text:
Television in South Africa

Television in South Africa was introduced in 1976. The country is notable for the late introduction of widespread television broadcasting.

Opposition to introduction
The first proposal to introduce television in South Africa was made by The Rank Organisation in 1953, but this was rejected by the National Party government. Even though the state-controlled South African Broadcasting Corporation (SABC) had a virtual monopoly on radio broadcasting, it also saw the new medium as a threat to Afrikaans and the Afrikaner volk, giving undue prominence to English, and creating unfair competition for the Afrikaans press.

Prime Minister Hendrik Verwoerd compared television with atomic bombs and poison gas, claiming that "they are modern things, but that does not mean they are desirable. The government has to watch for any dangers to the people, both spiritual and physical."

Dr. Albert Hertzog, Minister for Posts and Telegraphs at the time, argued that "the effect of wrong pictures on children, the less developed and other races can be destructive". Declaring that TV would come to South Africa "over [his] dead body," Hertzog denounced it as "only a miniature bioscope which is being carried into the house and over which parents have no control." He also argued that "South Africa would have to import films showing race mixing; and advertising would make Africans dissatisfied with their lot."

However, many white South Africans, including some Afrikaners, did not share Hertzog's hostility towards what he called "the little black box". When Neil Armstrong became the first man to set foot on the Moon in 1969, South Africa was one of the few countries unable to watch the event live, prompting one newspaper to remark, "The moon film has proved to be the last straw… The situation is becoming a source of embarrassment for the country." In response to public demand, the government arranged limited viewings of the landing, in which people were able to watch recorded footage for 15 minutes.

The opposition United Party pointed out that even less economically advanced countries in Africa had already introduced television. In addition, neighbouring Southern Rhodesia had introduced its own television service in 1960, the first country in Africa south of the equator to do so. Known as Rhodesia Television (RTV), its major shareholders were South African companies, including the Argus Group of newspapers through its subsidiary, the Rhodesian Printing and Publishing Company, and Davenport and Meyer, the latter of which operated LM Radio, based in Mozambique, then under Portuguese rule.

Commenting on Rhodesia's experience with television, Ivor Benson, who served as Director of the Government Information Department under Ian Smith, remarked that the South African government "had been wise to stand firm against a great deal of well-organised pressure and to insist on waiting until some means might be found of separating television from some of the evils which have attended it in other countries".

In the absence of television in South Africa, a radio version of the British television series The Avengers was produced by Sonovision for SABC's commercial network, Springbok Radio, in 1972. While it only ran for eighteen months, the radio series proved highly popular.

In 1968, the government's opposition to the introduction of television began to soften after Hertzog was removed as Minister for Posts and Telegraphs by Prime Minister John Vorster. In 1971, it appointed a "Commission of Inquiry into Matters Relating to Television", headed by Piet Meyer, chairman of the Afrikaner Broederbond, and later of the SABC. A majority of its members, of whom nine were Broederbond members, recommended that a television service be introduced, provided that "effective control" was exercised "to the advantage of our nation and country".

The commission also argued that people in South Africa would eventually be able to receive foreign television broadcasts via satellite, thereby bypassing government censorship, and that this should be pre-empted through the introduction of a domestic service. In addition, it would be inconceivable that the Publications Control Board would be able to censor each video cassette that came into the country when they became available in mass quantities.

Introduction of television
In 1971, the SABC was finally allowed to introduce a television service. Initially, the proposal was for two television channels, one in English and Afrikaans, aimed at white audiences, and another, known as TV Bantu, aimed at black viewers. However, when television was finally introduced, there was only one channel with airtime divided evenly between English and Afrikaans, alternating between the two languages. Test transmissions in Johannesburg began on 5 May 1975, followed in July by ones in Cape Town and Durban. Nationwide services finally commenced on 5 January 1976.

In common with most of Western Europe, South Africa used the PAL system for colour television, being only the second terrestrial television service in sub-Saharan Africa to launch with a colour-only service, Zanzibar in Tanzania having introduced the first such service in 1973. (Tanzania itself did not establish a television service until the early 1990s, similarly concerned about the expense and perceived threat to cultural norms). The Government, advised by SABC technicians, took the view that colour television would have to be available so as to avoid a costly migration from black-and-white broadcasting technology.

Initially, the TV service was funded entirely through a licence fee as in the UK, charged at R36. However, advertising began on 1 January 1978.

On 1 January 1982, two services were introduced, TV2 broadcasting in Zulu and Xhosa and TV3 broadcasting in Sotho and Tswana, aimed at a black urban audience. In 1985, a new service called TV4 was introduced, carrying sports and entertainment programming, using the TV2 and TV3 broadcast channels, which then had to end transmission at 9:00 pm. In 1992, TV2, TV3 and TV4 were combined into a new service called CCV (Contemporary Community Values). A third channel was introduced known as TSS, or Topsport Surplus Sport, Topsport being the brand name for the SABC's sport coverage, but this was replaced by NNTV (National Network TV), an educational, non-commercial channel, in 1994.

The main channel, now called TV1, was divided evenly between English and Afrikaans, as before. It also became available in Walvis Bay, an enclave of South Africa in Namibia, which was itself then under South African administration, with a live feed of the channel broadcast via Intelsat being retransmitted on a local low-power repeater.

In 1986, the SABC's monopoly was challenged by the launch of a subscription-based service known as M-Net, backed by a consortium of newspaper publishers on 1 October. However, as part of M-Netʼs licensing restrictions, it could not broadcast news programmes, which were still the preserve of the SABC, although M-Net started broadcasting a current affairs programme called Carte Blanche in 1988. As the state-controlled broadcaster, the SABC was accused of bias towards the apartheid regime, giving only limited coverage to opposition politicians.

Imported programming
Many imported programmes were dubbed into Afrikaans, some of the first being the British detective series The Sweeney (known in Afrikaans as Blitspatrollie) and Van der Valk, as well as the puppet series Thunderbirds. However, in July 1986, in order to accommodate English speakers, the SABC began to simulcast the original soundtrack of American series on an FM radio service called Radio 2000. These included Miami Vice (known as Misdaad in Miami), The Six Million Dollar Man, (Steve Austin: Die Man van Staal) and Beverly Hills, 90210. This also applied to German and Dutch programmes dubbed in Afrikaans, such as the German detective series Derrick, and the Dutch soap opera Medisch Centrum West, known in Afrikaans as Hospitaal Wes Amsterdam.

Similarly, many programmes, such as The Jeffersons, were dubbed into Zulu.

Owing to South Africa's apartheid policies, the British Actors' Equity Association started a boycott of programme sales to South Africa, which, combined with a similar boycott by Australia, meant that South African TV was dominated by programming from the United States. As a result, it was only after the end of apartheid that the boycott was lifted and non-US programming became much more widely available.

However, some US production companies such as Lorimar, withdrew series like Knots Landing and Falcon Crest from South African circulation, while the transmission of the Academy Awards ceremony to South Africa was also banned.

Local programming
The first locally produced TV programmes in South Africa were in English and Afrikaans. English-language programmes include the family drama series The Dingleys and The Villagers, as well as comedy series Biltong and Potroast, featuring South African and British comedians, and variety programme The Knicky Knacky Knoo Show. Other programmes were the children's series Bangalory Time, music series Pop Shop and sports programme Sportsview.

Afrikaans programmes included the comedy series Nommer Asseblief and Die Bosveldhotel, which were later made into feature films. Children's programmes included puppet shows, such as Haas Das se Nuuskas and Liewe Heksie. Other programmes in Afrikaans were the sports programme Sportfokus music programme Musik en Liriek.

However, it was the Zulu-language comedy, 'Sgudi 'Snaysi, which achieved the SABC's highest viewing figures in the late 1980s. It was also shown in Zimbabwe and Swaziland.

The drama series Shaka Zulu, based on the true story of the Zulu warrior King Shaka, was shown around the world in the 1980s, but this was only possible because the SABC had licensed the series to a US distributor.

Since the end of apartheid, some South African-produced programmes have been shown internationally, such as SABC 3's scifi/drama series Charlie Jade, a co-production between the Imaginarium and Canada's CHUM, which has been broadcast in over 20 countries, including Japan, France, South Korea, and in the United States on the Sci-Fi Channel. M-Net's soap opera Egoli: Place of Gold, was shown in 43 African countries, and was even exported to Venezuela, where it was dubbed in Spanish.

Political change
Following the easing of media censorship under State President F. W. de Klerk, the SABC's news coverage moved towards being more objective, although many feared that once the African National Congress (ANC) came to power, the SABC would revert to type and serve the government of the day. However, starting on March 15, 1993, the SABC also carried CNN International after regular transmission ended, throughout the night, thereby giving South African viewers new sources of international news.

On 4 February 1996, two years after the ANC came to power, the SABC reorganised its three TV channels, so as to be more representative of different language groups. This resulted in the downgrading of Afrikaans' status by reducing its airtime from 50% to 15%, a move that alienated many Afrikaans speakers.

SABC TV programmes in Afrikaans and other languages are now subtitled in English, but programmes in English are not usually subtitled in other languages, the perception being that all South Africans understand English.

Previously, subtitling was confined to productions such as operas and operettas. It was not used on TV1, on the assumption that most viewers understood both Afrikaans and English, nor on CCV, despite presenters using two or more different languages during a single segment.

New services
The launch of PanAmSat's PAS-4 satellite saw the introduction of Ku band direct-broadcast satellite broadcasting services on 2 October 1995, soon after MultiChoice launched DStv. Two years later the SABC launched its ill-fated satellite channels, AstraPlus and AstraSport which were intended to catapult the corporation into the Pay TV market called AstraSat but a lack of financial backers and initial insistence on using analogue technology as opposed to digital technology resulted in failure.

The SABC's monopoly on free-to-air terrestrial television was broken with the introduction of privately owned channel e.tv in 1998. e.tv also provided the first local television news service outside of the SABC stable, although M-Net's parent company, MultiChoice, offers services such as CNN International, BBC World News and Sky News via direct-broadcast satellite as part of its paid offering.

The first 24-hour local business channel, CNBC Africa was launched in 2007 with eight hours of local programming and the remainder pulled from other CNBC affiliates. CNBC Africa competes with Summit, a business television station owned by media group Avusa, which broadcasts only during evening prime time. Both stations are available only on the MultiChoice direct-to-home platform, although the inclusion of CNBC Africa in the offering of new satellite players seems a near certainty.

In November 2007 regulators announced the award of four new broadcast licences after a process that saw 18 applications. The successful applicants were Walking on Water, a dedicated Christian service, On Digital Media, a broad-spectrum entertainment offering, e.sat, a satellite service from e.tv, and Telkom Media, a company 66% owned by telecommunications operator Telkom Group Ltd. The MultiChoice licence was renewed at the same time.

e.sat decided not to launch services but rather adopt a content provider business model. e.sat launched eNCA, a 24-hour news channel, in 2008 on the MultiChoice platform. Telkom Media, which was also granted an IPTV licence, decided in April 2009 not to pursue the launch of television services as its parent company Telkom did not believe adequate investment returns could be achieved, ad was liquidated. The remaining licensees were expected to be operational by late 2009 and all will operate direct-to-home services using standard small-aperture satellite dishes.

On Digital Media announced on 18 March 2010 that it would be launching TopTV in May 2010 as a second pay satellite TV competitor.

TopTV would offer a total of 55 channels with 25 channels in its basic offering.

On 30 April 2013, shareholders of On Digital Media voted to approve China-based company StarTimes taking over a 20% share of ODM. By doing so, StarTimes effectively acquired a 65% economic interest in ODM. The vote also included adoption of a business rescue plan.

TopTV was officially rebranded as StarSat on 31 October 2013. The new packages and channels associated with the new brand were made available on 1 December 2013.

On 15 October 2013, eMedia Investments launched South Africa's first free to view platform Openview consisting of 18 channels including additional e.tv channels.

From 1 May 2021, PremiumFree TV launches in the market to serve as a rival to the Openview platform.

Community television
Another model of public service television, called community television, was introduced to South Africa in the early 1990s. The impulse for this form of television in South Africa arose from a desire to overcome the divisions and imbalances in broadcasting resulting from apartheid. An important conference held in the Netherlands in 1991 saw a broad range of NGOs and Community Groups resolve that the full diversity of the country should be expressed in its broadcasting. Subsequently, community television was introduced to South Africa by legislation known as the Independent Broadcasting Authority Act of 1993. The act enabled three tiers of broadcasting, these being public, commercial, and community. While many community radio stations sprang up from that time, initially in Durban and Cape Town, community television was enabled only for temporary event licences of up to four weeks in duration. It was only after the national broadcasting regulator, the Independent Communications Authority of South Africa (ICASA), promulgated its position paper on community television in 2004, that longer term licences of up to one year were enabled. This licensing regime was changed in 2010 when the duration for class licences was set at seven years.

Community television stations must, by law, a) serve a particular community; b) be run by a non-profit organisation; and c) involve members of the community in the selection and production of programming. Issues of frequency availability are complicated by the migration to digital broadcasting. This led ICASA declaring a moratorium on considering new community TV licence applications in March 2010.

The first community television station to get a one-year licence was Soweto TV in 2007. The station serves the southern Johannesburg region and principally Soweto, it is also available by satellite on the MultiChoice platform. The second community television licence was Cape Town TV, first licensed in 2008. The station serves the greater Cape Town metro region.

In addition to the above-mentioned services a channel called Bay TV (now known as Mpuma Kapa TV and only available on DStv) started up in Port Elizabeth, Tshwane TV in Pretoria and 1KZN TV in Richards Bay. All of these channels had seven-year 'class' licenses. In 2014 these channels collectively reached an audience of around 12 million viewers and all are carried both terrestrially on local analogue frequencies as well as nationally on pay-TV platforms, principally DStv. In 2013, Alex TV launched on the OpenView platform serving residents of Gauteng and lasted for two years.

Digital technology
The first digital television implementation in South Africa was a satellite-based system launched by pay-TV operator MultiChoice in 1995. On 22 February 2007, the South African government announced that the country's public TV operators would be broadcasting in digital by 1 November 2008, followed by a three-year dual-illumination period which would end on 1 November 2011.

On 11 August 2008, the Department of Communications announced its Broadcasting Digital Migration Policy. The policy will govern the switchover from analogue to digital transmission, and states that the department will provide funding to the national signal distributor Sentech to begin the migration process according to the published timetable. The timetable is phased as follows which is a delay of 4 years from the original one proposed:

 * 8 August 2008 – MultiChoice launches South Africa's first HDTV channel (DStv channel 170)
 * 2013 – begin digital transmissions (DTV)
 * 2015 – ~100% digital coverage and switch-off of all remaining analogue transmitters
 * 2019 – As of 2019 there has been no switch-off of analogue signal and the digital migration seems to have stagnated again.

The government had a goal to have digital television as well as mobile television up and running in time for the South Africa-hosted 2010 FIFA World Cup, but ran into political complications, along with private broadcasters agitating for certain television standards.

On 14 January 2011, the South African Department of Communications chose the European standard DVB-T2 as the digital television standard in South Africa, following the trend in this direction of several African nations.

Satellite television
South African-based MultiChoice's DStv is the main digital satellite television provider in Sub-Saharan Africa, broadcasting principally in English, but also in Portuguese, Hindi, German and Afrikaans.

In May 2010, On Digital Media launched the TopTV satellite television service. It offers a number of South African and international television channels and broadcasts principally in English, but also in Hindi, Portuguese and Afrikaans. The platform rebranded into Starsat later in 2013.

In October 2013, eMedia Investments launched its free-to-view platform Openview offering both local and international programming.

Other technologies
There are no cable television networks in South Africa, because maintaining a cable network is expensive due to the need to cover larger and more sparsely populated areas. MMDS was previously used in South Africa for business and educational TV services, but since the introduction of Ku-band satellite transmissions in 1995, most MMDS transmitters have been dismantled.

Most-viewed channels
Source: South African Audience Research Foundation (June 2013)

title: Television in South Africa


text:
The Lady's Magazine

The Lady's Magazine; or Entertaining Companion for the Fair Sex, Appropriated Solely to Their Use and Amusement, was an early British women's magazine published monthly from 1770 until 1847. Priced at sixpence per copy, it began publication in August 1770 by the London bookseller John Coote and the publisher John Wheble. It featured articles on fiction, poetry, fashion, music, and social gossip and was, according to the Victoria and Albert Museum, "the first woman's magazine to enjoy lasting success."

The magazine claimed a readership of 16,000, a figure that has been considered high when contemporary literacy levels and underdeveloped printing technologies are taken into account. The Lady's Magazine dominated the market for most of its run, and led to imitations like the Lady's Monthly Museum and the New Lady's Magazine.

History
Prior to the emergence of magazines in the early eighteenth century, information and news in Great Britain were primarily distributed through pamphlets, newspapers, and broadsides. The concept of a magazine slowly developed in reaction to new laws which sought to control political propaganda; in 1712 the government passed a Stamp Tax on each single- or half-sheet publication, nearly doubling the price of newspapers and some periodicals. Publishers seeking to avoid or pay a lower tax did so by expanding their single-sheet writings into lengthier publications, classifying them as pamphlets or journals. Many also switched their publication schedules by producing works weekly or monthly, rather than daily or semi-weekly.

In addition to the desire to avoid government regulations and taxes, magazines were established as a new medium in which to convey information to a larger group of readers, which could be reached through Britain's growing transportation network. The Gentleman's Magazine, a publication established in 1731, avoided this tax by producing a monthly publication that claimed to feature the reprinting of news (rather than the transmission of news, which the tax targeted). The Lady's Magazine was not the first women's magazine. It was conceived by the London bookseller John Coote and the publisher John Wheble, and first appeared in print in August 1770. John Huddlestone Wynne, an early editor of the magazine, also edited several other contemporary publications. In early 1771, John Coote sold his interest in the magazine to its new publisher George Robinson.

The Lady's Magazine dominated the market from its founding to 1830. It claimed a readership of 16,000, a sum the 18th-century scholar Ros Ballaster considered a success when analysing the country's contemporary literacy levels and underdeveloped printing technologies. Its success led to imitations like the Lady's Monthly Museum and the New Lady's Magazine.

The magazine was cheaply priced at sixpence per copy, and continued to be published until 1847. Up to 1830, it was titled Lady's Magazine; or Entertaining Companion for the Fair Sex, Appropriated Solely to Their Use and Amusement. After 1830, the publication was renamed to Lady's Magazine or Mirror of the Belles Lettres, Fine Arts, Music, Drama, Fashions, etc., and in 1832 it merged with the Lady's Monthly Museum to become known as the Lady's Magazine and Museum of the Belles Lettres, Fine Arts, Music, Drama, Fashions, etc. It ceased publication in 1847. (See La Belle Assemblée.)

Content
Most who wrote for the publication were professional or semi-professional writers, and it could claim the author and dramatist Mary Russell Mitford among its contributors. The Lady's Magazine featured many of the same stories that appeared in contemporary men's magazines like The Gentleman's Magazine, such as articles on poetry and the London stage; society news was another common topic. Unlike many men's publications, however, the Lady's Magazine largely stayed out of the political sphere and did not report on political events; for instance, in the lead-up to the French Revolutionary Wars, Lady's Magazine readers are reassured that France is no match for British naval power, while readers of The Gentleman's Magazine are warned that Europe is "at the present moment [in a state of] alarm and danger". Mary Poovey, a professor of English, posits that The Lady's Magazine's projection of national strength was intended to avoid alarming its female readers and thus causing anxiety in the domestic sphere; conversely, men's magazines sought to arouse anger over an emerging enemy and thus encourage male readers to be ready to undertake an active military role.

While not classified as a fashion magazine, it did feature the subject in detail. It was lavishly illustrated and including needlework patterns for embroidery women's, men's and children's clothing and household objects. In addition to fashion and dress, other featured subjects included fiction, music, and biographies. The scholar Margaret Beetham argues that by featuring these topics, Lady's Magazine "came to define 'the woman's magazine' for the next century". The Lady's Magazine, with its diverse range of subjects, helped normalise such magazines among upper-class readers. In the magazine's first issue, it promised that in its content, "the housewife as well as the peeress shall meet with something suitable to their different walks of life". The magazine is also notable as being the first to print extracts of upcoming books.

The Lady's Magazine sought to take a moral stance and display decorum in its writings. It printed a popular column on medical advice; frequently written by a male doctor, the column gave readers information on topics such as breast-feeding and menstrual pains. This Dr Cook also occasionally included mentions of sexuality, often with a sense of tawdry humour; one June 1775 article, for instance, spoke of fertility and hair colour, concluding that redheads have "the finest skins... and generally become the best breeders of the nation". Ballister considers the mention of these subjects to be "progressive" for the era, and speculates that the magazine was able to print them due to the doctor's "elderly eccentricity", gender, and professional status.

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

title: The Lady's Magazine


text:
Joanna of Bourbon

Joanna of Bourbon (Jeanne de Bourbon; 3 February 1338 – 6 February 1378) was Queen of France by marriage to King Charles V. She acted as his political adviser and was appointed potential regent in case of a minor regency.

Early life
Born in the Château de Vincennes, Joanna was a daughter of Peter I, Duke of Bourbon, and Isabella of Valois, a half-sister of Philip VI of France.

From October 1340 through at least 1343, negotiations and treaties were made for Joanna to marry Amadeus VI, Count of Savoy. The goal was to bring Savoy more closely into French influence. Following this, she was betrothed to Humbert, Dauphin of Viennois, which also fell through.

Queen
On 8 April 1350, Joanna married her cousin, the future Charles V of France, at Tain-l'Hermitage. Since they were first cousins once removed, their marriage required a papal dispensation. Born thirteen days apart, they both were 12 years old. When Charles ascended the throne in 1364, Joanna became queen of France.

Queen Joanna and Charles V had a somewhat strained relationship during his tenure as dauphin because of his infidelity with Biette de Cassinel, but their relationship improved after he became King, and reportedly, he sometimes confided in her on political and cultural issues and relied on her advice. According to tradition, Joanna was rumored to have taken the poet Hippolyte de Saint-Alphon for a lover, who was the biological father of the short-lived child she had in 1366.

Queen Joanna was described as mentally fragile, and after the birth of her son Louis in 1373, she suffered a complete mental breakdown. This deeply worried Charles V, who made a pilgrimage and offered many prayers for her recovery. When she did recover and regained her normal state of mind in 1373, Charles V appointed her legal guardian and regent of France should he die when his son and heir was still a minor.

Death and burial
Joanna died at the royal residence Hôtel Saint-Pol in Paris, on 6 February 1378 three days after her 40th birthday, and two days after the birth of her youngest child, Catherine. Froissart recorded that Joanna took a bath against her physicians' advice. Soon after, she went into labour and died two days after giving birth. The king was devastated. Her heart was buried in the Cordeliers Convent and her entrails in the Couvent des Célestins. The Couvent des Célestins in Paris was the most important royal necropolis after the Basilica of St Denis. The rest of her remains were then placed at Saint-Denis.

Issue
Joanna and Charles had eight or nine children. Two of them reached adulthood:
 * 1) Joanna (end September 1357 – 21 October 1360, Saint Antoine-des-Champs Abbey, Paris), interred at Saint-Antoine-des-Champs Abbey.
 * 2) Bonne (1358 – 7 November 1360, Palais Royal, Paris), interred beside her older sister.
 * 3) Joanna (Château de Vincennes, 6 June 1366 – 21 December 1366, Hôtel de Saint-Pol, Paris), interred at Saint Denis Basilica.
 * 4) Charles VI (3 December 1368 – 22 October 1422), King of France.
 * 5) Marie (Paris, 27 February 1370 – June 1377, Paris).
 * 6) Louis (13 March 1372 – 23 November 1407), Duke of Orléans.
 * 7) Isabella (Paris, 24 July 1373 – 23 February 1378, Paris).
 * 8) John (1374/76 – died young).
 * 9) Catherine (Paris, 4 February 1378 – November 1388, buried at Abbaye De Maubuisson, France), m. John of Berry, Count of Montpensier (son of John, Duke of Berry).

title: Joanna of Bourbon


text:
User:Enceladus/sand box

The Soviet R-7 rocket was the world's first Intercontinental Ballistic Missile (ICBM) and went onto to create the world's most successful space launcher. The basic design of the rocket has not changed greatly over the years, with the main changes between the various types of rockets in the R-7 family being the addition of extra upper stages.

All the rockets consist of a core to which are straped four rockets. For the Vostok rockets, an upper stage is added. For the Voskhod and Soyuz rockets, a larger upper stage is added. Finally for the Molniya rockets, a third stage is added.

The rockets in the R-7 family that were launched are:
 * R-7
 * Molniya 8K78
 * Vostok 8K72
 * Vostok 8K72K
 * R-7A
 * Vostok 8A92
 * Voskhod 11A57
 * Molniya 8K78M
 * Vostok 8A92M
 * Vostok 11A510
 * Soyuz 11A511
 * Soyuz 11A511L
 * Soyuz 11A511M
 * Soyuz 11A511U
 * Soyuz 11A511U2
 * Soyuz 11A511U/Ikar
 * Soyuz 11A511U/Fregat
 * Soyuz FG

title: User:Enceladus/sand box


text:
Robby Krieger

Robert Alan Krieger (born January 8, 1946) is an American guitarist and founding member of the rock band the Doors. Krieger wrote or co-wrote many of the Doors' songs, including the hits "Light My Fire", "Love Me Two Times", "Touch Me", and "Love Her Madly". When the Doors disbanded shortly after the death of lead singer Jim Morrison, Krieger continued to perform and record with other musicians including former Doors bandmates John Densmore and Ray Manzarek. In the 2023 edition of Rolling Stone's 250 greatest guitarists of all time, he was positioned at number 248.

Early life and education
Robby Krieger was born on January 8, 1946, in Los Angeles, California to a Jewish family. His father, Stuart "Stu" Krieger, was an engineer and was a fan of classical music, while his mother, Marilyn Ann (née Shapiro), enjoyed "Frank Sinatra and stuff like that".

Krieger attended a Hebrew school with his twin brother Ronny. While Krieger was a boarding student at a private school called Menlo School in Atherton, California, there was study time at night that allowed him to teach himself to play the guitar. He began by first de-tuning a ukulele to the bottom four strings of a guitar and mimicking a record he had. Later, in the mid-1960s, scholar Frank Chin taught Krieger how to play the flamenco guitar.

After graduating from high school, Krieger attended the University of California, Santa Barbara. His musical development included listening to guitarists Wes Montgomery, Albert King, and Larry Carlton who influenced his style. Krieger's flamenco guitar playing can be heard in the song "Spanish Caravan".

The Doors
Krieger became a member of the Doors in 1965, joining keyboard player Ray Manzarek, drummer John Densmore and vocalist Jim Morrison, after Manzarek's brothers left the group. At an early Doors rehearsal Morrison heard Krieger playing bottleneck guitar and initially wanted the technique featured on every song on the first album. Krieger's fingerstyle approach to the electric guitar, broad musical tastes, and songwriting helped establish the Doors as a successful rock band in the 1960s. Together with Densmore, he studied under Indian sitarist Ravi Shankar at the Kinnara School of Music in Los Angeles.

Krieger occasionally sang lead vocal with the Doors. He can be heard on the song "Runnin' Blue". He also sang on the last two Doors albums, recorded after Morrison's death, Other Voices and Full Circle.

After Morrison's death in 1971, Krieger, Manzarek and Densmore carried on as a trio. They released two more albums as the Doors before disbanding in 1973, though they did reconvene a few years later to create music for poetry that Morrison had recorded shortly before his death, released as the 1978 album An American Prayer.

Later career

After the Doors disbanded in 1973, Krieger formed the Butts Band with Densmore. He almost enjoyed some success as a jazz-fusion guitarist, recording a handful of albums in the 1970s and 1980s, including Versions (1982), Robby Krieger (1985), and No Habla (1989). His first solo release was Robbie Krieger & Friends in 1977.

In 1982, Krieger appeared on four tracks of the album Panic Station by the Los Angeles group The Acid Casualties ("Shadow Street," "Solid Sound," "Armies of the Sun," and "She's a Lost Soul").

In 1991, Krieger formed a new band simply known as the Robby Krieger Band, which featured his son Waylon Krieger (guitar), Berry Oakley Jr. (bass, backing vocals), Dale Alexander (keyboards), and Ray Mehlbaum (drums). In 2000, Krieger released Cinematix, an entirely instrumental fusion album, with guest appearances from Billy Cobham and Edgar Winter.

Krieger and Manzarek reformed as the "Doors of the 21st Century" in 2002 with vocalist Ian Astbury of the Cult. (Astbury had also performed a solo cover of "Touch Me" and a cover of "Wild Child" with the Cult on the tribute album Stoned Immaculate: The Music of The Doors).

Krieger played guitar on a few tracks by Blue Öyster Cult. In June 2008, ZYX Studio released his concert with Eric Burdon, called Live at the Ventura Beach California. They also played "Back Door Man" and "Roadhouse Blues".

In May 2012, Robby Krieger toured with the Roadhouse Rebels, a trio side-project consisting of founding members Particle's (and Rich Robinson's keyboardist) Steve Molitz (hammond organ, keyboards) and Oingo Boingo/Mutaytor's John Avila (bass), only this time with two additional musicians, the Black Crowes's Rich Robinson (guitar/vocals) and Rich Robinson's drummer Joe Magistro. The shows' setlists featured a range of material, including Doors standards, classic soul and rock 'n' roll covers from the '60s and '70s, and material from Robinson's new Through a Crooked Sun album. The group performed on May 25, 2012, in Los Angeles, on May 26, 2012, at the Bella Fiore Music Festival at Harmony Park Music Garden in Clarks Grove, Minnesota, and on May 27, 2012, at the Oriental Theater in Denver.

On December 31, 2013, Krieger played alongside Southern rock band Gov't Mule at the Beacon Theatre (New York City). In July 2017, Krieger tossed out the first pitch at a Dodgers game in Los Angeles.

On August 29, 2018, Krieger joined Alice in Chains onstage at the Hollywood Palladium in Los Angeles to close out their sold-out concert with a performance of their hit song "Rooster". On August 14, 2020, Krieger released his solo album, The Ritual Begins At Sundown. On September 10, 2020, Krieger was announced as a headliner featuring Maki Mae in the Asian Hall of Fame Induction Ceremony.

In 2020, Krieger began uploading guitar tutorials for various Doors songs to the band's official YouTube channel.

On October 12, 2021, Krieger released a memoir Set the Night on Fire: Living, Dying, and Playing Guitar With the Doors, cowritten with author and musician Jeff Penalty Alulis.

Personal life
Krieger is married to Lynn Krieger and has one child: Waylon Krieger.

In 2022, Krieger's custom-built home in Bel-Air, California was put up for sale by its current owner for $13.9 million. The property features 1.4 acres of land, a pool, spa and 6,600 square feet of living space. At one time it had been owned by Limp Bizkit singer Fred Durst.

Guitars used

Krieger used a variety of electric guitars models during his time with the Doors, most notably the following ones:
 * 1964 Gibson SG Special
 * 1958 National 'Town & Country' (Model 1104)
 * 1967 Gibson SG Special
 * 1968 Gibson SG Standard
 * 1954 Gibson Les Paul Custom ('Black Beauty')
 * Black Gibson SG Standard

with The Doors

 * The Doors (1967)
 * Strange Days (1967)
 * Waiting for the Sun (1968)
 * The Soft Parade (1969)
 * Morrison Hotel (1970)
 * L.A. Woman (1971); last album to feature singer Jim Morrison before his death
 * Other Voices (1971)
 * Full Circle (1972)
 * An American Prayer (1978)

with Butts Band

 * Butts Band (1974)
 * Hear and Now (1975)

with Red Shift

 * Red Shift (album) (1979)
 * Shifting On Strong (album) (1980)

Solo

 * Robbie Krieger & Friends (1977)
 * Versions (1982)
 * Robby Krieger (1985)
 * No Habla (1989)
 * Door Jams (1989)
 * Cinematix (2000)
 * Singularity (2010)
 * The Ritual Begins at Sundown (2020)
 * Robby Krieger & The Soul Savages (2024)

with poet Michael C. Ford

 * Look Each Other in the Ears. Hen House Studio Album includes the Doors—Robby Krieger, John Densmore, and Ray Manzarek. 2014

Guest appearances

 * "Puppet Strings" on Puppet Strings, by Fuel (2014)
 * "ZUN – Burial Sunrise" (2016, Small Stone Records) Electric Sitar on 'Nothing Farther'
 * "Forest Full of Trees" and "Stagger Lee" on Rock 'N' Roll Animals (2016) and "Big Brown Dog" w/ Brant Bjork on Bunny Rumble (2018) by Bunny Racket
 * "All the Time in the World" on Alphabetland (2020) and "Strange Life" on Xtras (2021), Alphabetland outtakes), by X

In fiction

 * For Director Oliver Stone's movie The Doors (1991), Krieger had a small cameo as a backstage patron at the London Fog, while his younger self was portrayed by Frank Whaley.

title: Robby Krieger


text:
User talk:Daniel Quinlan/deletion

 * I suspect they equate deletion with censorship or believe that all information is worthwhile

For me it's just about stable links, and a distrust of any tool that has to be restricted to a subset of the community. See remove personal attacks - I'm happy to censor heavily, where needed. :) Still, we really ought to get that redirects and searching improvement. I'd write the code myself if I wasn't sick of programming after coming home fro work. :(

By the way, good work helping rationalise the sep11 stuff - though I think lists of links to sep11 pages should probably belong on the sep11 wiki itself... Martin 23:07, 11 Nov 2003 (UTC)

title: User talk:Daniel Quinlan/deletion


text:
Toronto Life

Toronto Life is a monthly magazine about entertainment, politics and life in Toronto, Ontario, Canada. Toronto Life also publishes a number of annual special interest guides about the city, including Real Estate, Stylebook, Eating & Drinking, City Home and Neighbourhoods. Established in 1966, it has been owned by St. Joseph Communications since 2002. Toronto Life has a circulation of 87,929 and readership of 890,000. The magazine is a major winner of the Canadian National Magazine Awards, leading current publications with 110 gold awards including 3 awards for Magazine of the Year in 1985, 1989, and 2007. Toronto Life also won the Magazine Grand Prix award at the 2021 National Magazine Awards, with the jury writing that it is "alert to the cultural moment, bold in its journalistic exposés, up-to-the-minute in its services reportage and smart about the platforms it uses to deliver content to readers. The issues its editorial team assembled during the pandemic showed just how relevant and useful a first-class city magazine can be." It is also known for publishing an annual 50 most influential people in Toronto list.

History
Established in November 1966, Toronto Life was purchased by Michael de Pencier in 1972 and held until 2002, when it was sold to St. Joseph Media. The publisher also owns the tourism magazine Where Canada (published in several large cities), Fashion, Wish, Wedding Bells, and several smaller magazines. The current editor-in-chief is Malcolm Johnston, who succeeded long-time editor Sarah Fulford (since 2008) in February 2022.

In 2015, an article titled "Jennifer Pan’s Revenge: The inside story of a golden child, the killers she hired, and the parents she wanted dead" by Karen K. Ho brought the previously relatively obscure Jennifer Pan murder case to international attention.

In October 2018, it was announced that Toronto Life will launch a membership program with access to Toronto Life’s events, as well as special offers from local venues.

Successful
In November 1987, Toronto Life published a 50,000-word article on the Reichmanns family written by Elaine Dewar. In January 1988, Paul, Albert and Ralph Reichmann sued Dewar and Toronto Life for $102 million, claiming that the article defamed their family. In 1991, after exhausting the cover of Toronto Life 's libel insurance policy, an out-of-court settlement was reached between the parties that saw the article retracted and Toronto Life make “a substantial donation to four charities” designated by the Reichmanns. In its apology, Toronto Life said its article "incorporated many allegations and insinuations about the Reichmann family which ... there was no reasonable basis for" and said it now realized that "none of the allegations and insinuations should ever have been raised." Stephen Trumper, the president of Toronto Life Publishing Co., said “we should have been much more rigorous in that process and more precise in our conclusions,” and that “any and all negative insinuations and allegations in the article... are totally false.”

Unsuccessful
In April 2015, Canadian entrepreneur Michael Elder, the son of Jim Elder, attempted to sue the magazine to prevent publication of a feature about him. Superior Court dismissed the motion for an injunction and awarded the magazine $17,000 in costs.

Unlawful Employment Practices
In March 2014, Toronto Life was required to shut down its unpaid internship program implemented in 2009, after the Ontario Ministry of Labour declared that its longstanding practice of not paying interns was in contravention of the Employment Standards Act. The magazine responded, saying "The idea that we can start paying everybody completely misunderstands the nature of the economics of the magazine industry at the moment." Toronto Life's first (unpaid) intern, Derek Finkle, started with the magazine in 1993. During his internship he wrote a cover story for the magazine for free. He weighed in on the controversy saying that he backs the decision of the Ontario Ministry of Labour.

Journalism Ethics Violations
In December 2014, Toronto Star published an investigation stating that in 2013, the magazine dismissed a feature about 15 women Jian Ghomeshi was dating after the protest of his PR team.

In January 2018, the magazine was accused of hiding a published negative review of steakhouse BlueBlood from its website.

title: Toronto Life


text:
Mycoprotein

Mycoprotein (lit. "protein from fungus"), also known as mycelium-based protein or fungal protein, is a form of single-cell protein derived from fungi for human consumption.

Though these products derived from mycoprotein often are referred to as plant-based, this assortment is per definition wrong as the fungal kingdom, including mushroom-forming species as well as yeasts and molds, are separate from those of animals (Animalia) and plants (Plantae).

With that said, mycoprotein should neither be confused with mushroom-based products, as the part of fungi grown for mycoprotein is the vegetative growth of the fungi, called mycelium, which can be compared to the roots of the organism. Metaphorically, the mushroom and the mycelium are as similar as a fruit is to the roots of its tree.

History
The discovery of mycoprotein was a result of "The Green Protein Revolution"-inspired British scientists looking for a sustainable alternative protein that could offset the global crisis fueled by population growth, food shortage and greenhouse gas emissions. Dr Tim Finnigan, former Chief Scientific Officer at Marlow Foods, has previously described how these scientists collected over 3000 soil organisms around the world before discovering Fusarium venenatum: a micro fungus that grows in filaments (long thread-like cells) and effectively transforms starch into a fibrous, meat-like, and protein-rich ingredient. In 1985, almost 20 years later, Marlow Foods became the first company to launch mycoprotein-based products on the market under the brand name Quorn.

Today
With Quorn's patents lapsing and the increasing need for alternative proteins due to the growing world population, rising emissions, and water usage, numerous start-up companies worldwide have begun developing mycoprotein-based ingredients and products, often using new strains and innovative technologies. For example, the Swedish companies Mycorena and Millow, along with the Scottish company ENOUGH, are developing mycoprotein ingredients. Mycorena produces the trademarked mycoprotein ingredient Promyc™, and ENOUGH produces the mycoprotein ingredient ABUNDA, both utilizing submerged fermentation methods, while Millow uses a dry fermentation method for its mycoprotein production. These companies focus on the business-to-business supply of their take on a mycoprotein ingredient. Other companies, such as Spanish Libre and American MyForest Foods have instead chosen to launch mycoprotein-based products in retail, hence working business-to-consumer.

Production & Synthesis
The production of mycoprotein takes place in vats, like in beer production. The fungi are grown under aerobic conditions, to which nitrogen, carbon and essential vitamins and minerals are supplied. Carbon dioxide is drawn from the vat. In the case of F. venenatum, glucose is supplied for carbon and ammonia for nitrogen. Parameters such as stirring, pH and temperature are also essential for optimal growth.

At harvest, the fungus is washed and heat treated to reduce the ribonucleic acid (RNA) content according to safety regulations before undergoing further processing steps. Different flavors and tastes can be added to the mycoprotein to add variety.

A reproducible mutation occurs after 1,000 to 1,200 hours of cultivation in F. venenatum that greatly reduces the hypha length in the organism, which is considered unfavorable for production. Under normal conditions, this mutant strain will rapidly displace the parent strain. Replacing ammonia with nitrate as the source of nitrogen, or supplementing ammonium cultures with peptone, prevents this mutant strain from overtaking the product, but still allows development. Alternatively, the appearance of the mutant can be delayed by selection pressures such as nutrient concentrations or pH levels.

Sensory, Nutrition & Health
Due to the root-like structure of the mycelium, the texture and nutrition of mycoprotein is very different from those of plants, leading to the possibility of creating vegetarian and vegan friendly products with the fibrous texture of meat. As it is high in protein and fiber, and low in fat, cholesterol, sodium and sugar, the composition aligns with current dietary guidelines. This nutritional advantage, as mentioned in the United Nations Environment Programme (2023), is why several studies have shown that consumption of mycoprotein has been associated with several health benefits, such as improved blood levels of cholesterol and sugar. The mechanism that links fiber content and mycoprotein's effect on managing glycemia and insulinemia is not entirely understood, and often disputed by endocrinologists, but is known to decrease the rate of glucose absorption and insulin secretion, whilst lowering insulin peaks by mitigating the maximum limit an amount of insulin can process glucose. The majority of this benefit is widely believed to be down to the high protein content, which stimulates encretins and satiety; and the high fibre content which makes people feel fuller for longer.

Back in 2001, a review article published in the Food Technology Magazine summarized how a panel of experts evaluated the sustainability of mycoprotein (produced by Marlow Foods) for food use in the United States. During this evaluation, the protein quality was evaluated using both the FDA Protein Digestibility-Corrected Amino Acid Scoring (PDCAAS) as well as a human volunteer study. The evaluation showed that mycoprotein has an excellent pattern of amino acids, and a PDCAAS score of 0.91 based on an estimate of 78% digestibility, comparable to the scores of beef and soybean. In addition to this, the fatty acid pattern was concluded to be more similar to that of vegetable fat than animal fat, containing a low proportion of saturated fat and a high proportion of mono- and polyunsaturated fat.

Also mentioned in this review, as well as in more recent articles, is that mycoprotein contains no or very low levels of phytic acids (also known as phytates), which are notorious anti-nutrients present in many plant-based protein sources. This means that in contrast to most beans and legumes, consumption of mycoprotein does not inhibit the absorption of essential trace elements and minerals like iron, zinc, calcium, and manganese.

It has also been found that mycoprotein produced by F. venenatum can consist of up to 42% protein while the fungal β-glucan present may also function as a prebiotic, stimulating the growth of health associated bacteria in the lower gut.

The texture and taste of mycoprotein may vary as different producers use different strains of fungi to produce their unique protein. For example, Nature's Fynd, a company founded in Chicago 2021, produce their Fy Protein™ from Fusarium yellowstonensis (also known as Fusarium strain flavolapis or Fusarium oxysporum MK7), an extremophile discovered in Yellowstone National Park, whilst Meati Inc. since 2022 produces their MushroomRoot™ from Neurospora crassa based on patented research by the Better Meat Co. The texture and taste are also influenced by different downstream technology, i.e., the treatment after harvesting the vats. Mycoprotein produced by F. venenatum has, for example, been described as a pale yellow solid with a faint taste of mushrooms.

Allergies & Hypersensitivity
Hypersensitivity reactions caused by ingestion of mycoprotein is very rare, though it has previously occurred in people allergic to mold or other fungi. For most individuals, mycoprotein is safe to eat. The fact is that 72.4% of allergic reactions and 67.6% of the gastrointestinal reactions that have been reported after ingestion of a Quorn product occurred on an individual's first consumption of Quorn's products, which is an indication of cross-allergenicity with other antigens. There is, however, continual testing for concerns of allergic reactions, which can range from abdominal pain, nausea, and vomiting to severe asthmatic reactions, especially when crossed with inhaled mold spores.

A few but not all strains involved in mycoprotein production are known to produce mycotoxins in very low concentrations, amongst others some strains of F. venenatum, which in Quorn's case is prohibited by continuous testing every 6th production hour. Fusarium yellowstonensis, on the other hand, is an example of a strain that has been found to have low allergenic potential and no mycotoxins has been detectable.

Law, Legislation & Recognition
Although mycoprotein is considered a new generation of alternative protein, most microorganisms used to produce mycoprotein have been used for decades, some for centuries, and do not fall under the Novel Food Regulation in the European Union. Mycoprotein has been considered Generally Recognized as Safe (GRAS) by the Food and Drug Administration in the US since 2002.

However, looking across the globe, mycoprotein has still not been fully recognized as the sufficient protein source it is, despite its nutritional and sustainable benefits and advantages. An open access article was published in early 2022 on the topic of the lack of a global uniformity when it comes to Food-Based Dietary Guidelines (FBDG). The author, reviewed by Marlow Foods, points out that the global protein guidance tends to be dichotomous and exclusively focuses on comparing animal and plant proteins, resulting in alternative proteins, such as fungal proteins, being overlooked. Subsequently, the author calls for fungal protein to be included in the forthcoming EAT-Lancet 2.0 publication, due in 2024, and the Nordic Dietary Guidelines.

This article is certainly not the only call for acknowledgement of fungal protein. In 2022, several companies pioneering for food sustainability united to form a new trade association: The Fungi Protein Association (FPA). One of the purposes of the association is to united advocate for mycoprotein in public policy. The founding members of the association include previous mentioned companies such as Quorn, ENOUGH, Mycorena and Nature's Fynd, but also companies as The Better Meat Co. and Prime Roots. Two members of the FPA, Mycorena and Quorn, published in 2022 an open letter to urge the Nordic Nutrition Recommendations (NNR) committee to review their selection of recommended protein sources and recognize fungi-derived proteins in food-based dietary guidelines. The NNR committee responded by including fungi as a source of non-animal protein in their nutrition recommendations published in June 2023.

Environmental Impact
Several producers of mycoprotein have reported that production of mycoprotein has an environmental impact (including land-use, water consumption and carbon footprint) over 90% less than beef. Additionally, a study published in Nature 2022 found that replacing 20 percent of per-capita ruminant meat, such as beef, with fermentation derived microbial protein, such as mycoprotein, could cut global deforestation and carbon dioxide emissions by 50% in addition to lowering methane emissions. These numbers are under the assumption of consumer acceptance.

title: Mycoprotein


text:
Acorns

Acorns may refer to:

 * Plural of acorn, the nut of the oak tree
 * Acorns (company), a micro-investing and robo-advisor financial company
 * Acorns (suit), one of the four suits in German pattern playing cards
 * Acorns Children's Hospice, a charity in England
 * Springfield Acorns, a minor league American football team in Springfield, Massachusetts

title: Acorns


text:
Muse Software

Micro Users Software Exchange, Inc., doing business as Muse Software, was an American video game developer based in Baltimore, Maryland, focusing on the development of games for the first generation of home computers. The company began with developing games for Apple II, and later expanded to the Commodore 64, Atari 8-bit computers, and IBM PC compatibles. They are best known for creating the Wolfenstein series, having developed the first two installments: 1981's Castle Wolfenstein and its 1984 sequel, Beyond Castle Wolfenstein. The brand name lapsed and was used by id Software.

History
Muse Software was incorporated by Ed Zaron on August 1, 1978, with Silas S. Warner becoming the first employee. Initially publishing games, the team also sold non-game software such as Super-Text, a word processor written by Zaron, and Appilot, a course-writing language written by Warner. Their original market was for the Apple II, with their first programs sold on cassettes, and later on floppy disks. They expanded their software offerings for the Atari 8-bit computers and Commodore 64, plus ported both Castle Wolfenstein games to the IBM PC. The company also ran a retail store on the corner of Charles Street and Mulberry Street in Baltimore, called "Muse Software and Computer Center," which was closed down in 1982.

At its peak, Muse was making more than US$2 million per year in sales. According to Zaron, the growth of Muse's sales was "extremely slow" because of a slump in the home computer software market. The company, which had about 40 employees at its peak in 1983, had shrunk down to just six prior to filing for Chapter 7 bankruptcy protection in 1985. Warner, who was leaving Muse to join MicroProse, said the company had difficulty setting up a sales program because of the long-term illness of a key sales employee. Muse Software was found to be in forfeiture on October 7, 1987.

In 1992, id Software released Wolfenstein 3D, based on Muse Software's Wolfenstein intellectual property. It brought the Wolfenstein brand to a much larger audience.

title: Muse Software


text:
Talk:Jesus Christ Superstar

Going forward
Hi, just stopping by, as Softlavender asked me to help trim some of the exuberant fancruft, particularly in the productions section. Just my 2 cents: The article is entirely missing:

Also,
 * (1) a section analyzing the themes of the musical and how they are developed (there is a somewhat vague and unreferenced mention in the Lead);
 * (2) a short section on how the musical's plot differs from the bible stories (there is some information about this scattered around; perhaps it could be consolidated together in a section and followed by the controversy section, which is now in rather an awkward place);
 * (3) more information about the development of the piece from a rock album to a Broadway musical; and *(4) analysis of the musical style(s) and the poetic style and quality of the lyrics (also, if there is no dialogue at all in the musical, the article should state that the musical is entirely sung through).
 * The plot section is too long and should be trimmed. If it contains any analysis, that should go into the analysis section.
 * The recordings section should list all the major recordings and say if they charted, won Grammys, etc. *There's a little bit of reception information scattered around, but the original B'way and West End productions should contain much more reception info, especially about the show itself (music, lyrics, story), as well as the designs and performances; and then each of the major productions should describe briefly what the critics thought of the staging, designs and performances and state how long each run was.
 * Plus, obviously, references need to be added wherever they are missing.

That's off the top of my head. I suggest that you look at Hair (musical) for more ideas, as that article is probably the best and most complete one on WP about a rock musical. I don't watch this article, and it is not within my area of interest, so I'd rather not be involved in whatever work you decide to do on it going forward. It it gets up to a much higher level and gets a Peer Review, I'd be happy to review it again then. Best regards! -- Ssilvers (talk) 23:38, 11 February 2015 (UTC) Here is a resource that addresses some of these concerns and perhaps others, as well: https://www.mentalfloss.com/article/501993/facts-about-jesus-christ-superstar-andrew-lloyd-webber-tim-rice — Preceding unsigned comment added by 184.13.78.81 (talk) 12:42, 9 April 2022 (UTC)

Resources
Hi, as it seems universally agreed that this article is missing some basic stuff (which of course needs to come from reliable sources), I would like to highly recommend the two published books devoted to the work (I do not yet have either of them):

 * Robert Price. Jesus Christ Superstar. 2011. Amazon.com page:.

 * Both the Google eBook and the Amazon Kindle are $9.99.

 * Ellis Nassour, Richard Broderick. Rock Opera: The Creation of Jesus Christ Superstar, from Record Album to Broadway Show and Motion Picture. Hawthorn Books, 1973.

 * Even on http://www.bookfinder.com/ it runs $50 to $60, but looks well worth it.

And also the book below, which has an excellent and fascinating 10-page chapter on it, really very revealing info about the exact inception of the entire work:

 * Max Cryer. Love Me Tender: The Stories Behind the World's Favourite Songs. Exisle Publishing, 2008. pp. 140-150.

 * The eBook runs $7.99. The hard copy is pricier.

All three of those give invaluable background, history, and analysis.

(Here also is a scholarly article I ran across fairly randomly, which may be useful but is possibly overly academic: .)

-- Softlavender (talk) 03:18, 12 February 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Jesus Christ Superstar. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20110727141633/http://www.reallyuseful.com/rug/shows/jesus/facts.htm to http://www.reallyuseful.com/rug/shows/jesus/facts.htm

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 15:48, 28 August 2015 (UTC)

2014 Stadium tour US leg
I strongly suggest that this information is included in the article. The production toured in the UK and Australia and was due to start in the US but was cancelled at minimum notice. The cancellation made mainstream news (http://www.bbc.co.uk/news/entertainment-arts-27654807) and the cost of the production was in the millions of dollars region. I argue that this is a significant and notable event in the history of the musical and as such should be included in this article. CaptainPedge |  Talk  00:36, 16 September 2015 (UTC)

 * This musical has had numerous productions. A touring production that never happened is of no interest or significance in this article.  There were no reviews of this production ... because it never happened.  We only discuss the most significant productions that were (a) professional; (b) ran in a major market; and (c) were long-running or otherwise particularly significant.  I have been working on many hundreds of musical theatre articles on Wikipedia since 2006, and both WP:NOT and my experience tell me that this non-production is very far from being of significance to this article.  I can easily believe that it was of significance to the producer who lost money, and to any actors and staff who had to find new jobs, but not to this article. Also, see WP:CITE for more information about what information ought to be included in citations.  Yours were missing the name of the author, the title of the piece, the name of the publication and publisher, and the date of publication. -- Ssilvers (talk) 01:53, 16 September 2015 (UTC)

 * BTW, if you want to do useful work in this article, above on this page (under the heading "Going forward") is a list of important information and entire sections that are missing from the article. -- Ssilvers (talk) 02:21, 16 September 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Jesus Christ Superstar. 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/20120507221255/http://playbill.com/news/article/165460-2012-Tony-Awards-Nominations-Announced-Once-Earns-11-Nominations to http://playbill.com/news/article/165460-2012-Tony-Awards-Nominations-Announced-Once-Earns-11-Nominations
 * Added archive https://web.archive.org/web/20120520133814/http://www.jesuschristsuperstar.com/2012/05/16/jesus-christ-superstar-arena-tour-2/ to http://www.jesuschristsuperstar.com/2012/05/16/jesus-christ-superstar-arena-tour-2/

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) 02:06, 22 April 2017 (UTC)

The singer list for each of the musical numbers needs to match the official site
The singer list for each of the musical numbers needs to match the official site:. Right now it doesn't but I'm too busy to fix it at this very moment. Softlavender (talk) 09:35, 20 September 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Jesus Christ Superstar. 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/20120623214908/http://www.playbillvault.com/Show/Detail/4682/Jesus-Christ-Superstar to http://www.playbillvault.com/Show/Detail/4682/Jesus-Christ-Superstar

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) 00:40, 25 November 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 5 external links on Jesus Christ Superstar. 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/20150211043823/http://alumni.sas.edu.sg/?Dec07featclasses to http://alumni.sas.edu.sg/?Dec07featclasses
 * Added archive https://web.archive.org/web/20120112124119/http://www.jesucristometalstar.cl/ to http://www.jesucristometalstar.cl/
 * Added archive https://web.archive.org/web/20120702111342/http://www.playbill.com/news/article/167599-It-Is-Finished-Jesus-Christ-Superstar-Revival-Closes-On-Broadway-July-1 to http://playbill.com/news/article/167599-It-Is-Finished-Jesus-Christ-Superstar-Revival-Closes-On-Broadway-July-1
 * Added archive https://web.archive.org/web/20140226022605/http://theblurb.com.au/reviews/2013/05/jesus-christ-superstar-australian-tour/ to http://theblurb.com.au/reviews/2013/05/jesus-christ-superstar-australian-tour/
 * Added archive https://web.archive.org/web/20110412001305/http://www.vam.ac.uk/collections/theatre_performance/features/manuscripts/jesuschristsuperstar/index.html to http://www.vam.ac.uk/collections/theatre_performance/features/manuscripts/jesuschristsuperstar/index.html

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) 00:24, 6 December 2017 (UTC)

Recent edits
, you have currently reverted to a problematical version of the article. Namely:
 * 1) It expands a plot synopsis that was already way too long and needs to be trimmed rather than expanded.
 * 2) The sense and grammar of a sentence in the Production section is less clear, and more confusing
 * 3) The tenses of one sentence of the Production section is no longer current, but is outdated.
 * 4) There is improper capitalization in at least two sentences.
 * 5) There is a missing article "the".
 * 6) There are quotation marks where there should instead be italics.

-- Softlavender (talk) 04:59, 7 September 2019 (UTC)

I just edited the plot slightly, regarding Judas returning to speak to Jesus at his crucifixion. My rationale should appear in the edit history. Basically my view is that I don't think it's clear that the Superstar is the ghost of Judas haunting Jesus, I always read it as a pretty blatant author-insert asking questions about Christianity in general. Of course there's multiple ways to play it, so I have tried to make the amendment neutral re: Judas' motives etc. — Preceding unsigned comment added by 120.151.53.109 (talk) 00:33, 17 July 2020 (UTC)

Plot rewrite
I've taken a WP:BOLD stab at reducing the length of the plot summary. It's about 50 percent shorter by word count. I did not remove the Overly detailed tag yet because I think the plot summary is still rather long and detailed. However it will be hard to make it much shorter without removing mention of some of the songs, and I didn't want to go that far. If anyone else feels the tag can be removed, feel free to do so. CodeTalker (talk) 03:30, 9 November 2019 (UTC)

Act II Jesus's answer to Pilate
Someone keeps changing back the actual words spoken (Your words. Not mine) in the Act, to the original, incorrect one.

https://www.youtube.com/watch?v=XKeGMk8jlUU

1:20

It is kind of important as 1. the original is incorrectly quoted 2. it is close to the actual Biblical quote ("Those are your words. Not mine" as it is in most English language Bible translations. — Preceding unsigned comment added by 195.228.143.98 (talk) 10:44, 7 September 2020 (UTC)

 * Maybe in the movie, but in the stage production (https://www.youtube.com/watch?v=yZD9b-NRfN8 at ~1:02:28), Jesus's lyric is "That's what you say". BOVINEBOY 2008 10:53, 7 September 2020 (UTC)

 * "That's what you say" is the lyric in the original album as well. This article is not about the film. CodeTalker (talk) 16:11, 7 September 2020 (UTC)

2002 North Vernon production?
I can find no evidence of this existing (or why a production in a small town in Indiana would apply to this section) Taseck1 (talk) 15:54, 1 October 2023 (UTC)

toronto show 1970
I saw JC Superstar with Yvonne Elliman and other (not all) original cast members in Toronto in the summer of 1970, outdoors at the Borough of York Stadium. 209.171.85.181 (talk) 00:35, 14 April 2024 (UTC)

title: Talk:Jesus Christ Superstar


text:
Obelisk of Axum

The Obelisk of Axum (ሓወልቲ ኣኽሱም; የአክሱም ሐውልት) is a 4th-century CE, 24 m tall phonolite stele, weighing 160 t, in the city of Axum in Ethiopia. It is ornamented with two false doors at the base and features decorations resembling windows on all sides. The obelisk ends in a semi-circular top, which used to be enclosed by metal frames.

Overview
The 'obelisk'—properly termed a stele or, in the local languages, Tigrinya: hawelt; and church Ge'ez: hawelti—is found along with many other stelae in the city of Axum in modern-day Ethiopia. The stelae were probably carved and erected during the 4th century CE by subjects of the Kingdom of Aksum, an ancient Ethiopian civilization. Erection of stelae in Axum was a very old practice. Their function is supposed to be as "markers" for underground burial chambers. The largest of the grave markers were for royal burial chambers and were decorated with multi-story false windows and false doors, while lesser nobility would have smaller, less decorated ones. While there are only a few large ones standing, there are hundreds of smaller ones in various "stelae fields". It is still possible to see primitive, roughly carved stelae near more elaborate "obelisks". The last stele erected in Axum was probably the so-called King Ezana's Stele, in the 4th century CE.

King Ezana (c. 321 – c. 360), influenced by his childhood tutor Frumentius, introduced Christianity to Axum, precluding the pagan practice of erecting burial stelae (it seems that at the feet of each obelisk, together with the grave, there was also a sacrificial altar.

Over the course of time, many of these stelae fell over due to several reasons: structural collapse (as, probably, in the case of the Great Stele, measuring 33 m), possibly immediately after their erection; earthquakes (Axum is in a seismic zone); or the military incursions of the Imam Ahmad Gragn during the Ethiopian-Adal War from 1529 to 1543. In the 19th century, of the three major "royal" stelae, only King Ezana's Stele remained erect, shown in the print "The Obelisk at Axum" of Henry Salt (1780–1827). Salt travelled back to England with Captain Thomas Fremantle, and the design of the Obelisk of Axum influenced that of the Nelson Monument, Portsdown Hill, near Portsmouth Harbour, for which Fremantle raised the funds.

The Italian occupation of Ethiopia ended in 1937 with looting, in which King Ezana's obelisk of Axum was taken to Italy as war spoil. The monolith was cut into three pieces and transported by truck along the tortuous route between Axum and the port of Massawa, taking five trips over a period of two months. It travelled by the ship, Adwa, arriving in Naples on March 27, 1937. It was then transported to Rome, where it was restored, reassembled and erected on Porta Capena square in front of the Ministry for Italian Africa. This square would later become the headquarters of the United Nations's Food and Agriculture Organization and the Circus Maximus. The obelisk was officially unveiled on October 28, 1937 to commemorate the fifteenth anniversary of the March on Rome. The operation was coordinated by Ugo Monneret de Villard.

A bronze statue of the Lion of Judah, symbol of the Ethiopian monarchy, was taken along with the obelisk and displayed in front of Termini railway station.

Repatriation
In a 1947 UN agreement, Italy agreed to return the stele to Ethiopia, along with the other looted piece, the Monument to the Lion of Judah. While the latter was returned in 1967 following the 1961 visit of emperor Haile Selassie to Italy, little action was taken to return the stele for more than 50 years, partly as a consequence of the considerable technical difficulties related to its transportation.

One source also suggests that emperor Haile Sellassie, after hearing of these technical difficulties (and of the enormous costs necessary to overcome them), decided to grant the stele to the city of Rome, as a gift for the "renewed friendship" between Italy and Ethiopia. This assertion, however, remains controversial and was not recognized by successive authorities. Colonel Mengistu Haile Mariam, who overthrew the emperor in 1974, asked the Italian government to return the stele to Ethiopia. Another controversial arrangement, according to some sources, seems to be that Italy could keep the stele in exchange for the construction of a hospital in Addis Ababa (Saint Paul's Hospital) and for the cancellation of debts owed by Ethiopia. In any case, after the fall of the Mengistu regime, the new Ethiopian government asked for the return of the stele, finding a positive answer from the then president of the Italian republic Oscar Luigi Scalfaro, in April 1997.

The first steps in dismantling the structure were taken in November 2003, under the supervision of Giorgio Croci, Professor of Structural Problems of Monuments and Historical Buildings at Sapienza University of Rome. The intent was to ship the stele back to Ethiopia in March 2004, but the repatriation project encountered a series of obstacles: The runway at Axum Airport was considered too short for a cargo plane carrying even one of the thirds into which the stele had been cut; the roads and bridges between Addis Ababa and Axum were thought to be not up to the task of road transport; and access through the nearby Eritrean port of Massawa—which was how the stele originally left Africa—was impossible due to the strained state of relations between Eritrea and Ethiopia.

The runway at Axum airport was then upgraded specifically to facilitate the return of the stele. The dismantled stele remained sitting in a warehouse near Rome's Leonardo Da Vinci International Airport, until 19 April 2005 when the middle piece was repatriated by use of an Antonov An-124, amidst much local celebration. It has been described as the largest and heaviest piece of air freight ever carried. The second piece was returned on 22 April 2005, with the final piece returned on 25 April 2005. The operation cost Italy $7.7 million.

The stele remained in storage while Ethiopia decided how to reconstruct it without disturbing other ancient treasures still in the area (especially King Ezana's Stele). By March 2007 the foundation had been poured for the re-erection of the stele near King Ezana's Stele, structurally consolidated in this occasion. Reassembly began in June 2008, with a team chosen by UNESCO and led by Giorgio Croci, and the monument was re-erected in its original home and unveiled on 4 September 2008.

When it was reassembled in Rome in 1937, three steel bars were inserted per section. When the obelisk was hit by lightning during a violent thunderstorm over Rome on 27 May 2002, this caused "considerable" damage. In the new reconstruction the three sections are fixed together by a total of eight aramid fiber (Kevlar) bars: four between the first and second and four between the second and third sections. This arrangement guarantees structural resistance during earthquakes and avoids the use of steel, so as not to again make the stele a magnet for lightning and to avoid rust.

Several other similar stelae/obelisks exist in Ethiopia and Eritrea, such as the Hawulti in Metera. Like the Obelisk of Axum, the other stelae have a rectangular base with a false door carved on one side.

3-D laser scanning
The Zamani Project documents cultural heritage sites in 3D based on terrestrial laser-scanning to create a historical record. The 3D documentation of parts of the Axum Stelae Field was carried out in 2006.

title: Obelisk of Axum


text: Talk:Audrey Tautou

title: Talk:Audrey Tautou


text:
Kopek (disambiguation)

Kopek, also spelled kopeck or copeck in English, is a (typically one-one hundredth) subdivision of several currencies.

Kopek or Köpek may also refer to:

Currencies

 * Russian ruble (kopeyka, plural kopeyki)
 * Belarusian ruble (kapeyka, plural kapeyki)
 * Ukrainian hryvnia (kopiyka, plural kopiyki)
 * Transnistrian ruble (kopiyka, plural kopiyki)

Other uses

 * Köpek, the Turkish-language word for dog
 * Kopek (band), an Irish rock band
 * Sa'd al-Din Köpek (died 1240), court administrator under Seljuq Sultans of Rum

title: Kopek (disambiguation)


text:
User:Geoff97

Living in Switzerland. Interested in computing, history, good living and life in general.

title: User:Geoff97


text:
Talk:Senedd

Ty Hywel/Tŷ Hywel
Shouldn't Ty Hywel be spelt as "Tŷ Hywel" with it's correct Welsh spelling? Also for the main Tŷ Hywel page? — Preceding unsigned comment added by 91.108.174.121 (talk) 17:59, 22 February 2009 (UTC)

Kudos to above RFC result
Thank goodness Welsh Parliament got a place in the article's intro. Otherwise, a non-Welsh language fellow such as I, would've immediately figured Senedd to have meant Senate of Wales or Welsh Senate. GoodDay (talk) 22:19, 14 August 2021 (UTC)

Plaid Cymru
Maybe change Plaid Cymru to being in co operation rather than opposition GothicGolem29 (talk) 00:33, 22 July 2023 (UTC)

 * If you're referring to the infobox it used to be like that for a bit until it was removed in this June 2023 edit by @Dunadan9. It was originally inserted in March 2022 by an IP. There is no consensus for or against such description, however it lasted more than a year while the removal is recent.  Dank Jae  00:47, 22 July 2023 (UTC)
 * Boldly re-added it back.  Dank Jae  20:15, 18 September 2023 (UTC)

Senedd and Welsh Parliament – taking stock
I'm aware that the article title has been discussed several times (the previous discussions can be found in the first talk page archive). One thing which struck me when reading them is that almost everyone involved seemed to agree that 'Senedd' was the WP:COMMONNAME, but very little evidence was provided to back this up. It seemed sensible to take a closer look, particularly now some time has passed:

English-language Welsh media
 * Wales Online – Senedd
 * North Wales Live (Daily Post) – Senedd

UK Media
 * BBC News – Senedd and Welsh Parliament
 * Sky – Senedd
 * ITV – Senedd
 * The Guardian – Senedd, tends to use 'Welsh parliament' with uncapitalised 'p'
 * The Times – paywalled, but seems to use both?
 * The Telegraph – Senedd and Welsh Parliament
 * The i – Senedd and Welsh Parliament
 * The Mirror – Senedd and Welsh Parliament

International English-language
 * RTÉ – Senedd and WelshParliament
 * Irish Times – Senedd and Welsh Parliament
 * Al Jazeera – Senedd Cymru and Welsh Parliament
 * The New Yorker – Welsh Parliament
 * Washington Post – Senedd and Welsh Parliament
 * Times of India – 'Welsh parliament, the Senedd'
 * National Post (Canada) – Welsh Parliament and Senedd

How the body refers to itself
 * Website – Senedd Cymru | Welsh Parliament
 * Twitter – Welsh Parliament (@SeneddCymru)

I won't pretend the above is comprehensive, but there's a broad pattern of Welsh media using 'Senedd' exclusively, other British media using either 'Senedd' or both, and the instutution and international media using both. A.D.Hope (talk) 23:12, 26 October 2023 (UTC)

 * Not that this is a move discussion, but if I was thinking totally pragmatically I might lean toward 'Welsh Parliament'. The fact Welsh and UK sources seem comfortable using 'Senedd', either alone or alongside 'Welsh Parliament', suggests that British Wikipedia readers will understand the title; however, as international publications tend to use 'Welsh Parliament' or both names the English name might be more understandable for all readers. It depends how you look at it really, both names have their merits. A.D.Hope (talk) 23:20, 26 October 2023 (UTC)
 * Hmn, the issue is quite complex. While I am looking at some names, this one is a bit tricky and not considered it. The most common name is preferred than the most understood/basic one (to all readers). We have short descriptions, redirects and leads to help describe it. All of those sources, bar one, use Senedd so unless there is a clear majority of sources using only Welsh Parliament, the current situation seems fine IMO. But ofc, if new evidence shows otherwise, would still consider it.
 * Although seen some cite WP:ENGLISHTITLE as a reason we shouldn't use Welsh names, so that may be an argument to use.
 * Haven't checked all those sources, so taking at your word, but they do mostly use Senedd, so clearly more common. Although there may be more sources to be found that could tilt it to Welsh Parliament. Plus the parliament itself uses three names, which is a mess of their making, using Welsh Parliament for its logo, Senedd Cymru in law, and Senedd for everything else, is quite inconsistent on their part. So choosing the most common seems simplest for this complex name.
 * When doing a quick Google to analyse generic use, but yes, Google should not be used as an argument alone, shows clear preference for Senedd, in Google Trends and Google News articles 197,000 vs 43,000. But "Senedd" can also refer to the building, but on the other hand not sure if Google also includes "Welsh parliament" with a lower-case "p", which can be classed as a descriptor like "Israeli parliament" for the Knesset or "Irish parliament" for the Oireachtas / Dáil Éireann.
 * So there could be a case, but Senedd seems more popular for now and tbh more neutral, but I'll see if this discussion leads anywhere.  Dank Jae  01:39, 27 October 2023 (UTC)
 * I guarantee that had 'Senedd' been around ten or twenty years ago, the most common reference would be to "Welsh Parliament' The fact that 'Senedd' is used at all shows how the word has become much more common and recognisable. I suggest to you - with respect - that what you've found is examples of the newspaper trope of "the second mention". This is when a newspaper uses "Rishi Sunak" in paragraph one, "Prime Minister" in paragraph two, "the Conservative leader" in paragraph 3 and so on. I once saw "the sun" followed by."Earth's huge sky orb". Maybe we're just dealing with the trope of avoiding the same word twice. doktorb wordsdeeds 04:02, 27 October 2023 (UTC)
 * If a modern source use Senedd, clearly in reference to the modern body then surely that should count, regardless if they use another name later or as a descriptor. Sunak and Prime Minister are two different subjects. Senedd and Welsh Parliament on Wikipedia are the same for now. Unless, if this becomes Welsh Parliament, that Senedd become a page about the name itself. Plus we should also consider "Senedd Cymru" the legally preferred term in laws in English, which was actually the proposed term a few years ago, unless Welsh names aren't allowed on Wikipedia at all.  Dank Jae  07:58, 27 October 2023 (UTC)
 * I don't think it's entirely 'the second mention'. Some sources do seem to switch between names for variety, but several of the articles above only name the body once but still use both for clarity, e.g. '...May’s election for the Senedd Cymru, the Welsh Parliament' from Al Jazeera.
 * I've not looked too widely at non-news sources, but again it varies. Britannica hasn't been updated and still uses 'National Assembly', gov.uk primarily uses 'Welsh Parliament' but also 'Senedd Cymru: Welsh Parliament', and the Welsh Government mostly stick to Senedd but does use 'Parliament' for variety. A.D.Hope (talk) 09:20, 27 October 2023 (UTC)

English pronunciation and respell
Hi, an earlier edit attempted to add a respell, however for a Welsh pronunciation which isn't to be used by the template, as well as the respell looking a bit off IMO "SEN-edh".

However, Collins uses the same IPA for English, therefore leading to theoretically, if I re-spelled it correctly. But considering how copy-and-pasted the pronunciation seems, is this correct? As I think having a re-spell would be great for readers, although understand opposition arguing the audio file is enough, and how we should now refrain from un-needed English pronunciations.  Dank Jae  08:45, 28 June 2024 (UTC)
 * Would adding as in "whether" after be allowed? Ham II (talk) 15:43, 28 June 2024 (UTC)
 * @Ham II, nothing at MOS:PRON mentions that, and I rarely see it, so not sure. Although it could be pushed into a footnote if needed?
 * The tooltip for the IPA-c gives 'e' in 'dress' and 'th' in 'this' by default.  Dank Jae  16:00, 28 June 2024 (UTC)
 * @Ham II, what about this?
 * Hopefully this doesn't cause some hidden formatting error. Appears to work fine?  Dank Jae  13:06, 30 June 2024 (UTC)
 * Too subtle, I think; a reader who doesn't spot the tooltip for "ð" isn't going to see the one for "eth" either. I've looked into this a bit more now, and  does appear to be the standard way to do it, because that displays as, which links to Help:Pronunciation respelling key where "dh" is explained. Ham II (talk) 05:59, 2 July 2024 (UTC)
 * ah right, I guess I got confused with Help:IPA/English and used "th" as an approximation, when it is supposed to be respelled "edh". But fine as long as its there now.  Dank Jae  18:09, 2 July 2024 (UTC)
 * ah right, I guess I got confused with Help:IPA/English and used "th" as an approximation, when it is supposed to be respelled "edh". But fine as long as its there now.  Dank Jae  18:09, 2 July 2024 (UTC)

title: Talk:Senedd