text:
Talk:Common firecrest

Untitled
Formatting is broken. The text spills over the table in Mozilla. Daniel Quinlan 05:17, Nov 21, 2003 (UTC)

 * Difficult to see why. It's fine in my browser, and the formatting, as far as I can see, is identical to the other bird articles. jimfbleak 06:21, 21 Nov 2003 (UTC)

"Wren" in Europe
From the Wren article: "In Europe, species of Regulus are commonly known as "wrens", the Common Firecrest and Goldcrest as "fire-crested wren" and "golden-crested wren", respectively." This is not referenced there, but, if sources can be found, this could be added to the "In culture" section for completion. Snowman (talk) 10:35, 27 October 2010 (UTC)

What conifer tree is shown?
File:Regulus ignicapillus -Galicia, Spain -singing in a conifer tree-8 (1).jpg Can anyone identify the type of conifer tree in this image from Galicia, Spain? Snowman (talk) 11:25, 27 October 2010 (UTC)

Insectivorous means eating arachnids?
The article currently says, "All species of kinglet are almost exclusively insectivorous, preying on small arthropods with soft cuticles, such as springtails, aphids and spiders." Neither springtails nor spiders are classified as insects. If it's "almost exclusively" insects, maybe you should make the majority of your examples belong to that Class. — Preceding unsigned comment added by CarlFink (talk • contribs) 15:29, 1 February 2011 (UTC)

Range
Is the range map in the infobox correct? It seems strange that the bird should be shown as a winter visitor in Southern England, a region at the north of the bird's range and widely separated from the bulk of the "winter visitor" region in Southern Europe. It looks as if the individuals wintering in England would actually have to fly north in winter? Also, the map seems to contradict the text which says the bird "breeds in Europe from southern England, France, Spain and Portugal ..." and "is now widespread as a breeding bird in much of southern England". I am assuming the bird does not breed in winter. 81.159.75.178 (talk) 23:23, 1 February 2011 (UTC)

Photo
Can we use a different photo? The current photo shows the bird in a highly atypical posture,with feathers fluffed up from the cold. We could use this photo: http://commons.wikimedia.org/wiki/File:Regulus_ignicapillus_Roitelet_triple-bandeau.jpg. Although it shows the bird in another atypical situation - in a human hand - it does provide a better representation of the bird's usual appearance. Ricobirdo (talk) 00:50, 2 February 2011 (UTC)

Nobody responded to this suggestion so I made the change. Ricobirdo (talk) 01:43, 8 February 2011 (UTC)
 * So now we have that image on the page twice. Sabine's Sunbird  talk  02:08, 8 February 2011 (UTC)
 * I did not know which image was being discussed. It is even more unnatural for a Firecrest to be held, so I have put back the previous infobox image. Snowman (talk) 10:02, 8 February 2011 (UTC)
 * If anyone has taken any good photographs of Firecrests, then please upload them to commons for use on the language wikis. Snowman (talk) 10:04, 8 February 2011 (UTC)

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Map needs updating with northern expansion
The range map in the infobox is out of date. The species is spreading northwards, and has been breeding in considerable numbers (thousands of pairs) in southern Sweden for many years now, likewise in Latvia and Estonia, and in summer 2020 the first nesting pairs were confirmed in southern Finland. (Source: Birdlife Finland. [in Finnish]) Yet the yellow 'breeding summer visitor' range shown excludes all these. -- DoubleGrazing (talk) 11:19, 8 July 2020 (UTC)

need for better image
The presented 'main' photo at march/2021 is not good in order to separate the species from Regulus madeirensis. 89.180.46.188 (talk) 10:47, 30 March 2021 (UTC)

title: Talk:Common firecrest


text:
The Maxx

The Maxx is an American comic book series created by Sam Kieth in 1993 and originally published monthly until 1998 by Image Comics for 35 issues, before being collected in trade paperback by DC Comics' Wildstorm imprint. The first appearance of the character was in Darker Image #1 by Image Comics in March 1993. The comic book, starring an eponymous purple-skinned hero, spawned a 13-episode animated series on MTV that originally aired April–June 1995. Starting in November 2013 and ending in September 2016, the original series has been republished by IDW as The Maxx: Maxximized with new colors and improved scans of the original artwork by Sam Kieth and Jim Sinclair. In 2018, the Maxx featured in a five-issue crossover series with Batman, published by IDW.

The series follows the adventures of the titular hero in two worlds: The real world and an alternate reality referred to as the Outback (presumably named metaphorically after the real Australian outback). In the real world, Maxx is a vagrant, a "homeless man living in a box", while in the Outback, he is the powerful protector of the Jungle-Queen, who exists in the real world as Julie Winters, a freelance social worker who often bails Maxx out of jail. While Maxx is aware of the Outback, Julie is not, though it is integral to both of their stories.

Main story arc
Mr. Gone, a serial rapist with a telepathic link to Julie, has extensive knowledge of and access to other people's Outbacks. He starts phoning Julie, but she thinks he is merely an obscene phone caller and ignores him. Eventually, the Maxx gets in Gone's way by "protecting" Julie. Gone tries to kill him with assistance from the Outback's main predators, the Isz. The Maxx fights him in both the Outback and the real world.

Eventually, Mr. Gone makes Julie see the truth about her past and reveals to her how the Maxx came to be. Gone first met Julie when she was a child as "Uncle Artie", a friend of her father; his tall tales about a visit to Australia helped shape Julie's Outback. As Julie begins healing herself and the Outback, the series starts following Sara, a depressed teenager whose mother sends her to Julie for counseling. Sara is often in conflict with her mother, who disciplines her so she will not grow up to be like her father - Mr. Gone.

Backstory
The backstories of several characters are revealed midway through the series. While in college, Julie picks up a hitch-hiker who beats and rapes her before leaving her to die. To cope, she hides in what is referred to as her "Outback" (a primeval landscape situated entirely in her subconscious, where she has control). In the Outback, she becomes "The Jungle Queen", an all-powerful goddess. She spends so much time dwelling in her Outback that the real world and the Outback gradually become unstable.

One night, she accidentally hits a homeless man with her car. Remembering what happened the last time she stopped to help someone, she covers the unconscious body with trash, but in doing so unintentionally creates a link between it and the Outback. After Julie leaves a lampshade in the trash, which had previously brushed the Outback, it expands over the man's body and becomes a mask that consumes and links him to Julie, transforming him into the Maxx.

Second storyline
After the conclusion of the first storyline, the action leaps forward from 1995 (the then-present) to the year 2005. Julie and Dave (the former Maxx) having vanished, the action focuses on Sara (as she now spells her name) and "Iago", a giant, murderous banana slug from her Outback. Iago has a list of people to kill, and it turns out that Julie and Sara are both on it. Sara is hounded by a homeless man named Norbert whom she soon realizes is her Maxx. Sara has constant confrontations with Mr. Gone, who is repentant of his past crimes. He is visited by three special agents intent on arresting him, but he turns them into insects. Later, after reading a diary he leaves for her that reveals his tragic origin story, Sara eventually feels sympathy for and a connection to her father. She also begins developing a strange power that she may be inheriting from Mr. Gone.

Julie and Dave return to the story after Julie is attacked by Iago and loses a few fingers. It turns out that Julie abandoned her son, Mark, to keep him safe from Iago. She tries to have Dave tell Mark that she's dead so he'll stop seeking her out, but Mark does not believe him. Sara, Dave, Mark, Mr. Gone and Norbert band together to rescue Julie from Iago, who kidnaps and takes her into Sara's outback. Norbert cuts Iago open, apparently defeating him, but Julie has already escaped.

Mr. Gone soon reveals that time is unraveling for the group, which now includes Glorie, one of Mr. Gone's past victims who now has a friendly relationship with him. Gone returns Dave's Maxx power to him. Sara returns as a being whom different people perceive as a giant Isz, pink fairy, or football. Mark has an odd dream about eccentric kidnappers. Each member of the group begins to disappear from reality to be reborn in another. Before Mr. Gone can disappear, the three agents who previously tried to arrest him, now appearing as humanoid beings with insect bug heads, return and kill him, as he expected. Mark is the last to disappear.

In Julie's outback, Mr. Gone is reunited with Sara, who is now a child again. The Maxx considers attacking him, but the Jungle Queen says to leave him be, because even evil deserves a place to rest.

In the new reality, Mr. Gone is a professor and Dave is a janitor at his school. Julie and Mark are still mother and son, but seem to live in better conditions. All the principal characters now lead completely distinct lives, yet retain a small part of their connection to the Outback and to each other.

Spirit animals
One of the dominant concepts of The Maxx is that every human being has a spirit animal, which is linked to the person during a pivotal moment in their life. Julie's spirit animal is a rabbit. When she was very young, Julie rescued a dying rabbit that lay in the road in front of her house (as seen in The Maxx #12). Julie later witnessed her mother bludgeoning the rabbit to death with a shovel to put it out of its misery. This traumatic event linked the rabbit to Julie's subconscious. Julie projects the rabbit onto Dave as she tries to take care of him like the rabbit she was unable to save. Maxx, who is linked to Julie and her spirit animal, worries that, if he removes his mask, he will find the head of a rabbit beneath it.

Sarah's spirit animal is a horse. In the latter half of the series, this spirit animal manifests itself as Norbert, a homeless man she takes pity on.

Isz
The main inhabitants of The Outback, the Isz are small, eyeless beings with egg-shaped bodies, arms and legs, about as large as housecats. The omnivorous white Isz of the Outback become cannibalistic black Isz when brought into the real world. They are stronger, faster, and have sharper teeth than white Isz. However, in one instance, a single White Isz was able to cross over into the real world unchanged when there was a small punctured hole in an alley wall that directly connected both realities. The Black Isz proceeded to torture their less aggressive kin after its initial mission had been completed, showing the completely opposite degrees of aggression the two types exhibit. The Black Isz can assume different appearances depending on the clothes they wear, and their intent. If an Isz is dressed as an elderly woman, it appears as such to anyone who does not know already that it is an Isz. In the latter part of the series, Sara's Isz appear as pink, flying, eyeless fairies that explode if not kept in water.

Collected editions
The original comic series was collected into five trade paperbacks:

The spin-off series Friends of Maxx #1–3 (April 1996–March 1997) was collected as:
 * The Maxx Book 1: Issues #1–6, ISBN 1-4012-0124-5 (September 2003)
 * The Maxx Book 2: Issues #7–13, Darker Image #1 ISBN 1-4012-0280-2
 * The Maxx Book 3: Issues #14–20 ISBN 1-4012-0298-5
 * The Maxx Book 4: Issues #21–27 ISBN 1-4012-0613-1
 * The Maxx Book 5: Issues #28–35 ISBN 1-4012-0621-2
 * The Maxx Book 6 ISBN 1-4012-0946-7 (February 2006)

The IDW reissues of the comics have also been collected into hardcover collections:

IDW collected the reissues into trade paperbacks:
 * The Maxx Maxximized Volume 1: Issues #1–4, ISBN 978-1613779590 (July 2014)
 * The Maxx Maxximized Volume 2: Issues #5–8, ISBN 978-1631401046
 * The Maxx Maxximized Volume 3: Issues #9–12, ISBN 978-1631402029
 * The Maxx Maxximized Volume 4: Issues #13–18, ISBN 978-1631403231
 * The Maxx Maxximized Volume 5: Issues #19–24, ISBN 978-1631405136
 * The Maxx Maxximized Volume 6: Issues #25–30, ISBN 1631406612
 * The Maxx Maxximized Volume 7: Issues #31–35, ISBN 1631408003 (December 2016)

 * The Maxx: Maxxed Out Volume 1: Issues #1–12, 978-1-63140-555-6 (March 2016)
 * The Maxx: Maxxed Out Volume 2: Issues #13–24, 978-1-63140-705-5
 * The Maxx: Maxxed Out Volume 3: Issues #25–35, 978-1-63140-880-9 (May 2017)

Other issues
A earlier version of Maxx, still called Max the Hare, made his first appearance in Comico Primer #5 (1983). Other Maxx issues include his modern version comic book debut, in an 8-page spread in the first and only issue of Darker Image (March 1993), an incomplete anthology series from Image Comics, as well as The Maxx #½ (June 1993) and a Gen13/The Maxx crossover (December 1995). Recently, IDW published another crossover series of five issues, Batman/The Maxx (October 2018–February 2019).

 * Batman/The Maxx: The Lost Year Compendium: Issues #1–3 (Kindle Edition) (September 2020)
 * Batman/The Maxx: Arkham Dreams: Issues #1–5, ISBN 978-1684054329 (2021)

Cameos
The Maxx has made cameo appearances in the graphic novel Popbot Book 2 (which Kieth co-wrote), issue #1 of the independent comic Armature, the Sonic the Hedgehog comic Sonic Super Special #7 Sonic/Image Crossover, the three issue limited series Altered Image,  Bloodwulf #2, The Savage Dragon #28 (collected in Savage Dragon Vol. 7: A Talk With God), and Troll Halloween Special #1. He also briefly appears in the series Mars Attacks Image. He appears on a TV screen on the Frostbite version of the cover to DV8 #1. Maxx stories have also appeared in Gay Comics #24 and IDW Publishing's Hero Comics 2014. In 2018, Maxx made a long-awaited comeback with Batman in the Arkham Dreams series.

Television series
The comic book series was adapted into an animated series as part of the MTV program Oddities. The show covered Darker Image #1, The Maxx #1/2, and issues #1–11 of the regular series and depicted the introduction of Julie, the original Maxx, Mr. Gone, and, later on in the series, Sarah. Therefore, the TV show did not go into the same depth (e.g. revealing the origins of all the characters) as the comic series.

The animation frequently changes style: in one scene, characters may be rendered in detail, but in the next, they may be simplified cartoons. Often, this is done to show a change in perspective. CGI and even live-action film are sometimes integrated or interspersed with the hand-drawn animation. Critics such as Richard Matthes have noted how much of the animation is based directly on panels from the comic.

Home media
In 1996, the complete series was released on VHS with a runtime of approximately 2 hours. In 2009, it became available to stream on MTV.com, though only to U.S. audiences. On December 17, 2009, The Maxx became available on DVD exclusively through Amazon's CreateSpace "Manufacture-on-Demand" program; it contains every episode of the TV show and also includes audio commentary on each episode, plus interviews with creator Sam Kieth and director Gregg Vanzo.

Voice actors

 * Michael Haley as The Maxx
 * Glynnis Talken as Julie Winters and Glorie
 * Amy Danles as Sarah
 * Barry Stigler as Mr. Gone

Role-playing game
An adventure for the Heroes & Heroines role-playing game was released using The Maxx characters and setting.

Soundtrack
An audio drama comic adaptation, MAXXimum Sound: A Comic Book Soundtrack, was made from the first three issues of the comic book and released on audio cassette in 1993. It was created by Stephen Romano and managed by Smiles Lewis.

Video game
In 2008, Chris Vick made an Atari Jaguar (1993 console) video game demo based on the Maxx for the JagCode II contest. Being the winner of the contest, it is available on the JagCode II website.

Film
On November 22, 2019, Channing Tatum and Roy Lee announced their intent to produce a film based on The Maxx. In January 2024, Tatum confirmed on his Instagram that production on the film was moving forward.

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

title: The Maxx


text:
Music of the Faroe Islands

Faroese music is primarily vocal, accompanied by the fiddle (which arrived in the 17th century) and European dances like the minuet and polka. During the twentieth century choirs have played an important role in the musical history of the Faroes, and some of the best known current choirs are Tarira, Havnarkórið, Tórshavnar Manskór, Ljómur, Fuglafjarðar Gentukór, and the choirs situated in Copenhagen: Húsakórið and Mpiri.

History
Much of the imported music and instruments remained popular only in the capital and largest city, Tórshavn. Rural peoples remained true to traditions of chain dance and ballads. The three types of dance ballads are kvæði, tættir and vísur. Many of these dance forms were revived after World War 2, when a number of dance societies were formed. The ballads were largely compiled in Corpus Carminum Færoensium, which collected over 44,000 stanzas.

Other songs include skjaldur, fantastic fairy tales sung by adults for children, and pitch-sliding, microtonal hymns called kingosálmar. In her magnum opus about Faroese folk singing, Marianne Clausen comprehensively described the various genres, and presented about 3,300 music transcriptions of folk singing melodies.

Modern musicians
Modern Faroese musicians who have fused native traditions with music from Scotland, Bulgaria and the Sami people of northern Scandinavia:

 * Kristian Blak
 * Enekk
 * Gunnar
 * Annika Hoydal
 * Lennart Kullgren

Other well known Faroese musicians include:

 * Reiley
 * Eivør Pálsdóttir
 * Teitur Lassen
 * Lena Anderssen
 * Høgni Lisberg
 * Høgni Reistrup
 * Guðrið Hansdóttir
 * Greta Svabo Bech
 * Petur Pólson
 * Terji Rasmussen
 * Arnold Ludvig
 * Evi Tausen
 * Hallur Joensen
 * Hanus G. Johansen
 * Elin Brimheim Heinesen
 * Heine Lützen
 * Ólavur Jakobsen
 * Kári av Reyni
 * Kári P.
 * Alex Bærendsen
 * Regin Dahl
 * Davur Juul Magnussen
 * Simon Von Konoy
 * Ólavur Olsen
 * Eyðun Nolsøe
 * Guðrun Sólja Jacobsen
 * Kári Sverisson
 * Steintór Rasmussen
 * Anna Katrin Egilstrøð
 * Brandur Enni
 * Linda Andrews
 * Lyon Hansen
 * Jens Marni Hansen
 * Uni Arge
 * Leivur Thomsen

Modern bands
Well known Faroese bands include (in alphabetical order)

 * 200
 * Analog Norð
 * Arnold Ludvig Sextet
 * Boys in a Band
 * Byrta
 * Clickhaze
 * Danny & The Veetos
 * Deiggj
 * Devon
 * The Dreams
 * Eivør
 * Faroe Boys
 * Frændur
 * Gestir
 * the Ghost
 * Glóð
 * Goodiepal
 * Hamferð
 * Hamradun
 * Heidrik
 * Heljareyga
 * Hjarnar
 * Høgni Reistrup
 * Kiasmos
 * Lama Sea
 * Lena
 * maður:glotti
 * Makrel
 * Marius
 * Moirae (band)
 * Mold
 * MonkeyRat
 * MC-Hár
 * Nalja
 * Oniontree
 * ORKA
 * Páll Finnur Páll
 * Present Past
 * Punjab (band)
 * Sic
 * Safir
 * The Story Ends
 * Swangah
 * Synarchy
 * Teitur
 * Týr
 * Valravn
 * Yggdrasil

Modern classical composers
There are also some quite famous Faroese classical composers. Sunleif Rasmussen is until now the only Faroese ever to have written a symphony. Other composers are Kristian Blak, Edvard N. Debess, Janus Rasmussen, Tróndur Bogason, Kári Bæk, Palli Hansen, Knút Olsen and Pauli í Sandágerði.

Classical ensemble Aldubáran has commissioned and performed a vast amount of music from Faroese composers and performed it domestically and abroad.

Gestir
Gestir are signed to Tutl Records in the Faroe Islands. They were formed in 2002, and have been playing rock festivals in the Faroe Islands, Denmark and other countries. Their long-awaited debut album Burtur frá Toftunum was released in the Faroe Islands in July 2006. In the summer of 2006 Gestir played the "Atlantic Music Event" at NASA (Reykjavik, Iceland), the G! Festival (Gota, Faroe Islands) and Nord-Atlantiske Brygge (Copenhagen, Denmark). On September 30, 2006 Gestir performed a special concert at the Nordic House, Torshavn, Faroe Islands, in celebration of their album release. In December 2006 Gestir were invited to play at faroese singer/songwriter Teitur´s special Christmas show at Store Vega, Copenhagen. Gestir's most significant concerts in the summer of 2005 were the G! Festival and at Lille Vega, Copenhagen. Gestir won the bi-annual Faroese music contest Prix Føroyar in 2003.

The members of Gestir are Ólavur Jákupsson (vocals, electric & acoustic guitars, synthesizers, piano), Torfinnur Jákupsson (electric & acoustic guitars, piano, lyrics), Jógvan Andreas á Brúnni (drums), Niels Jákup i Jógvanstovu (bass) and Knút Háberg Eysturstein (synthesizers, hammond, piano, rhodes).

Aldubáran
The chamber ensemble Aldubáran is the only professional ensemble of its kind in the Faroe Islands. Formed in 1995, it has had a huge impact on the modern classical scene in the Faroe Islands. The purpose of Aldubáran was to perform classical music and to commission Faroese music from composers and to perform this domestically and abroad. Since its formation, the ensemble has become a household name. Especially the collaboration with folk-singer Hanus G. Johansen and their release in 2000 of album Bouquet on the label Tutl, had a broad impact, and still is a big seller. Since then Aldubáran has released four albums on Tutl. Aldubáran was in 2004 nominated for the Nordic Council Music Prize. Aldubáran has toured extensively and in autumn 2006, Aldubáran produced and played the first ever Faroese opera The Madmans' Garden by composer Sunleif Rasmussen. The members of Aldubáran are: Andrea Heindriksdóttir (flute), Anna Klett (clarinet), Páll Sólstein (horn), Joost Bosdijk (bassoon), Sámal Petersen, Øssur Bæk, Jón Festirstein (violins), Angelika Hansen (viola), Andreas T Restorff (cello), Ólavur Olsen (trumpet), Johan Hentze (trumpet), Kristina Thede Johansen (saxophone), Ólavur Jakobsen (guitar), Jóhannes Andreasen (piano), and Bernharður Wilkinson (conductor).

Týr
A folk metal band with progressive elements, whose members hail from the Faroes. The band is known for performing traditional Faroese material both live and on recordings. They compose songs in both Faroese and English, often with Viking or Pagan subject matter.

The group has released seven albums since their founding in 1998 and they perform worldwide.

Record labels
Tutl Records is the major record label of the Faroe Islands

Music festivals in the Faroe Islands

 * G! Festival
 * Tórshavn Jazz Festival
 * Summarfestivalurin

title: Music of the Faroe Islands


text:
Regular cardinal

In set theory, a regular cardinal is a cardinal number that is equal to its own cofinality. More explicitly, this means that $$\kappa$$ is a regular cardinal if and only if every unbounded subset $$C \subseteq \kappa$$ has cardinality $$\kappa$$. Infinite well-ordered cardinals that are not regular are called singular cardinals. Finite cardinal numbers are typically not called regular or singular.

In the presence of the axiom of choice, any cardinal number can be well-ordered, and then the following are equivalent for a cardinal $$\kappa$$: Crudely speaking, this means that a regular cardinal is one that cannot be broken down into a small number of smaller parts.
 * 1) $$\kappa$$ is a regular cardinal.
 * 2) If $$\kappa = \sum_{i \in I} \lambda_i$$ and $$\lambda_i < \kappa$$ for all $$i$$, then $$|I| \ge \kappa$$.
 * 3) If $$S = \bigcup_{i \in I} S_i$$, and if $$|I| < \kappa$$ and $$|S_i| < \kappa$$ for all $$i$$, then $$|S| < \kappa$$.
 * 4) The category $$\operatorname{Set}_{<\kappa}$$ of sets of cardinality less than $$\kappa$$ and all functions between them is closed under colimits of cardinality less than $$\kappa$$.
 * 5) $$\kappa$$ is a regular ordinal (see below)

The situation is slightly more complicated in contexts where the axiom of choice might fail, as in that case not all cardinals are necessarily the cardinalities of well-ordered sets. In that case, the above equivalence holds for well-orderable cardinals only.

An infinite ordinal $$\alpha$$ is a regular ordinal if it is a limit ordinal that is not the limit of a set of smaller ordinals that as a set has order type less than $$\alpha$$. A regular ordinal is always an initial ordinal, though some initial ordinals are not regular, e.g., $$\omega_\omega$$ (see the example below).

Examples
The ordinals less than $$\omega$$ are finite. A finite sequence of finite ordinals always has a finite maximum, so $$\omega$$ cannot be the limit of any sequence of type less than $$\omega$$ whose elements are ordinals less than $$\omega$$, and is therefore a regular ordinal. $$\aleph_0$$ (aleph-null) is a regular cardinal because its initial ordinal, $$\omega$$, is regular. It can also be seen directly to be regular, as the cardinal sum of a finite number of finite cardinal numbers is itself finite.

$$\omega+1$$ is the next ordinal number greater than $$\omega$$. It is singular, since it is not a limit ordinal. $$\omega+\omega$$ is the next limit ordinal after $$\omega$$. It can be written as the limit of the sequence $$\omega$$, $$\omega+1$$, $$\omega+2$$, $$\omega+3$$, and so on. This sequence has order type $$\omega$$, so $$\omega+\omega$$ is the limit of a sequence of type less than $$\omega+\omega$$ whose elements are ordinals less than $$\omega+\omega$$; therefore it is singular.

$$\aleph_1$$ is the next cardinal number greater than $$\aleph_0$$, so the cardinals less than $$\aleph_1$$ are countable (finite or denumerable). Assuming the axiom of choice, the union of a countable set of countable sets is itself countable. So $$\aleph_1$$ cannot be written as the sum of a countable set of countable cardinal numbers, and is regular.

$$\aleph_\omega$$ is the next cardinal number after the sequence $$\aleph_0$$, $$\aleph_1$$, $$\aleph_2$$, $$\aleph_3$$, and so on. Its initial ordinal $$\omega_\omega$$ is the limit of the sequence $$\omega$$, $$\omega_1$$, $$\omega_2$$, $$\omega_3$$, and so on, which has order type $$\omega$$, so $$\omega_\omega$$ is singular, and so is $$\aleph_\omega$$. Assuming the axiom of choice, $$\aleph_\omega$$ is the first infinite cardinal that is singular (the first infinite ordinal that is singular is $$\omega+1$$, and the first infinite limit ordinal that is singular is $$\omega+\omega$$). Proving the existence of singular cardinals requires the axiom of replacement, and in fact the inability to prove the existence of $$\aleph_\omega$$ in Zermelo set theory is what led Fraenkel to postulate this axiom.

Uncountable (weak) limit cardinals that are also regular are known as (weakly) inaccessible cardinals. They cannot be proved to exist within ZFC, though their existence is not known to be inconsistent with ZFC. Their existence is sometimes taken as an additional axiom. Inaccessible cardinals are necessarily fixed points of the aleph function, though not all fixed points are regular. For instance, the first fixed point is the limit of the $$\omega$$-sequence $$\aleph_0, \aleph_{\aleph_0}, \aleph_{\aleph_{\aleph_0}}, ...$$ and is therefore singular.

Properties
If the axiom of choice holds, then every successor cardinal is regular. Thus the regularity or singularity of most aleph numbers can be checked depending on whether the cardinal is a successor cardinal or a limit cardinal. Some cardinalities cannot be proven to be equal to any particular aleph, for instance the cardinality of the continuum, whose value in ZFC may be any uncountable cardinal of uncountable cofinality (see Easton's theorem). The continuum hypothesis postulates that the cardinality of the continuum is equal to $$\aleph_1$$, which is regular assuming choice.

Without the axiom of choice, there would be cardinal numbers that were not well-orderable. Moreover, the cardinal sum of an arbitrary collection could not be defined. Therefore, only the aleph numbers can meaningfully be called regular or singular cardinals. Furthermore, a successor aleph need not be regular. For instance, the union of a countable set of countable sets need not be countable. It is consistent with ZF that $$\omega_1$$ be the limit of a countable sequence of countable ordinals as well as the set of real numbers be a countable union of countable sets. Furthermore, it is consistent with ZF that every aleph bigger than $$\aleph_0$$ is singular (a result proved by Moti Gitik).

If $$\kappa$$ is a limit ordinal, $$\kappa$$ is regular iff the set of $$\alpha<\kappa$$ that are critical points of $$\Sigma_1$$-elementary embeddings $$j$$ with $$j(\alpha)=\kappa$$ is club in $$\kappa$$.

For cardinals $$\kappa<\theta$$, say that an elementary embedding $$j:M\to H(\theta)$$ a small embedding if $$M$$ is transitive and $$j(\textrm{crit}(j))=\kappa$$. A cardinal $$\kappa$$ is uncountable and regular iff there is an $$\alpha>\kappa$$ such that for every $$\theta>\alpha$$, there is a small embedding $$j:M\to H(\theta)$$. Corollary 2.2

title: Regular cardinal


text:
Fall-front desk

The fall-front desk is a desk with a main working surface that folds up to cover small shelves or drawers stacked in front of the user. As with its cousin the secretary desk, all working papers, documents and other items have to be stored before the desk is closed.

Unlike the secretary desk, the fall-front desk's desktop panel is perfectly vertical when in its closed position. Often, there are no additional shelves or drawers above the section that is enclosed by the desktop. Thus, the fall-front desk is identical in shape to a Bargueño desk, which would have been placed on a stand of drawers, or more precisely to the form known as desk on a chest or as "chest-on chest".

The fall-front desk is also called a drop-front desk, and sometimes also a drop-lid desk. Scrutoire and scriptoire are ancient variations. The "secrétaire à abattant" is a nearly identical form, but usually in a French style such as Louis XV, Art Deco, etc. In the early 19th century, Shaker communities produced a tall and plain variation that is often known as a "cupboard desk".

title: Fall-front desk


text:
User talk:Humors

Greetings
Welcome Humors,

You have done a good job so far in Wikipedia (WP). We're very glad that you've joined us. I can see that you're a serious Wikipedian interested in improving our project. If you stay for a while, you'll discovered that collectively, we're a cooperative and friendly community. We are all here to learn, and hopefully can give something back. If you have questions or doubts of any sort, do not hesitate to post them on the Village Pump, somebody will respond ASAP. Other helpful pages include:
 * How does one edit a page
 * Manual of style
 * Naming conventions

Just keep in mind that while relevant discussions and constructive criticisms and are welcome, unproductive and/or destructive insults are not (see Wikiquette & Neutral point of view). If you come into a conflict regarding to an article, sometimes you (and the other party) will need to compromise even if you believe you are 100% right. The Wiki-Way isn't all that alien!

Who knows? Perhaps you'll soon become a Wikipediholic! :-) --Menchi 05:32, 21 Nov 2003 (UTC) p.s. Simply type four tildes ( ~ ), then you can sign you name and date like I just did with mine. And please always do so after your post in Talk/discussion pages and Village Pump.

(c) information
Hello Humors,

Is Image:Symbol crest.png public domain or licensed under GNU FDL?

--zeno 01:01, 5 Aug 2004 (UTC)

title: User talk:Humors


text:
Check Your Head

Check Your Head is the third studio album by the American hip hop group Beastie Boys, released on April 21, 1992, by Grand Royal and Capitol Records. Three years elapsed between the releases of the band's previous studio album Paul's Boutique (1989) and Check Your Head, which was recorded at the G-Son Studios in Atwater Village in 1991 under the guidance of producer Mario Caldato Jr., the group's third producer in as many albums. Less sample-heavy than their previous records, the album features instrumental contributions from all three members: Adam Horovitz on guitar, Adam Yauch on bass guitar, and Mike Diamond on drums.

The album was re-released in a number of formats in 2009, with 16 B-sides and rarities, as well as a commentary track, included as bonus material. It is one of the albums profiled in the 2007 book Check the Technique, which includes a track-by-track breakdown by Diamond, Yauch, Horovitz, Caldato, and frequent Beasties collaborator Money Mark.

Background
Check Your Head was the first Beastie Boys album to be fully co-produced by Mario Caldato Jr., who had been an engineer on Paul's Boutique and was credited as producer on that album's track "Ask for Janice". It also marked the first appearance on one of their albums of keyboardist Money Mark, who became a regular collaborator of the band.

The album was somewhat of a return by the Beastie Boys to their punk roots. It featured the trio playing their own instruments on the majority of the album, for the first time on record since their early EPs, due to the commercial failure of Paul's Boutique. This inspired photographer Glen E. Friedman to shoot photos of the Beasties with their instrument cases, one of which was used as the cover of the album. Supposedly, a trading card for Norman Schwarzkopf, Jr. from a set of Desert Storm trading cards was the inspiration for the album's title.

The Beastie Boys toured with the Rollins Band and Cypress Hill in early 1992 to support Check Your Head.

Critical reception
In The New York Times, James Bernard wrote that the "frenzied hybrid" of musical styles on Check Your Head "is tough to follow but well worth the effort", concluding that the album "demonstrates that the Beastie Boys will risk commercial failure to do what they please." Adam Higginbotham gave it a four-out-of-five rating in Select and called it an "excellent" record that he nonetheless felt would sell poorly due to its "hopelessly eccentric" nature. Chicago Tribune critic Greg Kot awarded it three out of four stars and credited the Beastie Boys for "showing surprising resiliency and versatility", while Steven Blush of Spin praised the album's "thick, deep, textured, and varied" songs and emphasis on groove. Writing for Rolling Stone, Kevin Powell deemed it the group's "most unconventional outing to date" and found its eclecticism "confusing at times" but distinctive, giving the album three-and-a-half stars out of five. At the end of 1992, Check Your Head was named the year's fourth-best album by Spin, and it placed fifth in The Village Voice's Pazz & Jop critics' poll.

Stephen Dalton was less impressed in NME, rating Check Your Head six out of ten and finding that the Beastie Boys had regressed as lyricists, "mimicking the music's laid back laziness and trading much of their trademark humour for seemingly improvised shouting matches." In Entertainment Weekly, David Browne gave it a "D" grade and panned it as "sophomoric" and sounding "as if it were recorded underwater." Robert Christgau deemed the album a "great concept" executed only "halfway there at best" in a year-end essay for The Village Voice, later assigning it a "neither" rating.

In a retrospective review, AllMusic editor Stephen Thomas Erlewine said that on Check Your Heard, the Beastie Boys "repositioned themselves as a lo-fi, alt-rock groove band" who "had not abandoned rap, but it was no longer the foundation of their music, it was simply the most prominent in a thick pop-culture gumbo". He cited the album's "earth-bound D.I.Y." approach as "a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them." The A.V. Club's Nathan Rabin called it "a dorm-room staple and cultural touchstone" that "was just as radical a reinvention" as Paul's Boutique and marked the group's "strangely organic evolution into adventurous sonic astronauts".

In 1995, Alternative Press placed Check Your Head at number 23 on its list of the top 99 albums released from 1985 to 1995. Four years later, Spin listed Check Your Head as the twelfth-best album of the 1990s. In 2022, Pitchfork ranked it as the 67th-best album of the 1990s, praising the album's funk-inspired instrumentals. It was ranked at number 261 in the 2020 edition of Rolling Stone's "500 Greatest Albums of All Time" list.

Track listing
All tracks written by Beastie Boys (Adam Yauch, Michael Diamond, Adam Horovitz) and "Money" Mark Nishita, except where noted.

Personnel

 * Beastie Boys
 * Ad-Rock – vocals, guitar
 * MCA – vocals, bass
 * Mike D – vocals, drums

 * Additional personnel
 * Money Mark – organ, synthesizer, keyboards, clavinet, Wurlitzer
 * James Bradley, Jr. (Tracks 2, 4, 10, 13, 16, 20) – percussion
 * Juanito Vazquez (Tracks 5, 15) – percussion (cuica, conga)
 * Art Oliva (Tracks 5, 19) – percussion (batá, shakeree)
 * Drew Lawrence (Track 6) – percussion (tamboura, mridungan)
 * Biz Markie – vocals on "The Biz Vs. The Nuge"
 * Alexandra "Xan" Cassavetes (credited as "Nax Setevassac") – background vocals on "The Maestro"

 * Technical personnel
 * Beastie Boys – producer
 * Mario Caldato, Jr. – producer, engineer
 * Tom Baker – mastering
 * Glen E. Friedman – photography

title: Check Your Head


text:
International Tchaikovsky Competition

The International Tchaikovsky Competition is a classical music competition held every four years in Moscow and Saint Petersburg, Russia, for pianists, violinists, and cellists between 16 and 32 years of age and singers between 19 and 32 years of age. The competition is named after Russian composer Pyotr Ilyich Tchaikovsky.

The International Tchaikovsky Competition was the first international music competition held in the Soviet Union, beginning in 1958. For the XIV competition in 2011, Valery Gergiev was appointed the competition's chairman, and Richard Rodzinski, former president of the Van Cliburn Foundation, was appointed general director. A new voting system was instituted, created by mathematician John MacBain, and used by the International Violin Competition of Indianapolis, the Van Cliburn International Piano Competition, and the Cleveland International Piano Competition. All rules and regulations also underwent a complete revision. Emphasis was placed on the composition of the jury, which consisted primarily of well-known and respected performing artists.

The XIV International Tchaikovsky Competition was held in Moscow and St. Petersburg, Russia, from 14 June to 1 July 2011, under the auspices of the Russian federal government and its Ministry of Culture. The competition disciplines were piano, violin, cello, and voice (male singers and female singers). The XV competition took place in June 2015. The XVI competition took place 17–29 June 2019, in Moscow and St. Petersburg; woodwind and brass competition disciplines were added.

Prizes
Cash prizes are awarded to the top-five competitors in each discipline of piano, violin, cello, and to each of the top four competitors in the men's and women's solo vocal categories. First prize (not always awarded) is US$30,000; second, US$20,000; third, US$10,000; fourth, US$5,000; and fifth, US$3,000. An additional prize, a Grand Prix of US$100,000, may be awarded to one of the gold medalists deemed outstanding by the juries. Additional awards are given for best performance of the chamber concertos and the commissioned new work.

For the 2019 competition, the prizes are as follows:

History
Held every four years, the first competition, in 1958, included two disciplines: piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition: a contest for violin makers, which traditionally comes before the main competition. In 2019, two new categories were added to the competition, woodwinds and brass.

Tianxu An incident
On 25 June 2019, at the final round of the piano category, Chinese competitor Tianxu An was supposed to play Tchaikovsky's Piano Concerto No. 1 followed by Rachmaninoff's Rhapsody on a Theme of Paganini. However, the scores on the orchestra's and conductor's stands were placed in reversed order and the Rachmaninoff piece was announced first, different from what the pianist requested. Since An didn't understand Russian, he was unaware of the situation. With the piano entry in the Rachmaninoff almost immediate, the performance "began with a failure". Following the incident, jury chair Denis Matsuev invited him to perform the program again, but An declined. The competition made an official apology and the orchestra administration suspended the responsible staff after the event. An was eventually awarded a "special prize" for his confidence and courage.

World Federation of International Music Competitions
In 1971, the International Tchaikovsky Competition joined the World Federation of International Music Competitions (WFIMC), which had been founded in 1957. On 19 April 2022, in line with widespread sanctions in response to the Russian invasion of Ukraine, the WFIMC decided with an overwhelming majority of member votes to exclude the International Tchaikovsky Competition from its membership with immediate effect.

Prize winners
Winners of the prizes and medals awarded in the given year and category.

title: International Tchaikovsky Competition


text:
Talk:Doodles Weaver

Beetle Bomb
I always thought that was the name of the horse in the famous sketch. Some internet browsing confirms that, but we need a primary source. Though whoever put in ‘Feitlebaum’ did not.

The first name makes more sense, as ‘beetle’ was old, Damon Runyon type slang for a slow horse, and ‘bomb’ meant generally terrible. 2600:1010:B008:C755:E04F:EA0F:6308:5439 (talk) 16:35, 7 October 2018 (UTC)

This from the Spike Jones article:

Rossini's William Tell Overture was rendered on kitchen implements using a horse race as a backdrop, with one of the "horses" in the "race" likely to have inspired the nickname of the lone chrome yellow-painted SNJ aircraft flown by the U.S. Navy's Blue Angels aerobatic team's shows in the late 1940s, "Beetle Bomb". 12.201.7.2 (talk) 02:39, 8 October 2018 (UTC)

A Day with Doodles
Hmmmm.....I wasn't aware that Doodles is Sigourney's uncle. But there's no mention of those weird TV skits that I used to see in between late afternoon Little Rascals episodes and Popeye cartoons. Does anybody know what I'm talking about? Do you remember how funny these stupid skits were?

Sincerely, DJCOJO@aol.com User:152.163.252.70 05:44, 21 November 2003 (UTC)

Fat hair

 * Beefart says: I think the first quotation offered may be a misquote. I have never heard of it. I have heard another version, which goes something like this: "Doodles, your hair is getting thin". "Well, who wants fat hair"? Captainbeefart 11:16, 21 July 2006 (UTC)

 * On the standard recording of Spike Jones' William Tell Overture, as they come down the stretch, Doodles is yelling "they're tearing hair out... there's hair all over the place... I don't know whose hair it is... (gasp)... it's mine! ... and there goes the winner... FEITLEBAUM!" Maybe the the joke about "fat hair" was in some alternate recordings, like from the radio show or whatever. Wahkeenah 11:26, 21 July 2006 (UTC)

 * Beefart deems the following uncited quote to be spurious: "The race is so exciting I'm tearing out my hair! My hair is getting thin! Well, who wants fat hair?". There is no evidence that Weaver ever said that verbatim, although he did say something similar. Beefart believes that the erroneous quote appeared in the article as the result of a confusion between two real quotes. The correct verbatim quote, with citation, has been added.

Date of Death
Sources disagree about the date of his death.

12 January –

13 January –, and many others

15 January –

17 January –, , and many others.

The main contenders seem to be 13 January and 17 January, roughly half-and-half on Google. Does anyone have the facts? -- JackofOz (talk) 23:44, 20 January 2008 (UTC)

Fair use rationale for Image:Weaver101.jpg
Image:Weaver101.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 03:24, 12 February 2008 (UTC)

External links modified
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Fake middle names
I have some doubts about whether "Glendenning" and "Dixon" ever formed part of Doodles' name. His New York Times obituary and several reference works give his full name as Winstead Sheffield Weaver, and this was also the name Wikipedia used until added the two extra names in 2012. Many online sources now use the extended name, but I've been unable to find any from before 2012, which suggests that they're all copying this same article. Until a reliable source can be adduced, I'm going to remove the names in question. Zacwill (talk) 12:04, 10 March 2023 (UTC)

Wynette Weaver
I have (for the second time) removed "Wynette Weaver" from the "Children" parameter in the infobox. Two factors apply here: Eddie Blick (talk) 00:26, 18 September 2023 (UTC)
 * That name is not in the text of the article. The infobox exists "... to summarize (and not supplant) key facts that appear in the article ..." MOS:INFOBOXPURPOSE
 * Even if her name were in the text of the article, it should not be be in the infobox because she is not notable. Template:Infobox person

 * What has "notable" have to do with it? Are anyone's parents necessarily "notable" and yet they are included in articles. I happen to personally KNOW Wynette Weaver, who was Doodle's first child. Please re-enter the information I provided. TY. 65.144.193.78 (talk) 14:39, 18 September 2023 (UTC)
 * Notability applies to being listed in the infobox. Please read the relevant entry in Template:Infobox person, which I linked in my first comment. "Notable" typically means that the person has his or her own article on Wikipedia.
 * You are correct that many people's parents are named in articles. The important thing there is not notability but a citation to a reliable, published source.
 * Your personal knowledge alone is not sufficient for including Wynette Weaver in the text of the article. Please see No original research. You need a citation to a reliable, published source to accompany her name if it is added to the article's text. Eddie Blick (talk) 00:29, 19 September 2023 (UTC)

title: Talk:Doodles Weaver


text:
Hansraj Morarji Public School

Hansraj Morarji Public School is a combined primary, junior and senior school in Mumbai, India. It was founded in 1939 by the Bai Kabibai and Hansraj Morarji Trust. The foundation stone was laid by Sardar Patel. The school was earlier an all-boys school but now admits girls.

Campus
The school campus of around 50 acres is located at the foot of Gilbert Hill. The campus has Rajhans Vidyalaya a CBSE affiliated senior secondary school, and Bai Kabibai Balvatika the feeder pre-primary school for Hansraj and Rajhans. The school has a cricket ground, basketball courts, football ground, tennis courts and gymnasium. It has a School Wellness Clinic called AYAKSHA for the school student's health and routine checkup. An audio-visual room for screening educational films is also present. The HMP School is a member of Indian Public School Conference (IPSC)

The school started a Junior college in July 2008. The college provides Science and Commerce based streams along with vocational course for Information Technology.

Affiliation
The school prepares students for Secondary Certificate Examinations (SSCs) held by the Mumbai Divisional Board of the Maharashtra State Board of Secondary and Higher Secondary Education. In addition to curriculum subjects, there are also clubs covering Maths, Drama. There is also The Green Brigade Club, which is the school's Environment Club and which won the "Green School Award" in 1996.

The lady founder of the school was anxious that traditional Indian values should be instilled in the students. She was also wary of the English language, viewing it as being the vehicle of westernization and loss of cultural values. Therefore, in the articles of association of the school, she made it compulsory to offer Gujarati as a medium of instruction. One section of every class, from first to tenth standards, was for the Gujarati medium and students were taught all subjects in that language. From the time of its founding until the early 2000s, this system prevailed. However, due to lack of demand (presumably), the Gujarati medium-of-instruction classes have now been discontinued and the school has become a completely English Medium School.

Notable alumni

 * A. M. Naik, industrialist, CEO of L&T Ltd. Also, his father was a teacher at HMPS.
 * Viren Shah of Mukund Ltd., industrialist and governor of West Bengal (1999-2004)
 * Dr. Ketan Desai, former president of Medical Council of India and World Medical Association
 * Amol Gupte, Bollywood screenwriter
 * Arvind Trivedi, stage and television actor
 * Upendra Trivedi, film and stage actor and director
 * Harish Bhimani, voice artist, writer
 * Rahul Vaidya, singer
 * Chandrakant Pandit, national-level cricketer and cricket coach
 * Shivam Dube, India cricketer

title: Hansraj Morarji Public School


text:
List of anthropomorphic comics

This is a list of comic books, comic strips, and webcomics that feature anthropomorphic animals.

Anthology series

 * Albedo Anthropomorphics (including Erma Felna: EDF)
 * Critters
 * Furrlough
 * Tales from the Aniverse

Comedy series

 * African Office Worker

Contemporary drama

 * Blacksad
 * Elephantmen
 * Exit, Stage Left!: The Snagglepuss Chronicles
 * Fish Police
 * Grandville
 * Inspector Canardo
 * Nordguard
 * Omaha the Cat Dancer

Fantasy adventure

 * Anima: Age of the Robots
 * Cerebus the Aardvark
 * Katmandu
 * Usagi Yojimbo

Superhero

 * Army Surplus Komikz, featuring Cutey Bunny
 * Atomic Mouse - Shanda Fantasy Arts revival
 * Bucky O'Hare
 * Buster the Amazing Bear
 * Fission Chicken
 * Super Dinosaur
 * Teenage Mutant Ninja Turtles

Manga

 * Beastars
 * Cat Shit One

Comic strips and webcomics

 * Anima: Age of the Robots
 * Arne Anka
 * Digger
 * Fritz the Cat
 * The Great Catsby
 * Inherit the Earth
 * Kevin and Kell
 * Lackadaisy
 * The Ongoing Adventures of Rocket Llama
 * Ozy and Millie
 * Pearls Before Swine
 * Rocky
 * T.H.E. Fox
 * XDragoon
 * ZooPhobia

title: List of anthropomorphic comics


text:
Piano roll

A piano roll is a music storage medium used to operate a player piano, piano player or reproducing piano. Piano rolls, like other music rolls, are continuous rolls of paper with holes punched into them. These perforations represent note control data. The roll moves over a reading system known as a tracker bar; the playing cycle for each musical note is triggered when a perforation crosses the bar.

Piano rolls have been in continuous production since at least 1896, and are still being manufactured today; QRS Music offers 45,000 titles with "new titles being added on a regular basis", although they are no longer mass-produced. MIDI files have generally supplanted piano rolls in storing and playing back performance data, accomplishing digitally and electronically what piano rolls do mechanically. MIDI editing software often features the ability to represent the music graphically as a piano roll.

The first paper rolls were used commercially by Welte & Sons in their orchestrions beginning in 1883.

A rollography is a listing of piano rolls, especially made by a single performer, analogous to a discography.

The Musical Museum in Brentford, London, England houses one of the world's largest collections of piano rolls, with over 20,000 rolls as well as an extensive collection of instruments which may be seen and heard.

Buffalo Convention

In the early years of player pianos, piano rolls were produced in varying dimensions and formats. Most rolls used one of three musical scales. The 65-note format, with a playing range of A1 to C♯7, was introduced in 1896 in the United States, specifically for piano music. In 1900, an American format playing all 88 notes of the standard piano scale (A0 to C8) was introduced. In 1902, a German 72-note scale (F1, G1 to E7) was introduced.

On December 10, 1908, a group representing most of the largest U.S. manufacturers of player pianos gathered in Buffalo, New York, to try to agree on some standards. The group settled on a width of 11+1/4 in and perforation standards for 65-note rolls of 6 holes to the inch, and for 88-note rolls of 9 holes to the inch. That left margins at both ends for future developments. Any pianos built to those standards could play rolls made to them, albeit sometimes with a loss of special functionality. The formats became a loose world standard.

Metronomic, hand played, and reproducing rolls
Metronomic or arranged rolls are rolls produced by positioning the music slots without real-time input from a performing musician. The music, when played back, is typically purely metronomical. Metronomically arranged music rolls are deliberately left metronomic so as to enable a player-pianist to create their own musical performance (such as varying the dynamics, tempo, and phrasing) via the hand controls that are a feature of all player pianos.

Hand played rolls are created by capturing in real time the hand-played performance of one or more pianists upon a piano connected to a recording machine. The production roll reproduced the real-time performance of the original recording when played back at a constant speed. (It became industry convention for recordings of music intended to be used for dancing to be regularized into strict tempo despite the original performance having the slight tempo fluctuations of all human performances, as due to the recording and production process, any fluctuations would be magnified/exaggerated in the finished production copy and result in an uneven rhythm.)

Reproducing rolls are the same as hand-played rolls but have additional control codes to operate the dynamic modifying systems specific to whichever brand of reproducing piano it is designed to be played back on, producing an approximation of the original recording pianist's dynamics. Reproducing pianos were beyond the reach of the average home in the original era of popularity of these instruments and were heavily marketed as reproducing the 'soul' of the performer – slogans such as "The Master's Fingers On Your Piano" or "Paderewski will play for you in your own house!" were common.

Compositions for pianola and reproducing piano
The player piano gives the opportunity to create music that is impossible for humans to play, or, more correctly, music that was not conceived in terms of performance by hand. Over one hundred composers wrote music specially for the player piano during the course of the 20th century. Many mainstream composers experimented with its possibilities, including Igor Stravinsky, Alfredo Casella, and Paul Hindemith; others, including Conlon Nancarrow, made it their primary milieu.

The Duo-Art, Ampico, and Welte-Mignon brands were known as "reproducing" piano rolls, as they could accurately reproduce the touch and dynamics of the artist as well as the notes struck, when played back on capable pianos.

Reproducing pianos
Rolls for the reproducing piano were generally made from the recorded performances of famous musicians. Typically, a pianist would sit at a specially designed recording piano, and the pitch and duration of any notes played would be either marked or perforated on a blank roll, together with the duration of the sustaining and soft pedal. In Australia Edith and Laurel Pardey were employed as "nine to five" pianola pianists. They were not famous when they started in the 1920s but they became well known for their playing.

Reproducing pianos can also re-create the dynamics of a pianist's performance by means of specially encoded control perforations placed towards the edges of a music roll. Different companies had different ways of notating dynamics, some technically advanced, some secret, and some dependent entirely on a recording producer's handwritten notes, but in all cases these dynamic hieroglyphics had to be skillfully converted into the specialized perforated codes needed by the different types of instrument.

Recorded rolls play at a specific, marked speed, where for example, 70 signifies 7 ft of paper travel in one minute, at the start of the roll. On all pneumatic player pianos, the paper is pulled on to a take-up spool, and as more paper winds on, so the effective diameter of the spool increases, and with it the paper speed. Player piano engineers were well aware of this, as can be seen from many patents of the time, but since reproducing piano recordings were generally made with a similar take-up spool drive, the tempo of the recorded performance is faithfully reproduced, despite the gradually increasing paper speed.

The playing of many pianists and composers is preserved on reproducing piano roll. Gustav Mahler, Camille Saint-Saëns, Edvard Grieg, Teresa Carreño, Claude Debussy, Manuel de Falla, Scott Joplin, Sergei Rachmaninoff, Sergei Prokofiev, Alexander Scriabin, Jelly Roll Morton and George Gershwin are amongst the composers and pianists who have had their performances recorded in this way.

Duo-Art featured artists such as Ignace Jan Paderewski, George Gershwin, Maurice Ravel, Teresa Carreño, Percy Grainger, Leopold Godowsky and Ferruccio Busoni. The Ampico brand's featured artists included Sergei Rachmaninoff, Ferde Grofé, Leo Ornstein, Mischa Levitzki, Winifred MacBride, and Marguerite Volavy. Welte-Mignon, the earliest reproducing system, recorded artists such as Gustav Mahler, Camille Saint-Saëns, Claude Debussy, Manuel de Falla, Alexander Scriabin, Enrique Granados, Eugen d'Albert, Josef Lhévinne, Raoul Pugno, and Carl Reinecke (who was the earliest-born pianist to record in any media format).

There were hundreds of companies worldwide producing rolls during the peak period of their popularity (1900–1927). Some other non-reproducing rolls makers of live performances are listed below together with their most memorable recording artistes.

 * Aeolian: Pauline Alpert, Edythe Baker, Felix Arndt, Jules de Sivrai, Constance Mering, Frank Milne, Rube Bloom, Eubie Blake, Les Copeland
 * QRS: James P Johnson, Fats Waller, Zez Confrey, Blind Boone, Lem Fowler, J. Lawrence Cook, Pete Wendling, Phil Ohman, Victor Arden, J. Russel Robinson
 * Connorized: Scott Joplin
 * Republic: Adrian Rollini
 * U.S. Music Roll Company: Lee Sims, Robert Billings
 * Imperial: Charley Straight, Roy Bargy
 * Vocalstyle: Jelly Roll Morton, Walter Davison, Clarence Jones, Luckey Roberts, Cow Cow Davenport, Amanda Randolph
 * Capitol/Columbia: Jimmy Blythe, Clarence Johnson, Pearl White, Eddie Hanson

Legal protectability against copying
White-Smith Music Publishing Company v. Apollo Company, 209 U.S. 1 (1908), was a decision by the Supreme Court of the United States which ruled that manufacturers of music rolls for player pianos did not have to pay royalties to the composers. The ruling was based on a holding that the piano rolls were not copies of the plaintiffs' copyrighted sheet music, but were instead parts of the machine that reproduced the music.

This case was subsequently eclipsed by Congress's intervention in the form of an amendment to the Copyright Act of 1909, protecting them and introducing a compulsory license for the manufacture and distribution of such "mechanical" embodiments of musical works.

In digital audio workstations
In most modern digital audio workstation software, the term "piano roll" is used to refer to a graphical display of, and means of editing, MIDI note data. Piano rolls allow the user to enter the pitch, length and velocity of notes manually, instead of recording the output of a keyboard or other device for entering note data. Usually a means of manually editing other aspects of the MIDI data, such as pitch bend or modulation, is also present, although not strictly part of the piano roll itself.

From the mid 1980s, music software started to include grid-based graphical editors inspired by piano rolls, with the two axes representing pitch and time, and the notes displayed as bars on the grid. MacroMind's MusicWorks (1984) utilized the Macintosh's high resolution WIMP graphical user interface to implement a piano roll-style editor with a keyboard aligned vertically on the left of a grid. Other early examples of piano roll-inspired editors include Southworth's Total Music (1986), Iconix (1987) by System Exclusive, which used a vertical scrolling piano roll with the keyboard aligned horizontally at the top of the editing window, and Master Tracks Pro (1987) by Passport Designs.

With the release of Cubase and its Key Edit window in 1989, the piano roll format introduced by MusicWorks was established as a standard MIDI editing feature in modern digital audio workstations.

title: Piano roll


text:
Herman Wouk

Herman Wouk (May 27, 1915 – May 17, 2019) was an American author who published fifteen novels, many being historical fiction such as The Caine Mutiny (1951) for which he won the Pulitzer Prize in fiction.

Other well-known works include The Winds of War and War and Remembrance (historical novels about World War II), the bildungsroman novel Marjorie Morningstar, and non-fiction such as This Is My God, an explanation of Judaism from a Modern Orthodox perspective, written for Jewish and non-Jewish audiences. His books have been translated into 27 languages.

The Washington Post called Wouk, who cherished his privacy, "the reclusive dean of American historical novelists". Historians, novelists, publishers, and critics who gathered at the Library of Congress in 1995 to mark Wouk's 80th birthday described him as an American Tolstoy. Wouk lived to 103.

Early life
Wouk was born in the Bronx, the second of three children born to Esther (née Levine) and Abraham Isaac Wouk, Russian Jewish immigrants from what is today Belarus. His father toiled for many years to raise the family out of poverty before opening a successful laundry service.

When Wouk was 13, his maternal grandfather, Mendel Leib Levine, came from Minsk to live with them and took charge of his grandson's Jewish education. Wouk was frustrated by the amount of time he was expected to study the Talmud, but his father told him, "if I were on my deathbed, and I had breath to say one more thing to you, I would say 'Study the Talmud.'" Eventually Wouk took this advice to heart. After a brief period as a young adult during which he lived a secular life, he returned to religious practice. Judaism would become integral to both his personal life and his career. He would later say that his grandfather and the United States Navy were the two most important influences on his life.

After his childhood and adolescence in the Bronx, he graduated from the original Townsend Harris High School in Manhattan, Townsend Harris Hall Prep School, which was the elite prep school for City College. He earned a Bachelor of Arts degree at the age of 19 from Columbia University in 1934, where he was a member of the Pi Lambda Phi fraternity. He also served as editor of the university's humor magazine, Jester, and wrote two of its annual Varsity Shows. Soon thereafter, he became a radio dramatist, working in David Freedman's "Joke Factory" and later with Fred Allen for five years and then, in 1941, for the United States government, writing radio spots to sell war bonds.

Military career
Following the attack on Pearl Harbor, Wouk joined the U.S. Naval Reserve in 1942 and served in the Pacific Theater during World War II, an experience he later characterized as educational: "I learned about machinery, I learned how men behaved under pressure, and I learned about Americans." Wouk served as an officer aboard two destroyer minesweepers (DMS), the USS Zane and USS Southard, becoming executive officer of the latter while holding the rank of lieutenant. He participated in around six invasions and won a number of battle stars. Wouk was in the New Georgia Campaign, the Gilbert and Marshall Islands campaign, the Mariana and Palau Islands campaign, and the Battle of Okinawa. During off-duty hours aboard ship he started writing a novel, Aurora Dawn, which he originally titled Aurora Dawn; or, The True history of Andrew Reale, containing a faithful account of the Great Riot, together with the complete texts of Michael Wilde's oration and Father Stanfield's sermon. Wouk sent a copy of the opening chapters to philosophy professor Irwin Edman, under whom he studied at Columbia, who quoted a few pages verbatim to a New York editor. The result was a publisher's contract sent to Wouk's ship, then off the coast of Okinawa. Aurora Dawn was published in 1947 and became a Book of the Month Club main selection. Wouk finished his tour of duty in 1946.

Writing career
His second novel, City Boy, proved to be a commercial disappointment at the time of its initial publication in 1948; Wouk once claimed it was largely ignored amid the excitement over Norman Mailer's bestselling World War II novel The Naked and the Dead.

While writing his next novel, Wouk read each chapter to his wife as it was completed. At one point she remarked that if they did not like this one, he had better take up another line of work (a line he would give to the character of the editor Jeannie Fry in his novel Youngblood Hawke, 1962). The novel, The Caine Mutiny (1951), went on to win the Pulitzer Prize for Fiction. A best-seller, drawing from his wartime experiences aboard minesweepers during World War II, The Caine Mutiny was adapted by the author into a Broadway play called The Caine Mutiny Court-Martial and, in 1954, Columbia Pictures released a film version with Humphrey Bogart portraying Lt. Commander Philip Francis Queeg, captain of the fictional USS Caine.

His first novel after The Caine Mutiny was Marjorie Morningstar (1955), which earned him a Time magazine cover story. Three years later Warner Bros. made it into a movie of the same name starring Natalie Wood, Gene Kelly and Claire Trevor. His next novel, a paperback, was Slattery's Hurricane (1956), which he had written in 1948 as the basis for the screenplay for the film of the same name. Wouk's first work of non-fiction was 1959's This is My God: The Jewish Way of Life.

In the 1960s, he authored Youngblood Hawke (1962), a drama about the rise and fall of a young writer modeled on the life of Thomas Wolfe, and Don't Stop the Carnival (1965), a comedy about escaping mid-life crisis by moving to the Caribbean (loosely based on Wouk's own experience). Youngblood Hawke was serialized in McCall's magazine from March to July 1962. A movie version starred James Franciscus and Suzanne Pleshette and was released by Warner Brothers in 1964. Don't Stop the Carnival was turned into a short-lived musical by Jimmy Buffett in 1997.

In the 1970s, Wouk published two monumental novels, The Winds of War (1971) and its sequel, War and Remembrance (1978). He described the latter, which included a devastating depiction of the Holocaust, as "the main tale I have to tell." Both were made into successful television miniseries, the first in 1983 and the second in 1988. Although they were made several years apart, both were directed by Dan Curtis and both starred Robert Mitchum as Captain Victor "Pug" Henry, the main character. The novels are historical fiction. Each has three layers: the story told from the viewpoints of Captain Henry and his circle of family and friends, a more or less straightforward historical account of the events of the war, and an analysis by a member of Adolf Hitler's military staff, the insightful fictional General Armin von Roon. Wouk devoted "thirteen years of extraordinary research and long, arduous composition" to these two novels, noted Arnold Beichman. "The seriousness with which Wouk has dealt with the war can be seen in the prodigious amount of research, reading, travel and conferring with experts, the evidence of which may be found in the uncatalogued boxes at Columbia University" that contain the author's papers.

Inside, Outside (1985) is the story of four generations of a Russian Jewish family and its travails in Russia, the U.S. and Israel. The Hope (1993) and its sequel, The Glory (1994), are historical novels about the first 33 years of Israel's history. They were followed by The Will to Live On: This is Our Heritage (2000), a whirlwind tour of Jewish history and sacred texts and companion volume to This is My God.

In 1995, Wouk was honored on his 80th birthday by the Library of Congress with a symposium on his career. In attendance were David McCullough, Robert Caro, and Daniel Boorstin, among others.

A Hole in Texas (2004) is a novel about the discovery of the Higgs boson, whose existence was proven nine years later, while The Language God Talks: On Science and Religion (2010) is an exploration into the tension between religion and science that originated in a discussion Wouk had with the theoretical physicist Richard Feynman.

The Lawgiver (2012) is an epistolary novel about a contemporary Hollywood writer of a movie script about Moses, with the consulting help of a nonfictional character, Herman Wouk, a "mulish ancient" who gets involved despite the strong misgivings of his wife.

Wouk's memoir, titled Sailor and Fiddler: Reflections of a 100-Year-Old Author, was published in January 2016 to mark his 100th birthday. NPR called it "a lovely coda to the career of a man who made American literature a kinder, smarter, better place." It was his last book.

Daily journal
Wouk kept a personal diary from 1937. On September 10, 2008, Wouk presented the Library of Congress with his journals, which number more than 100 volumes, at a ceremony that honored him with the first Library of Congress Lifetime Achievement Award for the Writing of Fiction (now the Library of Congress Prize for American Fiction). Wouk often referred to his journals to check dates and facts in his writing, and he was hesitant to let the originals out of his personal possession. A solution was negotiated: a scanning service bureau was selected to scan the entire set of volumes into digital formats.

Personal life and death
In late 1944 Wouk met Betty Sarah Brown, a Phi Beta Kappa graduate of the University of Southern California, who was working as a personnel specialist in the navy while the Zane was undergoing repairs in San Pedro, California. The two quickly fell in love and after his ship went back to sea, Betty, who was born a Protestant and was raised in Grangeville, Idaho, began her study of Judaism and converted on her twenty-fifth birthday. They were married on December 10, 1945.

With the birth of the first of their three children the next year, Wouk became a full-time writer to support his growing family. His first-born son, Abraham Isaac Wouk, was named after Wouk's late father. He drowned in a swimming pool accident in Cuernavaca, Mexico shortly before his fifth birthday. Wouk later dedicated War and Remembrance to him with the Biblical words "בלע המות לנצח – He will destroy death forever" (Isaiah 25:8). Their second and third children were Iolanthe Woulff (born 1950 as Nathaniel Wouk, a Princeton University graduate and an author ) and Joseph (born 1954, a Columbia graduate, an attorney, a film producer, and a writer who served in the Israeli Navy). He had three grandchildren.

The Wouks lived in New York, Saint Thomas, U.S. Virgin Islands (where he wrote Don't Stop the Carnival) and at 3255 N Street N.W. in the Georgetown section of Washington, D.C. (where he researched and wrote The Winds of War and War and Remembrance) before settling in Palm Springs, California. His wife, who served for decades as his literary agent, died in that city on March 17, 2011.

"I wrote nothing that was of the slightest consequence before I met Sarah," Wouk recalled after her death. "I was a gag man for Fred Allen for five years. In his time, he was the greatest of the radio comedians. And jokes work for what they are but they're ephemeral. They just disappear. And that was the kind of thing I did up until the time that I met Sarah and we married. And I would say my literary career and my mature life both began with her."

His brother Victor died in 2005. His nephew, Alan I. Green, was a psychiatrist at Dartmouth College.

Wouk died in his sleep in his home in Palm Springs, California, on May 17, 2019, at the age of 103, ten days before his 104th birthday.

Degrees

 * Columbia University, New York, 1934 (A.B.)
 * Yeshiva University, New York, 1954 (Hon. L.H.D.)
 * Clark University, Worcester, Massachusetts, 1960 (Hon. D.Lit.)
 * American International College, Springfield, Massachusetts, 1979 (Hon. Litt.D.)
 * Bar-Ilan University, Ramat Gan, Israel, 1990 (Hon. Ph.D.)

Awards and honors

 * Pulitzer Prize for Fiction, 1952
 * Columbia University Medal for Excellence, 1952
 * Alexander Hamilton Medal, 1980

 * Golden Plate Award, American Academy of Achievement, 1986
 * United States Navy Memorial Foundation Lone Sailor Award, 1987
 * Bar-Ilan University Guardian of Zion Award, 1998

 * Jewish Book Council Lifetime Literary Achievement Award, 1999
 * Library of Congress Lifetime Achievement Award for the Writing of Fiction (inaugural), 2008

Published works

 * The Man in the Trench Coat (1941, play)
 * Aurora Dawn (1947)
 * City Boy: The Adventures of Herbie Bookbinder (1948)
 * The Traitor (1949 play)
 * The Caine Mutiny (1951)

 * The Caine Mutiny Court-Martial (1953, play)
 * Marjorie Morningstar (1955)
 * Slattery's Hurricane (1956)
 * The "Lomokome" Papers (written in 1949, published in 1956)
 * Nature's Way (1957, play)
 * This is My God: The Jewish Way of Life (1959, revised ed. 1973, revised ed. 1988, non-fiction)
 * Youngblood Hawke (1962)
 * Don't Stop the Carnival (1965)
 * The Winds of War (1971)
 * War and Remembrance (1978)
 * Inside, Outside (1985)
 * The Hope (1993)
 * The Glory (1994)
 * The Will to Live On: This is Our Heritage (2000, non-fiction)
 * A Hole in Texas (2004)
 * The Language God Talks: On Science and Religion (2010, non-fiction)
 * The Lawgiver (2012)
 * Sailor and Fiddler: Reflections of a 100-Year Old Author (2015, non-fiction)

title: Herman Wouk


text:
Talk:185

According to Gibbon, Perennis was executed in 186.

title: Talk:185


text:
Keiō

Keiō (慶応) was a Japanese era name (年号) after Genji and before Meiji. The period spanned the years from May 1865 to October 1868. The reigning emperors were Kōmei-tennō (孝明天皇) and Meiji-tennō (明治天皇).

Change of era

 * May 1, 1865 (Genji 2/Keiō 1, 7th day of the 4th month) Keiō gannen (慶応元年): The new era name of Keiō (meaning "Jubilant Answer") was created to mark the Kinmon Incident. The previous era ended and a new one commenced in Genji 2.

Events of the Keiō era

 * 1866 (Keiō 2): Goryōkaku completed
 * August 29, 1866 (Keiō 2, 20th day of the 7th month): Shōgun Iemochi died at Osaka; and the bakufu petitioned that Hitotsubashi Yoshinobu should be appointed as his successor.
 * January 10, 1867 (Keiō 2, 5th day of the 12th month): Yoshinobu was appointed shōgun.
 * January 30, 1867 (Keiō 2, 25th day of the 12th month): Emperor Komei died.
 * February 13, 1867 (Keiō 3, 9th day of the 1st month): Mutsuhito ascended to the throne as Emperor Meiji.
 * November 10, 1867 (Keiō 3, 15th day of the 10th month): An Imperial edict was issued sanctioning the restoration of Imperial government.
 * January 6, 1868 (Keiō 3, 10th day of the 12th month): The restoration of the Imperial government was announced to the kuge. The year 1868 began as Keio 3, and did not become Meiji 1 until the 8th day of the 9th month of Keio 4, i.e., October 23; although retrospectively, it was quoted as the first year of the new era from 25 January onwards.
 * January 27, 1868 (Keiō 4, 3rd of the 1st month): The Boshin War begins with the Battle of Toba–Fushimi.
 * September 3, 1868 (Keiō 4, 17th day of the 7th month): Edo was renamed "Tokyo", i.e. meaning "Eastern Capital".
 * October 8, 1868 (Keiō 4, 23rd of the 8th month): Battle of Aizu begins.
 * October 12, 1868 (Keiō 4, 27th day of the 8th month): Emperor Meiji is crowned in the Shishin-den in Kyoto.
 * October 23, 1868 (Keiō 4/Meiji 1, 8th day of the 9th month): The nengō is formally changed from Keiō to Meiji; and a general amnesty is granted. The adoption of the Meiji nengō was done retroactively to January 25, 1868 (Keiō 4/Meiji 1, 1st day of the 1st month).

Keio University
Keio University, which was initially established in 1858 (Ansei 5), seven years before the beginning of the Keiō era, is named after this era. This is the oldest existing institution of higher learning in Japan.

title: Keiō


text:
Talk:International Tchaikovsky Competition

Tchaikovsky Competition 2006?
What's the deal? Is there a competition this year, or what?

--AlkanSite 19:23, 9 December 2006 (UTC)

Saradjian
Cello Competition - twice somebody has changed the winner to Vagram Saradjian. In 1970 Saradjian shared 4th prize as can be seen here on the Tchaikovsky Competition offical website:

http://www.xiiitc.ru/view.asp?history#85d898d8d04b4a45b1725f833e4893dc —Preceding unsigned comment added by Auntiesbloomers (talk • contribs) 03:51, 19 February 2008 (UTC)

Though this is not suprising given the wording of Saradjian's bio:

http://www.music.uh.edu/people/saradjian.html —Preceding unsigned comment added by Auntiesbloomers (talk • contribs) 03:53, 19 February 2008 (UTC)

First prize issues
First prize (always to be awarded) is 20,000 Euro ...  - well, that's rubbish (my highlighting). There are many examples where the first prize was NOT awarded.

Also, John Ogdon's article is now saying he and Vladimir Ashkenazy did not share first prize but were given separate first prizes. That seems loopy to me. There is only one possible first place, but it can be shared. Comments? --  Jack of Oz   [your turn]  20:37, 7 February 2011 (UTC)

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Main part of the article needs updating
It looks like the first couple of paragraphs are written in the context of 2011. This article could use some work so that it does not appear to be out of date with successive competitions, as there was one in 2015, and will be one in 2019. If I get a chance I will try to add more information that is about the competition in general and not based on a specific year. --Fifthcoastbobcat (talk) 19:51, 25 June 2018 (UTC)

1982 piano competition.
Well I'll be darned. The 1982 New York Times article is pretty clear about how the piano competition came out, but the 1996 New York Times obituary is just as clear. I would be interested to know how we got from 1982 to 1996, but in the mean time, what can one do except to assume that 1996 is correct. It might be helpful to add a citation of the obituary, as well as the citation of the page from the "Bach Cantatas Website". Bruce leverett (talk) 15:02, 19 May 2019 (UTC)

The Russian Wiki article about this competition has Kozawa in third place, with Barbagallo in seventh, as in the earlier NYT article. Also, this film: https://www.youtube.com/watch?v=IYAEZq1bAdE gives a list of prize winners at the end, agreeing with the earlier NYT article.

It may be advisable to cite sources on both sides of this question. That is, even if I could prove that the 1996 article was wrong, I would still cite it, and explicitly mention, in the footnote text, that it had been widely copied. Likewise, if I could prove that the earlier sources were wrong, I would explicitly cite one of them, etc. Bruce leverett (talk) 02:53, 20 May 2019 (UTC)

James Barbagallo was seventh in 1982, NY wrote about in 1982 as Donohoe in his diary did. Is he Wrong - hardly imaginable. Besides, as a witness I never found a wrong statement on the list of ClassicalMudicNevs.rus. --PaulasBunt (talk) 14:22, 20 May 2019 (UTC)

I have cited both of the mutually contradictory NY Times articles, as well as ClassicalMusicNews.ru. Bruce leverett (talk) 02:51, 28 May 2019 (UTC)

Erick Friedman Controversy
Do you have any kind of source for this whole section? The incident, such as it was, is not mentioned in Erick Friedman, nor in the N.Y. Times obituary that I found online. It is mentioned in a way that doesn't imply actual controversy in :
 * Against the wishes of Heifetz but encouraged by David Oistrakh, Friedman entered the Moscow-based Tchaikovsky International Competition in 1966 and finished tied for sixth. Thereafter his career never quite regained the momentum it had had just a couple of years earlier.

In order for this incident to be worth mentioning in International Tchaikovsky Competition, we have to have a reliable source that describes it as an actual controversy. Bruce leverett (talk) 19:13, 25 June 2020 (UTC)

It is mentioned on Jascha Heifetz under Immigration Status. Also, I added sources that show that many were suspicous of the results.

 * The AllMusic site, as I quoted above, doesn't confirm that there was an actual controversy.

 * The other reference, norpete.com, is a music sales website. The whole purpose of the material about Friedman is to promote and sell a recording by him.  This is not a WP:RS for biographical material.

 * The norpete.com material consists mainly of a few paragraphs by some guy in which he gets his account of the 1966 Tchaikovsky by directly quoting Friedman. Autobiographical material is not the stuff of which reliable sources are made.  I would be interested if you could find some reputable magazine, newspaper, musical criticism website, etc., which takes seriously Friedman's complaint that the Tchaikovsky was judged against him because of his association with Heifetz.

 * Thanks for pointing out Jascha Heifetz. It has a paragraph about Friedman at the Tchaikovsky that looks very similar to what you have written in this (Tchaikovsky) article.  Indeed, almost word for word.  But it has no citations to sources.

 * I should clarify that I am not uninterested in Friedman's story. Perhaps, indeed, there was bias among the judges.  But as encyclopedia editors, we have to rely on reliable published sources.  Bruce leverett (talk) 02:04, 26 June 2020 (UTC)

World Federation of Competitions does not belong in the Lede
It is indeed true that the World Federation of International Music Competitions dropped the Tchaikovsky in 2022.

On the other hand, that was the first that many people had ever heard of the World Federation: the Tchaikovsky is much more famous than the World Federation. Kicking out Tchaikovsky is probably the most notable thing it has ever done.

There's already a section that describes this; i don't think it's significant enough to go in the lede.

Son of eugene (talk) 01:28, 4 October 2023 (UTC)


text:
Crevasse

A crevasse is a deep crack that forms in a glacier or ice sheet. Crevasses form as a result of the movement and resulting stress associated with the shear stress generated when two semi-rigid pieces above a plastic substrate have different rates of movement. The resulting intensity of the shear stress causes a breakage along the faces.

Description
Crevasses often have vertical or near-vertical walls, which can then melt and create seracs, arches, and other ice formations. These walls sometimes expose layers that represent the glacier's stratigraphy. Crevasse size often depends upon the amount of liquid water present in the glacier. A crevasse may be as deep as 45 m and as wide as 20 m

The presence of water in a crevasse can significantly increase its penetration. Water-filled crevasses may reach the bottom of glaciers or ice sheets and provide a direct hydrologic connection between the surface, where significant summer melting occurs, and the bed of the glacier, where additional water may moisten and lubricate the bed and accelerate ice flow. Direct drains of water from the top of a glacier, known as moulins, can also contribute the lubrication and acceleration of ice flow.

Types

 * Longitudinal crevasses form parallel to flow where the glacier width is expanding. They develop in areas of tensile stress, such as where a valley widens or bends. They are typically concave down and form an angle greater than 45° with the margin.
 * Splaying crevasses appear along the edges of a glacier and result from shear stress from the margin of the glacier and longitudinal compressing stress from lateral extension. They extend from the glacier's margin and are concave up with respect to glacier flow, making an angle less than 45° with the margin.
 * Transverse crevasses are the most common crevasse type. They form in a zone of longitudinal extension where the principal stresses are parallel to the direction of glacier flow, creating extensional tensile stress. These crevasses stretch across the glacier transverse to the flow direction, or cross-glacier. They generally form where a valley becomes steeper.

Dangers
Falling into glacial crevasses can be dangerous and life-threatening. Some glacial crevasses (such as on the Khumbu Icefall at Mount Everest) can be 160 ft deep, which can cause fatal injuries upon falling. Hypothermia is often a cause of death when falling into a crevasse.

A crevasse may be covered, but not necessarily filled, by a snow bridge made of the previous years' accumulation and snow drifts. The result is that crevasses are rendered invisible, and thus potentially lethal to anyone attempting to navigate across a glacier. Occasionally a snow bridge over an old crevasse may begin to sag, providing some landscape relief, but this cannot be relied upon.

The danger of falling into a crevasse can be minimized by roping together multiple climbers into a rope team, and the use of friction knots.

title: Crevasse


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Economic stratification

Economic stratification refers to the condition within a society where social classes are separated, or stratified, along economic lines. Various economic strata or levels are clearly manifest. While in any system individual members will have varying degrees of wealth, economic stratification typically refers to the condition where there are meaningful gaps between the wealth controlled by various groups, and few instances in the transitional regions.

Economic stratification should not be confused with the related concept, economic inequality. This deals with the range of wealth, rather than the existence of distinct strata. Economic inequality and economic stratification can coincide, of course.

Causal conditions
The causal conditions for stratification include:
 * Unequal distribution of resources (assets and income)
 * Asymmetrical personal ability (Education, Genetic Factors)
 * Cultural priorities
 * State institutions and activities

The effects that stratification produces in society as a whole can be significant. They include:
 * Inefficient economic cycling
 * Increasing corruption of judicial and legislative processes
 * Dysfunctional handling of social and political changes

In extreme cases, the social fabric can break down and result in open class warfare such as what happened during the French Revolution, the Russian Revolution, and many others.

Causative factors
Many of these effects also act as causative factors. This induces progressively greater stratification unless action is taken to limit a runaway condition. Corruption of the feedback mechanism is the most dangerous threat to any balanced system, since it can lead to economic oscillations of increasing magnitude until runaway inflation or depression results. A historical example of runaway stratification is the Great Depression of the late 1920s and 1930s. As monopolies gained increasing power and influence, the working class gradually lost purchasing power until other factors, such as the bank failures, coincided to produce an economic collapse. Such collapses can occur because the circulation of capital (M1) in such systems becomes highly dependent upon continually increasing apparent quantities of M2. A percentage of M2 is continually being converted into M1 until a point is reached in which the rate of conversion of M2 into M1 cannot be sustained by the available quantity of M1. In the case of the Great Depression, M2 refers to stocks and bank notes. When it became apparent that the valuation of M2 exceeded the supply of M1, a panic ensued to convert M2 to M1, resulting in the rapid apparent devaluation of M2, and the Wall Street Crash of 1929. In the case where M1 is increased to support the increasing conversion of M2 into M1, inflation increases until the physical supply of M1 becomes unwieldy and the result is also economic collapse, as was the case in Germany during the same period.

It is apparent that under these conditions, neither increasing the supply of M1 nor decreasing it (relative to M2) can effectively prevent an economic collapse. Therefore, it can be postulated that economic stratification itself ultimately results in economic collapse of one degree or another. An effective legislative process can prolong the period between collapses, but since one of the effects of stratification is the degradation of this process, it becomes a self accelerating process.

title: Economic stratification