing a brief excerpt or section of a poem, you may use a brief excerpt of a translation currently under copyright under a fair use rationale provided that (1) the quoted is brief (i.e., no more than a few lines) and (2) full credit to the translator is given through compliance with policies on citing sources. Lengthy excerpts do not qualify for fair use.
 * If there are no free alternatives available, a user who is knowledgeable about the foreign language of the poem and confident in translating the text is encouraged to provide their own literal translation or a close-to-literal poetic translation. A basic verbatim translation does not violate the policies on original research (WP:OR) or synthesis (WP:SYNTH), and Wikipedia's policies and guidelines encourage users to provide accurate translations, see: WP:SYNNOT and WP:NOTOR.
 * If you do choose to provide a translation of a poem for an article, please consider asking another user to check your work. Either ask another Wikipedian directly or place a message on this WikiProject's talk page.
 * If you are not proficient in a foreign language, do not translate the poem. Do not use a translation from Google, Babelfish, or any other online translation service. Please contact another Wikipedian who advertises their ability in the relevant language and ask if they could provide a translation, or request a translation on this WikiProject's talk page.

External links to material under copyright

 * If you find the text of a poem or a translation of a poem elsewhere on the internet it can be used in an article or provided as an external link if and only if (a) if the material is in the public domain or copyright has otherwise expired; or (b) permission has been given by the copyright owner. Do not add an external link to any online source or website whose content violates the intellectual property rights of artists, poets, publishers, or other creative interests (per WP:ELNEVER)
 * If a poem is currently in the public domain or copyright has otherwise expired, it should be added to Wikisource.

Other considerations

 * The use of logical quotations is encouraged, irrespective of any rules associated with the variety of English in use. Therefore, "place all punctuation marks inside the quotation marks if they are part of the quoted material and outside if they are not".

National poetries
Articles devoted to national poetries should be chronological in structure, beginning with the earliest known poetry from that country in question. The article should cover the principal periods and give brief information on the main poets, groups and movements in each period. Some attempt should be made to indicate factors that link and/or differentiate each period. Any important influences from other poetries should also be mentioned. Where possible, external links to online primary texts and/or critical or historical discussions should be appended at the end of the article. References and pictures are required to bring the article to featured status.

Some assistance may be available through WikiProject Historical Information.

 * Examples

Well-developed articles:
 * Irish poetry
 * Poetry of the United States

Other priorities:
 * Indian poetry

Poetry groups or movements
Articles covering poetry groups or movements should cover the main members of the group, the stated aims or poetic and any important dates or key publications in the group's history. Other poets or groups/movements that the group being discussed were influenced by or reacting against should also be mentioned, as should the general cultural context. Where possible, external links to online primary texts and/or critical or historical discussions should be appended at the end of the article. References and pictures are required to bring the article to featured status.

 * Example

 * Imagism

Individual poets
Articles discussing individual poets should adhere to normal Wikipedia biography conventions. The poet's early influences, associations with any groups or movements, and main publications should be mentioned, along with any later poets, groups or movements they may have strongly influenced. Where possible, external links to online primary texts and/or critical or historical discussions should be appended at the end of the article. References and pictures are advised where the intention is to push the article to featured status.

 * Examples

 * William Shakespeare
 * W. B. Yeats
 * Emily Dickinson

Individual poems
If the poem in question is quite short, it should be added to the article, per WP:L&P. If it is a long poem, it should be linked, either from WikiSource, or from another website. The text of poems which are not copyrighted should in general be placed in WikiSource.

An article on an individual poem, besides the poem itself, should describe the publication history of the poem, and the critical response to the poem. Other matters that could be covered include: the circumstances in which the poem was written, the structure and style of the poem, and references made in the poem.

 * Examples
 * The Waste Land
 * Mr Bleaney
 * In Memoriam A.H.H.
 * The Cantos (and List of cultural references in The Cantos)

Styles, forms, techniques, lists, general topics
Include definitions, history including dates, notable poets associated and examples where appropriate. Lists should be annotated and illustrated where appropriate. Where there are red links on a list, please consider writing stubs or longer entries. References and pictures are required to bring the article to featured status.

 * Examples

 * Poetry
 * Alliterative verse
 * List of poets
 * List of cultural references in The Cantos

Poetry prizes

 * Forward Poetry Prize
 * Theodore Roethke Memorial Poetry Prize

Scansion
Scansion is the act of analyzing and (usually) graphically representing the metrical character of a line of verse. Ideally Wikipedia will scan consistently across articles. Metrical verse is extremely diverse, especially across languages and over time, so universal consistency of scansion may not be possible or even desirable, but this advice will serve most English verse well, and may be useful for verse in other languages, too.

Binary marks
In a line of verse each syllable should be marked: ictic syllables with a slash "/", and nonictic syllables with an "x" — or preferably a multiplication sign "×". It is vital to distinguish between a metrical scansion (as is recommended here) and a rhythmic scansion (which, alone, leads to perdition). For notes on how to incorporate rhythmic notation into a valid metrical scansion, see Optional 2-line scansion below. The line of text is displayed, with a second line of scansion marks above it. Symbols are placed above the first vowel in each syllable. Both lines should begin with a space, so as to display them as monospaced characters; this allows easy WYSIWYG editing and keeps the verse text intact. The verse reference is placed on the same line as the text.

×  /     ×  /     ×     /     ×  / ×    / To swell the gourd, and plump the hazel shells

This method of display is used in the article Scansion. For an alternate display method, see Alternate markup below.

Pipes
The existence, function, and explanatory usefulness of feet in English verse is disputed. Also, while syntactic pauses frequently occur within a line, English verse seldom includes a metrically structural caesura. Therefore it is recommended that both these features remain unmarked unless the specific line requires them. Either can be marked within the text by a pipe "|" or, if they are both marked simultaneously, by a single pipe "|" for feet and two pipes "||" for caesura. Words should not be hyphenated when they are broken up by foot markers.

×  /    ×  / ×   /    ×  /      ×    /  ×     /  × / The princely palace of the sun | stood gorgeous to behold ×   /      ×  /     ×    /      ×   /      ×   /     ×   /     ×      / On state | ly pill | ars build | ed high || of yell | ow burn | ished gold

As can be seen, a cost of including foot or caesura notation is the fragmentation of the verse text.

Extrametrical syllables
Both positionally extrametrical syllables and elided syllables can be indicated with parentheses.

× /     ×(×)  / ×  /(×)    ×   /      × / (×) His acts being seven ages. | At first the infant

The line above contains all 3 types of extrametrical syllables commonly found in iambic pentameter: the first (×) is elided, the second (×) is allowed by a so-called "epic caesura" — a special case in which marking a caesura in iambic pentameter can be useful — and the third (×) is a feminine ending. These distinctions are not made explicit by the scansion, so in cases like this clarification may be required in the article text.

Virtual beats
It is often (not always) conceded that certain meters (specifically the wide family of 4-ictic Ballad meters, including Fourteeners, Poulter's measure, and Limericks, among others) allow some line-final ictic positions to be experienced silently. Depending on the context, it may not be important to scan these, in which case one merely scans the syllables present in the text. But if these "virtual beats" require notation, they can be marked with "[/]" thus:

× /    ×  / ×    / ×    / I taste a liquor never brewed, ×  /  ×      /     ×   /     [/] From tankards scooped in pearl; × /     ×  /   × /    ×   / Not all the vats upon the Rhine ×    /   ×  /  × /    [/] Yield such an alcohol!

Note the distinction between brackets here and parentheses above. This helps to emphasize how different the virtual beat is from the extrametrical syllable — the opposite, in fact. Extrametrical syllables are positions that exist in the text, but do not count in the meter; virtual beats are positions that exist in the meter, but not in the text.

(Derek Attridge (who coined the term "virtual beat") would also scan the lines above with "virtual offbeats" (e.g. "[× /]" at the end of lines 2 and 4). This is significant for his system, but is considered counterproductive for Wikipedia; especially since virtual beats frequently pop up in contexts in which one could imagine arguments over whether one was failing to hear 0, 1 or 2 virtual offbeats!)

Alternate markup
If no verse text reference, or any other markup, is required on the same lines as the scansion and text, the scansion can be better integrated within the article text by using this markup:
 * scansion
 * verse text
 * verse text

This method, too, allows WYSIWYG editing of the displayed lines. It is exemplified below, and is used in the article Iambic Pentameter. Unfortunately, no method allowing both this appearance and markup (like ) is currently available.

Optional 2-line scansion
Isn't one line enough? For metrical purposes, yes. But consider these lines:

 * When Ajax strives, some rock's vast weight to throw,
 * The line too labours, and the words move slow;

Many people will find it hard to stomach that not only are these lines metrically identical, but that they are also completely regular:

 × / ×     /      ×    /      ×    /      ×    / When Ajax strives, some rock's vast weight to throw, × /    ×   / ×     /     ×  /     ×     / The line too labours, and the words move slow;

What of Pope's alleged sonic reproduction — through over-weighting the line with heavy syllables — of strain and toil? What of the reader's or listener's real experience of that strain? What is scansion good for, if it doesn't show this? Well, metrical scansion is not good for that. Its purpose is to analyze the meter of the line, and this is a binary proposition: all the syllables either function as a beat (ictus) or not (nonictus), and in verse like this (as indeed in most verse) the number of ictuses per line remains stable throughout the poem. There is no way metrically to notate the "extra stresses" that the reader legitimately experiences. These are an issue of verse rhythm. And while scanning only a verse's rhythm leads almost inevitably to a metrical boondoggle, scanning a verse's meter and rhythm can be very enlightening.

 2 4 1     4      3    4      3    4      1    4  ×  / ×     /      ×    /      ×    /      ×    / When Ajax strives, some rock's vast weight to throw, 1 4    3   4 1     2     1  4     3     4  ×  /    ×   / ×     /     ×  /     ×     / The line too labours, and the words move slow;

Here, we've added a rhythmic scansion (1 = lightest stress and 4 = heaviest stress). This closely mirrors the methods used by Otto Jespersen, James McAuley, and Timothy Steele; and serves as a useful informal approximation of the more linguistically technical scansions of Marina Tarlinskaja, Derek Attridge, and Peter L. Groves. Now we can see 1) the variety of stress interrelationships that create the distinctive stress profile of the lines, 2) how these variously stressed syllables realize ictic and nonictic positions within the iambic pentameter, and 3) how, despite the preponderance of heavy stresses, these lines relate structurally to Pope's other heroic lines.

Though relatively objective means can be used to determine fine-grained stress levels like these, they tend to be quite technical. For Wikipedia, these rhythmic scansions may best be left to the scanner's ear.

Text sources
09:52, 17 August 2021 (UTC) Working on a template for scansion, interested in Imagism and eastern poetry as a reader
 * 1) Heilprin (talk) 22:34, 5 September 2021 (UTC)
 * 2) CivilianArthur (talk) 19:06, 3 November 2021 (UTC)
 * 3) A0630! (talk) 23:16, 18 March 2022 (EDT)
 * 4) Geoffroi American and English poetry.
 * 5) Gabriel سلیمی
 * 6) Squidditas
 * 7) Goldenrod42 (talk) 23:45, 8 September 2023 (UTC)
 * 8) Novo TapeMy Talk Page 22:37, 16 January 2024 (UTC) Hope to start working on expanding English modernists (in particular Crane, Moore, Eliot)
 * 9) ContemplativeBanana (talk) 16:11, 27 May 2024 (UTC) Modern and Contemporary American poetry, mostly.

Inactive members

 * 1) Tegalad
 * 2) Anshul
 * 3) sjc
 * 4) Wikipedius
 * 5) WayneRay
 * 6) Sam
 * 7) Moonbug
 * 8) *Rianon Burnet
 * 9) William P. Coleman (talk) Modernism, Classical Chinese Poetry, Classical Greek Poetry
 * 10) Thehumuslayer
 * 11) Survivalism (talk) 16:04, 21 February 2008 (UTC)
 * 12) Kalindoscopy
 * 13) Zorba the Geek (talk) especially Russian poetry
 * 14) Vergency
 * 15) Erik the Red 2 ( AVE · CAESAR ) 17:05, 5 May 2008 (UTC)
 * 16) Evb-wiki (talk) 13:57, 25 August 2008 (UTC)
 * 17) Smileypirate (talk) 15:06, 29 September 2008 (UTC)
 * 18) mrathel (talk)
 * 19) Ottava Rima - English Civil War to Victorians.
 * 20) TheGeniusPrince
 * 21) Ida-Marie's Father - German and German-writing Poets
 * 22) Lordknave
 * 23) Aclayartist
 * 24) BarbaraSta
 * 25) -- Daniel Jones (talk) 11:26, 13 July 2009 (UTC)
 * 26) MaximilianT
 * 27) Ink Falls -What Dcattell said ^_^
 * 28) BlackMarlin 20th Century Poetry, mainly British or from the North of Ireland. Currently writing a PhD thesis on Paul Muldoon.
 * 29) Josette
 * 30) Amartya Ray
 * 31) Brucewhealton (talk) 12:35, 10 July 2010 (UTC)Brucewhealton Interested in poetry online, poets, and poetry communities
 * 32) Sigauri
 * 33) Weatherby551
 * 34) Mschwer2

Member userboxes
You may place ' or ' on your user page to display one of the following userboxes:

Either of these templates will add your user page to: For other poetry user templates, please see:
 * Category:WikiProject Poetry participants
 * Category:Wikipedians interested in poetry
 * Category:Poetry user templates

title: Wikipedia:WikiProject Poetry


text:
Contact (mathematics)

In mathematics, two functions have a contact of order $k$ if, at a point $P$, they have the same value and their first $k$ derivatives are equal. This is an equivalence relation, whose equivalence classes are generally called jets. The point of osculation is also called the double cusp. Contact is a geometric notion; it can be defined algebraically as a valuation.

One speaks also of curves and geometric objects having $k$-th order contact at a point: this is also called osculation (i.e. kissing), generalising the property of being tangent. (Here the derivatives are considered with respect to arc length.) An osculating curve from a given family of curves is a curve that has the highest possible order of contact with a given curve at a given point; for instance a tangent line is an osculating curve from the family of lines, and has first-order contact with the given curve; an osculating circle is an osculating curve from the family of circles, and has second-order contact (same tangent angle and curvature), etc.

Applications
Contact forms are particular differential forms of degree 1 on odd-dimensional manifolds; see contact geometry. Contact transformations are related changes of coordinates, of importance in classical mechanics. See also Legendre transformation.

Contact between manifolds is often studied in singularity theory, where the type of contact are classified, these include the A series (A0: crossing, A1: tangent, A2: osculating, ...) and the umbilic or D-series where there is a high degree of contact with the sphere.

Contact between curves
Two curves in the plane intersecting at a point p are said to have:
 * 0th-order contact if the curves have a simple crossing (not tangent).
 * 1st-order contact if the two curves are tangent.
 * 2nd-order contact if the curvatures of the curves are equal. Such curves are said to be osculating.
 * 3rd-order contact if the derivatives of the curvature are equal.
 * 4th-order contact if the second derivatives of the curvature are equal.

Contact between a curve and a circle

For each point S(t) on a smooth plane curve S, there is exactly one osculating circle, whose radius is the reciprocal of κ(t), the curvature of S at t. Where curvature is zero (at an inflection point on the curve), the osculating circle is a straight line. The locus of the centers of all the osculating circles (also called "centers of curvature") is the evolute of the curve.

If the derivative of curvature κ'(t) is zero, then the osculating circle will have 3rd-order contact and the curve is said to have a vertex. The evolute will have a cusp at the center of the circle. The sign of the second derivative of curvature determines whether the curve has a local minimum or maximum of curvature. All closed curves will have at least four vertices, two minima and two maxima (the four-vertex theorem).

In general a curve will not have 4th-order contact with any circle. However, 4th-order contact can occur generically in a 1-parameter family of curves, at a curve in the family where (as the parameter varies) two vertices (one maximum and one minimum) come together and annihilate. At such points the second derivative of curvature will be zero.

Ccircles which have two-point contact with two points S(t1), S(t2) on a curve are bi-tangent circles. The centers of all bi-tangent circles form the symmetry set. The medial axis is a subset of the symmetry set.

title: Contact (mathematics)


text:
Talk:Steve Morse

Untitled
I've sent off the boilerplate request to http://www.stevemorse.com/ for permission to use some of the material there. Phil 14:10, Dec 10, 2003 (UTC)

i hope to be adding changes incrementally, as it appears that very little has been done here in over a year. --The Anti-Joey 15:30, Jan 26, 2005 (UTC)

i realize now the value of creating some sort of sandbox for developing articles. this shall remain static until i feel comfortable with its completeness. see User:Antijoey/morse -- The Anti-Joey

Discography
That discography is a mess. Can someone fix it? I'd recommend, as a starting point, separating the records that Morse had a major part in (like, he was a member of the band), from albums where he was a guest. I don't know. It needs to be tightened up somehow. I'd figure something out, but I've got my own pages to fry. :-) -Freekee 02:19, 27 April 2006 (UTC)

 * I'll take a stab at it. I copied it offline and I'll try to chunk it up much like you suggested. Maybe.. Dregs albums; Solo Band albums; Deep Purple albums; Kansas albums; Guest shot albums; Various artist comps and tributes... something like that anyways. Shouldn't be too hard...if I can find the time. Anger22 03:07, 27 April 2006 (UTC)

 * Wow, nice job! I'm glad I didn't try fixing it - It would have taken me all night! -Freekee 04:21, 27 April 2006 (UTC)

 * nice job, indeed! The Anti-Joey 18:15, 1 May 2006 (UTC)

Photo
I've replaced promo photo with a high resolution free-licensed one of my own. --Nsoveiko 21:57, 17 September 2006 (UTC)
 * Nice picture, but what was wrong with the old one? -Freekee 05:24, 18 September 2006 (UTC)
 * Nothing wrong with the picture itself, it just wasn't licensed properly. See what Wikipedia guidelines say about fair use and why properly licensed content is preferrable. --Nsoveiko 05:44, 18 September 2006 (UTC)
 * Are you quoting, "Fair use on Wikipedia only applies if it is not possible to replace such promotional image with a free image"? Never heard that one before. Too many rules and regs to keep up with. -Freekee 05:58, 18 September 2006 (UTC)

Sound
There is no information whatsoever in this article about his tone or sound, little to nothing on his equipment. For a reference use Steve Vai or Joe Satriani or Paul Gilberts pages since those have good sections on the aforementioned items as well as they are all guitarists of the same calibur (debatable).Just a thought since personal life and stuff is nice but speaking from technical angle it is lacking. and im not a pro at Steve Morse music so I dont think I can contribute to an effective degree. thx The Ravager 00:38, 28 February 2007 (UTC)

 * I agree. There should definately be something about his sound and equipment, as well as something about his talent and influence. If anyone's noticed he's an absolutely incredible guitarist, and every guitarist who has heard him play must have been somewhat influenced by him. I know that John Petrucci was influenced by him, anyone else anyone knows ought to be mentioned too.
 * --Rock Soldier 03:25, 19 July 2007 (UTC)
 * Let's not go overboard - I have heard him play. Once, with Deep Purple on tour. I can absolutely guarantee that my guitar playing has not been influenced by him and remains in the same rut that it has done for probably 20 years :-(.  But info on his gear would be A Good Thing. --NickS (talk) 12:32, 22 November 2007 (UTC)

NPOV
Why is this tagged? I can't see any discussion. --NickS (talk) 12:37, 22 November 2007 (UTC)

 * Although there is no discussion, the entire Dixie Dregs section is now multiply bot-tagged. I think I wrote most of this, so I'll give a go at fixing it over the next couple of days. --The Anti-Joey (talk) 02:34, 16 November 2008 (UTC)

 * Okay, I think most of the Weasel Word problems have been fixed. If I can get some concensus, we can probably remove that warning. POV stuff lingers a bit, but seems alot less of a problem now. --The Anti-Joey (talk) 14:25, 26 November 2008 (UTC)

Copyright Issue?

 * I notice that the biography page of SM's new website uses large portions of this article and is also tagged as copyrighted in 2009. Does this affect this article in any way? I have fixed whatever references pointed to the old website but I hope that these issues are not flagged as troublesome.--The Anti-Joey (talk) 15:47, 3 February 2009 (UTC)

Why it doesn't conform (?)
I can quickly see why some of this article might not conform to the encyclopedia-style writing needed here (read, unbiased, non-sensational). An encyclopedia would never describe songs as "gems" or describe record companies as "vaunted." Whether or not the songs are gems in the writer's mind, they may not be so in others'. So when you come to words like these, just make them neutral -- instead of "gems," say "standards." Within that word is the implication of timelessness but without any bias for or against. William Shatner's rendition of Rocket Man might be "William Shatner's rendition of such standards as 'Rocket Man'" admits the reality that Rocket Man is famous and probably well-liked as well, but calling it a "gem" is pushing it too far, and when you add William Shatner to the mix the inappropriateness of the word "gem" becomes apparent.

As far as a record company being vaunted -- I'd say perhaps "renowned" but again, that does not necessarily imply either good or bad.

Remove words such as these and the article will start to conform more to an encyclopedic style rather than a passionate elegy. Remember, Mr. Writer of "vaunted" -- there may actually be one or even more people out there who actually "don't like" the music of Steve Morse. You must always accept that this *is* possible.

Tonbo0422 (talk) 01:14, 19 April 2013 (UTC)

title: Talk:Steve Morse


text:
Vesper George School of Art

The Vesper George School of Art was a school in Boston, Massachusetts, United States, founded in 1924 and closed in 1983.

History
The school namesake and founder was (1865–1934) a painter, born in Boston. The campus had been located at 44 Saint Botolph Street in Boston, Massachusetts.

For many years the school contributed to the Boston art community, training many talented artists, many of whom are still active in both commercial art and fine arts. In addition to training artists, it served to allow many artists to maintain a living as instructors while they were building their careers.

Alumni
The school's alumni include:
 * Bob Bolling, writer and illustrator for Archie Comics. Well-known for his work on Little Archie.
 * Al Capp, cartoonist, comic-book artist, he only attended briefly.
 * Amy Dacyczyn, writer and illustrator for The Tightwad Gazette
 * Anne Carleton, painter
 * Bill Everett, comic-book artist, creator of the Sub-Mariner
 * Vernon Grant, comic-book writer-artist, The Love Rangers
 * , American painter and faculty member at Vesper George
 * Henry E McDaniel, watercolor artist
 * Paul McCobb, furniture designer
 * Robert McCloskey, children's book author and illustrator, Make Way for Ducklings
 * Francis Sumner Merritt, painter, printmaker.
 * Jan Miner, actress, "Madge" in Palmolive TV commercials
 * , New England painter
 * , New England painter.
 * Gale Fulton Ross, American visual artist
 * John Terelak, Impressionist painter

title: Vesper George School of Art


text:
Paul Hellyer

Paul Theodore Hellyer (August 6, 1923 – August 8, 2021) was a Canadian engineer, politician, writer, and commentator. He was the longest serving member of the Queen's Privy Council for Canada at the time of his death.

Early life
Hellyer was born and raised on a farm near Waterford, Ontario, the son of Lulla Maude (Anderson) and Audrey Samuel Hellyer. Upon completion of high school, he studied aeronautical engineering at the Curtiss-Wright Technical Institute of Aeronautics in Glendale, California, graduating in 1941. While studying, he also obtained a private pilot's licence.

After graduation, Hellyer was employed at Fleet Aircraft in Fort Erie, Ontario, which was then making training craft for the Royal Canadian Air Force as part of Canada's war effort in World War II. He attempted to become an RCAF pilot himself, but was told no more pilots were necessary, after which he joined the Royal Canadian Artillery and served in Canada as a gunner for the duration of the war.

Hellyer earned a Bachelor of Arts from the University of Toronto in 1949.

Early political career
First elected as a Liberal in 1949 federal election in the riding of Davenport, he was the youngest person ever elected to that point in the House of Commons of Canada. He served a brief stint as Parliamentary Assistant to the Minister of National Defence. He was then named Associate Minister of National Defence in the cabinet of Prime Minister Louis St. Laurent. This post was short-lived, though, as Hellyer lost his seat when the St. Laurent government lost the 1957 election two months later.

Hellyer returned to parliament in a 1958 by-election in the neighbouring riding of Trinity, and became an opposition critic of John Diefenbaker's Progressive Conservative government.

Cabinet minister and Liberal leadership candidate
When the Liberals returned to power in the 1963 election, Hellyer became Minister of National Defence in the cabinet of Lester B. Pearson. This was the most significant period in Hellyer's political career. As Minister of Defence, he oversaw the drastic and controversial integration and unification of the Royal Canadian Navy, Canadian Army, and the Royal Canadian Air Force into a single organization, the Canadian Forces.

Hellyer contested the 1968 Liberal leadership election, placing second on the first ballot, but slipped to third on the second and third ballots, and withdrew to support Robert Winters on the fourth ballot, in which Pierre Trudeau won the leadership. He served as Trudeau's Transport Minister.

Politics 1969–1988
In 1969, Hellyer issued a major report on housing and urban renewal in which he advocated incremental reforms rather than new government programs. He called for greater flexibility in Canada's mortgage loan system, and encouraged corporate pension funds to invest more money in housing programs. His approach did not meet with universal acceptance. Some provincial and municipal governments were openly skeptical, and Heward Grafftey, a left-leaning Progressive Conservative with an interest in housing, called for a more radical approach.

Hellyer's report also called for the suspension of the "wholesale destruction of older housing" and for "greater selectivity... in the demolition of existing houses". Grand urban renewal projects would come to an end as a result of his Task Force. Hellyer resigned from the cabinet in 1969 over a dispute with Trudeau over the implementation of the housing program.

Hellyer sat in Parliament as an independent beginning in 1971. After his 1971 attempt to form a new political party, Action Canada, failed, Progressive Conservative leader Robert Stanfield invited him to join the PC caucus. He returned to prominence as an opposition critic and was re-elected in the 1972 election as a Progressive Conservative. He lost his seat, however, in the 1974 election.

Despite this loss, Hellyer contested the PC leadership election of 1976. His views were too right wing for most delegates, and alienated many PCs with a speech attacking Red Tories as not being "true conservatives". He finished a distant sixth of eight contestants on the second ballot; Joe Clark won the leadership.

Hellyer rejoined the Liberal Party in 1982, but remained mostly silent in politics. In 1988, he contested the Liberal nomination in the Toronto riding of St. Paul's, losing to Aideen Nicholson, who had defeated Hellyer 14 years previously when he was a PC MP in the adjacent riding of Trinity.

Under Prime Minister Pierre Trudeau, he also served as Canada's only Senior Minister from April 1968 until 1969, when he resigned from the post.

Canadian Action Party
In 1997, Hellyer formed the Canadian Action Party (CAP) to provide voters with an economic nationalist option following the collapse of the National Party of Canada. Hellyer believed that both the Progressive Conservative and Liberal parties were embracing globalization, and that the New Democratic Party was no longer able to provide a credible alternative. CAP also embraced Hellyer's proposals for monetary reform: that the government should become more involved in the direction of the economy by gradually reducing the creation of private money and increasing the creation of public money from the current ratio of 5% public / 95% private back to 50% public and 50% private.

His party remained a little-noticed minor party, and Hellyer lost bids for a seat in the House of Commons of Canada in the 1997 and 2000 elections.

Following the 2000 election, and a resurgence for the New Democratic Party, Hellyer approached NDP leadership to discuss the possibility of merging the two parties into 'One Big Party'. This process was furthered by the passage of a unanimous motion at the CAP's convention in 2003.

In early 2004, after several extensions of the merger deadline, the NDP rejected Hellyer's merger proposal which would have required the NDP to change its name. Hellyer resigned as CAP leader, but remained a member of the party. Rumours that he might run for the NDP in the 2004 election proved to be unfounded.

Extraterrestrial intelligence claims
On June 3, 1967, Hellyer inaugurated an unidentified flying object landing pad in St. Paul, Alberta. The town had built it as its Canadian Centennial celebration project, and as a symbol of keeping space free from human warfare.

In early September 2005, Hellyer made headlines by publicly announcing that he believed in the existence of UFOs. On September 25, 2005, he was an invited speaker at an exopolitics conference in Toronto, where he told the audience that he had seen a UFO one night with his late wife and some friends. In 2007, the Ottawa Citizen reported that Hellyer was demanding that world governments disclose alien technology that could be used to solve the problem of climate change. In an interview with RT (formerly Russia Today) in 2014, Hellyer said that at least four species of aliens have been visiting Earth for thousands of years, with most of them coming from other star systems, although there are some living on Venus, Mars and Saturn’s moon.

Personal life
Hellyer was one of the earliest investors in the Toronto Sun in 1971. He also served as a syndicated columnist for the newspaper between 1974 and 1984. Hellyer died of complications from a fall at a hospital in Toronto on August 8, 2021, two days after his 98th birthday.

Hellyer resided in Toronto. He has three children and five grandchildren.

Books
Hellyer has written several books on Canada and globalization, including One Big Party: To Keep Canada Independent, in which he promoted the merger of the CAP, NDP, and various left-wing activists to save Canada from the effects of globalization, as well as possible annexation by the United States.

 * Agenda, a Plan for Action (1971)
 * Exit Inflation (1981)
 * Jobs for All: Capitalism on Trial (1984)
 * Damn the Torpedoes (1990)
 * Funny Money: A common sense alternative to mainline economics (1994)
 * Surviving the Global Financial Crisis: The Economics of Hope for Generation X (1996)
 * Evil Empire : Globalization's Darker Side (1997)
 * Stop: Think (1999)
 * Goodbye Canada (2001)
 * One Big Party: To Keep Canada Independent (2003)
 * A Miracle in Waiting (2010), update of Surviving the Global Financial Crisis
 * Light at the End of the Tunnel: A Survival Plan for the Human Species (2010)
 * The Money Mafia: A World in Crisis (2014)
 * Hope Restored: An Autobiography by Paul Hellyer: My Life and Views on Canada, the U.S., the World & the Universe (2018)
 * Liberation! The Economics of Hope (2020)

Electoral record
Note: Canadian Alliance vote is compared to the Reform vote in 1997 election.

Archives
There is a Paul Hellyer fonds at Library and Archives Canada.

title: Paul Hellyer


text:
Talk:America's Stonehenge

Pictures?
anyone got a picture of this? i would like to see it :) Steeev 14:10, 10 Dec 2003 (UTC)
 * Actually I've got some (it's really underwhelming), maybe a few days to get them up. Stan 16:18, 10 Dec 2003 (UTC)
 * Cool! :) Steeev 16:20, 10 Dec 2003 (UTC)

Mystery Hill?
I was looking for information on Mystery Hill, NC and ended up redirected here instead. How odd.--68.210.255.48 16:20, 21 January 2006 (UTC)

 * It's the old name of this place. I've turned Mystery Hill into a disambiguation page - care to create an article on the NC site? - DavidWBrooks 16:53, 21 January 2006 (UTC)

 * "America's Stonehenge" is a really, really idiotic name - it sounds exactly like the type of "roadside oddity" they are trying to distance themselves from. Mystery Hill or just make something up. I really want to believe this is for real in some way, but Pattee's Cave would even be better than some oblique reference to an archeological site in England that nobody even understands. Yeah, you know, every summer on the longest day we all stand on 3rd St and look down Western toward the setting sun, which is right in line with the center of the street, and the bell towers of two churches which frame the orb ring out in unison. It's like so ritual, just like the beer we're all guzzling, it's a downright religious experience.76.105.136.241 (talk) 07:07, 14 February 2014 (UTC)

Semi-protect
After seeing the same ridiculous rewrite get reverted six or eight times in the last few days, from several different anon IPs, I have semi-protected this page (only registered users can edit it). I have to find out how to put the box it, though ... - DavidWBrooks (talk) 19:31, 21 July 2009 (UTC)

 * Thanks. ClovisPt (talk) 20:43, 21 July 2009 (UTC)

 * Darned if I can find instructions about what template to put on the article, though. Do you know? - DavidWBrooks (talk) 20:57, 21 July 2009 (UTC)

 * No template for a short semi, those blocked can use the template to request an edit. Thanks for doing that. I was tempted even though I was involved (I guess I could have put up a note on ANI or AN asking for a review of it). Dougweller (talk) 21:06, 21 July 2009 (UTC)

Editing Page
Hello,

I'm writing down a correspondence I've been holding with Dougweller, hoping to come to an agreeable conclusion for all parties once the page can be edited again. Verbatim Veritas (talk) 15:20, 30 July 2009 (UTC)

Hello Dougweller, 'Thank you for your response concerning America's Stonehenge. Could you be more specific concerning which rules I violated? The current article states that the site was built in the 18th or 19th century, which is grossly untrue. It also includes several ad hominem attacks on the owners, the Stone family, and that does not settle well with me. All the information I put up is accurate, and has papers to back it up. If you notice, I used citations of the different laboratories,etc. that have done research on the site. If you don't believe me, you're welcome to stop by the site, and I'm sure the Stones would be happy to show you the neccesary facts for you to agree that the information I put up is 100% accurate. Thank you for your time. Verbatim Veritas (talk) 18:28, 22 July 2009 (UTC)

'First I think I need to warn you about making comments on other editors in edit summaries. These looked like personal attacks and you need to read WP:NPA and WP:AGF perhaps. Secondly, your 'citations' were simply links to the home pages of various laboratories, etc., not to any actual reports by them. See WP:Verify. Thirdly, the article does not state when the site was built although it does say " The origin and purpose of the structures is usually attributed to a mixture of land-use practices of local farmers in the 18th and 19th centuries, as well as construction of structures by owner William Goodwin in the 1930s.". You've written things such as "When dating was performed by Geochron in 1989, it was found that the pit was from approximately 650 A.D. It was concluded, therefore," -- have you seen a report from Geochron stating that they concluded anything other than the date from the particular pit? You say there are ad hominem attacks on the Stone family, but they are not mentioned in the article. Can you please point to what I've missed? This article is covered by WP:Fringe and WP:REDFLAG. You might want to read those pages. You are also editing against an apparent consensus that your edits are not helpful. If the IP whose edit summary looks like yours is you, you were asked to take your edits to the talk page for discussion but didn't do so. That's often a sign of someone who has decided to edit war rather than discuss. At the moment, none of us can edit the article, only the talk page -- where any discussion should be about the article, not an attempt to prove anything about the subject of the article. I hope this answers at least some of your questions. I've got a number of sources for the article and will add them when the article is unprotected. I may bring them to the talk page first. Dougweller (talk) 21:02, 22 July 2009 (UTC)'

Thank you for your detailed response. I will avoid from making comments in the future that could be perceived as personal attacks. I agree my "citations" weren't actual copies of the documents, they were simply meant to verify the validity of the research groups that have done work on the site. For the actual documents, they're on display at the gift shop, and can be viewed for free anytime 9am-5pm every day of the week. I didn't have access to scan them...would you like me to check with the owners and see if they'd be willing to do that?

Concerning when the site was built, saying " The origin and purpose of the structures is usually attributed to a mixture of land-use practices of local farmers in the 18th and 19th centuries, as well as construction of structures by owner William Goodwin in the 1930s." is highly flawed, and I think it's rather assuming at the most conservative estimate. Who is usually attributing this to be true? Certainly not the owners of the site, the researchers, many prestigious professors, and multiple visitors to the site. From what I've seen, someone just wrote that to vaguely legitimize what they were saying without actually using statistics. In essence, it's certainly not any better than my "citations" that you rightly critiqued. And quite honestly, anyone who has seen the structures I would assume wouldn't be naive enough to believe they were the work of farmers. The boulders weigh up to a few tons apiece -- why on earth would farmers be moving these around? I'm not aware of any land use agricultural practices of the 18th and 19th centuries that involve megalithic structures, astronomical alignments, or sacrificial tables -- if you know of any, please enlighten me. Concerning the quote you used from me, yes, I have seen the reports from Geochron, University of Washington, etc. They're all hanging up in the gift shop, which as I already stated, is very accessible.

The ad hominem attacks I made reference to have been deleted. When I first started editing the page, it was much worse than it is now. Thankfully, there have been a few improvements. There are still arguably indirect attacks on their integrity, however, by questioning the credibility of the site, and suggesting that there is a general concensus that they're running a fraudulent operation. I will agree, however, that it may just be a part of healthy controversy.

I'm perfectly happy to discuss a compromise for the page. I apologize if it seemed that I wasn't explaining myself. In my defense, however, no one else was really either. If people such as Mr. Brooks explained what they found flawed with my edits, I would have been happy to talk to them. After all, I'm talking to you right now. I do find it quite petty that someone locked the page for weeks, leaving an editing consensus that is, as I've stated, highly inaccurate. And if you view the history of the page far enough back, it appears I'm not the only one to feel that way, just the only one who will continue to debate the topic rather than giving up to pugnacious editing by dissenters.

Once again, thank you for your time, and I apologize if I seem terse. This is a topic that I feel passionately about, and as I mentioned, I'm rather peeved at its current state.

In closing, I'd just like to highlight a few facts:

-William Goodwin was not an insurance agent. Goodwin also purchased the site in 1937, not 1936.

-The name change to "America's Stonehenge" in 1982 was an attempt to more accurately describe what is believed to be the original use of the site. There is no connection to "roadside oddity sites"...who came up with that? At least have a cited quote here…

-Goodwin did move many stones around, but there is no reason to believe he did this to support his theories of Culdee monks. This could simply be to clear out what he found to be excess rocks around the chambers, not having a complex knowledge of archeological disturbance it would create.

-There is no such thing as "America's Stonehenge Foundation." And where did the supposed quote come from ("one of the reasons the enigma of Mystery Hill is so deep")? There isn't any citation, and for a quote that bold, one would hope there would be.

-If there is to be no bias in the article, it really shouldn't read: "Proponents of a pre-Columbian, yet non-Native American, origin for the site argue that some stones are encased in trees that may have sprouted before the arrival of the first colonists..." This is a clear-cut case of the Weak man fallacy. In the very least, mention here that carbon dating has been done on the site...

- A quote: "Artifacts found on the site lead archaeologists to the conclusion that the stones were actually assembled for a variety of reasons by local farmers in the 18th and 19th centuries." What archaeologists? Who with any credentials came up with this? This "conclusion" was certainly not shared by Geochron, U Washington, Barry Fell, etc. And the sacrificial stone table is an estimated 4.5 tons. Once again, why would farmers go through the difficulty of moving that, especially before modern equipment, for simply making lye? I'll admit I'm not knowledgeable about the topic of lye-leaching stones, but common sense dictates this wouldn't happen...

- "Carbon dating of charcoal pits at the site provided dates from 2000 BC to 173 BC, when the area was populated by ancestors of current Native Americans." Once again, making assumptions. This is not a fact. Common inference, maybe, but not a fact. Verbatim Veritas (talk) 15:20, 30 July 2009 (UTC)

 * Ok, thanks for your response. I think this needs more references and I am getting them. It may take a while.

 * You need to realise that this article is covered by WP:Fringe and WP:NPOV, as well as the ordinary policies on verification and reliable sources. And have you read WP:OR on original research, which means that we shouldn't discuss either here or in the article our opinions of what would be difficult, practical, or common sense.

 * My guess is that the 'foundation' bit came from here:, as did your other quote. We should not be using that as a reference and both the foundation bit and the quote should go.

 * Note that Barry Fell was a marine biologist, with no formal training in linguistics, archaeology, etc. If we can get verifiable quotes from Geochron, etc, we might be able to use them.

 * Goodwin's motives for moving the stones can't be used unless we can verify them, and the important point is probably that they were moved from their original location.

 * I'm sure the article can be improved, but it will take few weeks probably. As I said, I'm trying to get hold of some sources. Dougweller (talk) 17:30, 30 July 2009 (UTC)

Yes, I realize that the article is subject to those policies, I was just stating that how it is currently is not any better as it's also relying heavily on opinion. I'm fine with sticking to the facts, and only listing theories in a manner without bias that is described as simply a theory. I actually think it's better that way.

I'm not sure if Fell has more credentials than that, I'll check with Dennis. You could very well be right, though, on his lack of credentials, in which case I would agree with you. I'll try to scan a copy of Geochron's reports on at some point.

And I agree with your statements about Goodwin. We should simply state what happened, and not try to guess his motives.

Thanks for trying to work this out. I think we're making progress.

Verbatim Veritas (talk) 18:39, 30 July 2009 (UTC)
 * Ok, I'll be only on intermittenly until Tuesday anyway. Fell was a marine biologist at Harvard. Dougweller (talk) 19:02, 30 July 2009 (UTC)

12/11/09 N.Y. Times article
ARRRRGHHH! New York Times ran an article on the site on December 11. Quoted the Stone family, brought in a professor of astronomy, and a mystery writer, all in support of pre-Columbus European input. No mention of 20th century rework of colonial stone work. David notMD (talk) 21:17, 11 December 2009 (UTC)

 * Yes, it was an incredibly lame freelancer piece - and it was run without the ability to add comments, alas! - DavidWBrooks (talk) 21:28, 11 December 2009 (UTC)
 * Who is Alan Hill? New Hampshire Technical Institute is a 2 year college, no astronomy department and I can't find an Alan Hill either. Dougweller (talk) 22:18, 11 December 2009 (UTC)

 * That was a terrible article. To be fair, it's in the travel section, which has always been the Times' weakest area journalistically.  I find their science section to be among the most accurate and well written sources of archaeological articles aimed at the general public.  Don't know if this would be worth anyone's time, but is there a procedure for contacting the paper and asking for clarification or retraction of certain points in an article?  Doug's comment regarding the mysterious Alan Hill suggest to we might actually have a case.  Regards, ClovisPt (talk) 01:05, 12 December 2009 (UTC)

 * I'm about to write a nice, short, calm, pleasant letter to the editor.

- DavidWBrooks (talk) 13:03, 12 December 2009 (UTC)
 * Found Alan Hill. In 2003 he gave a talk at the NHTI: "Alan Hill, Professor of Social Sciences Emeritus, NHTI Prof. Hill will discuss the mysteries behind America's Stonehenge, the stone structures on a hill top in North Salem, NH.Also, he will examine the many stone chambers found throughout the Northeast U.S., and the Canadian Maritime Provinces and examine their similarity to those found throughout Europe." Dougweller (talk) 20:05, 12 December 2009 (UTC)

biased?
There are still discrepancies in that the article is biased against the site being legitimate. I've no concerns with stating that it may be a hoax, fraud, etc. as that follows along with the concept of a balanced evaluation. At the same time, however, saying that the site is generally attributed to land use practices of the 19th century is incredibly biased. Also, stating that a 4.5 ton stone slab was used for making soap is a little far-fetched. I'm not against including it, but the size of the stone should be mentioned so people realize what they're dealing with. The site by nature is surrounded by speculation. As previously mentioned, it should be mentioned that some people think it's a fraud, but the argument for its legitmacy should be adequately presented as well. Thanks. —Preceding unsigned comment added by 24.39.181.251 (talk) 15:54, 1 December 2009 (UTC)

 * If by "biased" you mean "I don't agree with it" (which is how most people use the term, unfortunately) then you're misusing the word. If by "biased" you mean "prejudiced", then there are, it seems, at least three of us who disagree, and who think the description accurately and fairly represents the overall viewpoint of the history of the site. That's why your wording keeps getting reverted.
 * But this is wikipedia, and opinions can change. The way to change them is to present new evidence to demonstrate our error. With that in mind, I have added a reference to the lye stone argument (which, as you correctly pointed out indirectly, was unsupported). - DavidWBrooks (talk) 02:10, 2 December 2009 (UTC)

It Is Usually Attributed...
The sentence "It is usually attributed to a mixture of land-use practices of local farmers in the 18th and 19th centuries, as well as construction of structures by owner William Goodwin in the 1930s." -- this should have a citation. Otherwise the sentence itself violates WP:NPOV. To stand it requires support from RS. I say this because of the commentary above in this discussion section. It should be fairly easy to provide sources for this sentence if, in fact, it is "usually attributed" as it says. I will return in a few weeks or so -- if the sentence has no citation at that point I will delete it. This provides plenty of time for the sentence to be justified. SunSw0rd (talk) 14:59, 20 November 2010 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on America's Stonehenge. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110726130637/http://granitegeek.org/blog/2006/11/01/locals-like-idea-of-utility-scale-wind-farm/ to http://granitegeek.org/blog/2006/11/01/locals-like-idea-of-utility-scale-wind-farm/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 01:45, 9 December 2017 (UTC)

not part of Stonehenge on wikipedia
This site has zero connection to Stonehenge except for an advertising-gimmick renaming. It should not be, for example, part of the Stonehenge template, any more than if I named my mattress storeroom Sleephenge! - DavidWBrooks (talk) 19:17, 22 April 2019 (UTC)

 * - I have restored the infobox as it mentions America's Stonehenge in the "Replicas and derivatives" section and America's Stonehenge is also mentioned in the article Stonehenge replicas and derivatives in the "Comparable archaeological sites" section - so whether you like the association or not, it's there - cheers - Epinoia (talk) 19:32, 22 April 2019 (UTC)

 * Well, it shouldn't, as this pleasant spot is neither a replica - it's not a henge, it's not made of standing stones - nor is it derivative in the sense of being a prehistoric astronomical construction. It's "Mystery Hill" rebranded for attention, exactly of the sort that the infobox gives it. I don't know how to edit an infobox (life is short!) or I'd remove it from the "replicas and derivates" section, where it does not belong. - DavidWBrooks (talk) 13:48, 23 April 2019 (UTC)

title: Talk:America's Stonehenge