text:
Talk:Saint Louis Blues (song)

2004 title discussion
The title in apostrophies 'Saint Louis Blues' is very awkward, I think. See my comment in Talk:St. Louis Blues for my proposed rearrangement/renaming of this and related pages. -- Infrogmation 18:53, 19 Mar 2004 (UTC)

 * Moved to "Saint Louis Blues (music)". I'm in process of fixing the links, and will make "Saint Louis Blues into a disambiguation. -- Infrogmation 20:25, 23 Mar 2004 (UTC)

St. Louis Blues, June 2007 article move discussion
Please see the discussion is taking place at Talk:St. Louis Blues (hockey)  Bsroiaadn Talk 03:01, 27 June 2007 (UTC)

Requested move August 2007
As you can see above, I'm requesting a move back to "St. Louis Blues (song)" per Naming_conventions. For further explanation and discussion see here. InnocuousPseudonym 06:25, 24 August 2007 (UTC)
 * Support move to St. Louis Blues (song), WP:NC seems clear enough on this, although it's not explicit as far as I can see and probably should be. Andrewa 07:14, 24 August 2007 (UTC)
 * Oppose as instrumental versions of the composition have been at least as important as song versions. I'm not adverse to proposals for other ways to disambiguate ("St. Louis Blues (W.C. Handy)" or "St. Louis Blues (composition)" perhaps?) but don't care for calling a tune a "song" when non-song versions are common and famous. -- Infrogmation 13:19, 24 August 2007 (UTC)
 * The fact that it has been recorded in instrumental versions does not make it any less of a song. It was written and published with lyrics (quite famous ones, actually). "(composition)" is generally reserved for works without lyrics. Have a look at Category:Jazz standards and its subcategories for a sense of the lay of the land and see the naming conventions page linked above. InnocuousPseudonym 17:21, 24 August 2007 (UTC)

 * Support move to St. Louis Blues (song), although the tune is notable, is the alternative creating separate articles for the composition, and for the lyrics? I feel the form is that other popular songs by say, Porter or the Gershwins are 'songs' despite the tune being in many cases as recognisable, and in several cases, the song being introduced as an instrumental. I also feel that St Louis Blues, which currently directs to the Hockey team, should redirect people to the disambig page. Gareth E Kegg 18:28, 24 August 2007 (UTC)

Now that the move has been made, can those who voted for it please help fix links so they go directly to the new title? (I've already fixed several myself.) Thanks, -- Infrogmation 18:19, 25 August 2007 (UTC)

 * I'll get on it. InnocuousPseudonym 19:01, 25 August 2007 (UTC)
 * Changed it for everything except Talk and User pages. InnocuousPseudonym 20:16, 25 August 2007 (UTC)

The St. Louis Blues?
According to the original record picture in the article, the full name of the song should be "The St. Louis Blues". I want to move it there but want a consensus before doing so. Tavix (talk) 00:35, 27 February 2008 (UTC)

 * Although the song was probably originally pubslished with a "The" in its title, my impression is that this was soon often dropped. In my collection of 78 rpm records I have 18 various issues of the song made between 1918 and 1943, and of those only one (from 1918) is labeled "The St. Louis Blues"; the rest of them all being issued issued as "St. Louis Blues". Also see the 1930s sheet music here. /FredrikT (talk) 09:37, 6 January 2015 (UTC)
 * Saint Louis (The) blues; words and music by
 * W. C. Handy. Memphis, Tenn., Pace & Handy music co. 20165
 * © Sept. 11, 1914; 2 c. Sept. 16, 1914;
 * E 348241; William C. Handy, Memphis, Tenn.
 * "The Saint Louis Blues" is what the legal copyright says Tillywilly17 (talk) 17:56, 26 October 2021 (UTC)

Handy's place of birth
W.C. Handy was not from Memphis. He was from from Florence, Alabama. — Preceding unsigned comment added by 188.109.205.117 (talk) 08:43, 2 January 2015 (UTC)

 * The article doesn't claim that Handy was born in Memphis, only that it was his "home town", and he definitely lived and worked there from 1909 onwards. /FredrikT (talk) 09:44, 6 January 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Saint Louis Blues (song). 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/20040408160812/http://bluesnet.hub.org:80/readings/st.louis.blues.html to http://bluesnet.hub.org/readings/st.louis.blues.html

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Cheers.—cyberbot II  Talk to my owner :Online 22:42, 6 January 2016 (UTC)

Major edits
I see that you made extensive edits to this article. Even though I could have reverted your edits, citing certain WP protocol, I wanted to bring the issues here so that you had a chance to revert and start over correctly. First: you removed pertinent information to the list by previous editors (re: performers, instruments, etc). Second, you did not relist in keeping with the correct order: i.e. date first / performer second / information third. Last, lists do not need citations as critical as inline content within sections. I do not wish to revert your efforts; but you have removed too much information that was already consensus approved. Please update and return to its former style and content; or I (or another editor) must revert your edits. Thank you. Maineartists (talk) 11:36, 17 May 2018 (UTC) Vmavanti (talk) 12:53, 17 May 2018 (UTC)
 * I deleted unsourced content. I added sourced content. I would like to see evidence in WP documentation that says what I did was wrong. I saw no evidence of consensus approved content. The fact that many lists have maintenance templates suggests that they require citations. Otherwise you encourage the propagation of junk and such articles as I improved will continue to stagnate or worsen. Do you have a special interest in the St. Louis Blues article?
 * There are many improvements that could be made to this article, but reverting to an unsourced list of minor cover versions is not one of them. If any versions are particularly notable, they should be covered in written prose.  But, in relation to the latest changes, there should be consistency in the way versions are listed - either date first or artist first, but not a mixture.  Ghmyrtle (talk) 13:08, 17 May 2018 (UTC)

Vmavanti (talk) 17:11, 17 May 2018 (UTC)
 * —"If any versions are particularly notable, they should be covered in written prose."
 * Is this documented somewhere? If so, I would like to see it. There are many articles with lists and trivia sections. There's a long list of jazz standards articles. Most of them have Cover Versions sections. Some of them have Trivia sections. There's a lot of junk in those sections. If you are saying there is a rule either in WP documentation or Wikiproject Jazz that these sections can be deleted, I'm all for it. But IF that is a RULE, let's follow it across the board, not just in one article where one timid person has a fear of change. I can't square crap with substantive content. And if the crap is unsourced, then no one should any problem with it being deleted. Wikipedia editors are supposed to come down on the side of sourced content, correct citations, and reliable sources.

 * A special interest in this article? No - I have a special interest in writing a good article at Wikipedia: plain and simple. You removed several titles that were "unsourced", yet could easily be found online and cited rather than removed; and kept others that were completely without sourcing. For the extensive time it took you to remove, edit, format, etc; you could have researched nearly all of these inclusions and found reliable sources that met your expectations. Side note: WP has templates to cover sections such as this from preventing editors from coming in and doing just this thing. You write: "I deleted unsourced content. I added sourced content. I would like to see evidence in WP documentation that says what I did was wrong. " You removed: Brenda Lee, Johnny Cash, Doc Watson, Odetta ... these are notable major performers on major labels; which I easily found online for inline citations. You kept content (it would seem) simply on a single source: "Gioia, Ted". To me, this is not a reason to delete numerous significant edits. Yet, you kept: 1959-1962, 1968-1976, and even Hugh Laurie (2013) without citations? Was this just to your own liking? Either cite the entire section, or place a tag; but don't cherry pick those you want to keep yet remove what is easily found online by what other editors have included, and up until now has remained by consensus (meaning, no one has disputed the inclusion). I disagree with this entire way of editing at WP. Maineartists (talk) 13:57, 17 May 2018 (UTC)

 * OK. So you have an opinion. You haven't demonstrated that I violated WP documentation.

 * I deleted unsourced content. Could I have found sources for that content instead of deleting it? Perhaps. I did find a source for some of it, but that's not good enough for you. I added good content from a good, reliable source, Ted Gioia, but that's not good enough for you. I generously left some unsourced content, but that's not good enough for you. Before you point the finger, you might want to take a look at how much I have contributed to Wikipedia. Don't volunteer me for more volunteer work than I already do. I'm on this site every day seven days a week. I can show you articles like this going back ten years. Why was that content unsourced to begin with? Why hasn't anyone sourced it after all these years? I looked at the history. Years ago by. Editors pop in and change a comma. Then when someone like me comes by and makes significant progress, someone else suddenly appears from beneath the woodwork to cry umbrage. Either they dislike the changes for their own arbitrary personal reasons or they accuse me of not doing enough.

Vmavanti (talk) 16:52, 17 May 2018 (UTC)
 * If you continue to allow people to add unsourced content to articles like this, the article stagnates or gets worse. If you allow people to create lists and trivia sections with unsourced content, you no longer have an article. You have graffiti.
 * Wow. Have you got this wrong. "I did find a source for some of it ..." Fine, good for you. What's your point? "I added good content from a good, reliable source, Ted Gioia, but that's not good enough for you." Never said that. I had issue in your removing content that you did not have reliable sources for. "I generously left some unsourced content..."" Ah, there's your Catch-22. You can't have it both ways: i.e. "Graffiti". Who says you get to pick and choose? If someone lists something (i.e. Filmography for a BLP, they don't cite every single film, tv series, etc). Ridiculous. That's not how it works; and you should know that. It has nothing to do with "not good enough for me". If you have a problem with a certain listing, you look it up; if it's not found; you dispute it with a "citation needed". You went in and completely removed entire lines of inclusions and left others up to your liking. There is not one listing in this section that was "unfactual" and because you didn't want to create more work for yourself by simply removing those that did not have sources, is not my problem. You have now created your own standard by saying: "If content is not sourced, it should either be removed; or provided with a reliable source." One would expect that you adhere to your own standards from now on. Has nothing to do with me. You can't have it both ways. Side note: I don't need to look at your history to know what happened here. Maineartists (talk) 19:26, 17 May 2018 (UTC)

 * "Generous"? My goodness you have an inflated sense of self. To answer your question: "How do I know?" I did what you should have done: I entered the song title and listed performer in a simple search engine and discovered sources. Assumption that I must have entered in all the information myself is "nonsense" at its best; and a quick look at the history would reveal otherwise. Deleting unsourced listed content in this fashion regarding covers for albums when an editor has an across the board problem at WP rather than doing the work to find the sources is lazy editing; especially when WP gives you tools to help other editors that are willing to do the work in your stead at a future date: i.e. "citation needed" or templates. Your deleting content makes more work for future editors to search histories, revert edits, etc. You're talking in circles here regarding providing sources for content; and yet saying I made the "request (demand)". You demanded this; per your deleting unsourced content. I was just holding you to your own standards. It's good you're dropping the subject. Maineartists (talk) 23:46, 17 May 2018 (UTC)

Vmavanti (talk) 16:05, 18 May 2018 (UTC)
 * "There are many improvements that could be made to this article, but reverting to an unsourced list of minor cover versions is not one of them."

 * Comment Has anyone considered WP:SONGCOVER? A spot check of the current refs doesn't show that many of these versions are noteworthy, only that they exist.  Gioia lists 14 under "Recommended versions"; some of those that he discusses may be better as prose (I don't have access to the full book section), otherwise the reader doesn't know which are important or why. Music sites, such as AllMusic, provide long lists of "Also performed by"; WP should be providing encyclopedic content. —Ojorojo (talk) 16:14, 18 May 2018 (UTC)
 * Hey, Ojorojo! Great suggestion and comment! Thanks for bringing it to this discussion. Best, Maineartists (talk) 00:24, 19 May 2018 (UTC)

Did Handy steal this song?
"Handy said he had been inspired by a chance meeting with a woman on the streets of St. Louis, Missouri, distraught over her husband's absence, who lamented, 'Ma man's got a heart like a rock cast in de sea,' a key line of the song. Handy's autobiography recounts his hearing the tune in St. Louis in 1892: 'It had numerous one-line verses and they would sing it all night.'"

If the foregoing is true, then W.C. Handy deserves no credit for this song. 2603:7000:B23E:33EE:B0FB:DCC2:6287:ED20 (talk) 14:13, 17 March 2023 (UTC)

title: Talk:Saint Louis Blues (song)


text:
Talk:Chicago blues

Characterizing the Style
Can anyone explain the difference in Chicago blues and Detroit blues? Neither article contains enough detail to tell the difference. Rmhermen 18:53, Mar 19, 2004 (UTC)

For that matter, the article gives great history, but nothing characterizing the style of this genre of music, and what differentiates it from say St. Louis Blues, Detroit Blues, or Delta Blues (the reason I came to this article). Contrast this article with the Wikipedia article on Heavy Metal: "With roots in blues rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are often associated with masculinity, aggression and machismo." If I'd never heard heavy metal, I'd now have a sense of it. Not so after reading the Chicago Blues article. I know it would be in keeping with the spirit of Wikipedia to now go and write it, but I genuinely don't know -- that's why I came to the article. So this is a request to those who are more knowledgeable. --Rico (talk) 15:45, 10 April 2014 (UTC)

Development story
Here's a story that adds some background regarding development of the Chicago blues. While writing "Where Rebels Roost: Mississippi Civil Rights Revisited" I interviewed a blues historian in Drew (Sunflower County) and was told of a 1923 all-night gunfight in downtown Drew, a small town near the Dockery plantation that featured a busy blues alley. (Dockery had established his plantation in 1895, when the Delta was still a wilderness, by clearing and planting forty square miles of land near Drew and Rulville and employing hundreds of black agricultural laborers and sharecroppers. Henry Sloan, who in the 1890s began experimenting with new musical patterns on his guitar, was hired by Dockery and in 1897 the Patton family, including a sixteen-yearold son, Charley, moved to Dockery's.) Joe Pullen had returned to Drew from WWI and the veteran was in no mood to be taken advantage of. Hence, Pullen killed a Drew planter in an altercation over a pay dispute. A relative of Archie Manning participated in the all-night gun battle that ended when a machine gunner from nearby Clarksdale loaned his equipment to the sheriff's posse. Perhaps dozens of townfolk were killed and wounded before Pullen was taken down by the machine gun. Soon the town's sheriff announced a 7 p.m. curfew that included bluesmen and their jukes. For several days the curfew was followed but then the music started up again into the early morning hours. The sheriff and his "deputies" (night riders) tore into the jukes and shot a number of musicians. A day later, suitcases were packed by many of those surviving "Drew tradition" musicians who headed out for Chicago. Susan Klopfer 67.137.247.153 12:34, 14 October 2005 (UTC)

Rolling Stones
I remember reading somewhere (don't remember where) that the Rolling Stones use Chicago blues in their style. Mr. C.C. 20:28, 18 July 2006 (UTC)

Reply:

The Rolling Stones took their name from a song by Muddy Waters. As the story goes, Mick Jagger and Keith Richards teamed up after a chance meeting at London train station, during which each noticed the other was carrying a Chess LP. On their first visit to the U.S. in 1964, the Stones visited and recorded at Chess Studios. Their song, "2120 S. Michigan Avenue," is the address of the Chess Records building.

intro text not sourced
The introduction currently contains the following "making the harmonica louder with a microphone and an instrument amplifier, and adding electrically amplified guitar, amplified bass guitar, drums, piano and sometimes saxophone and trumpet. " There is no reference. This all sounds kind of intuitively reasonable but I'm currently reading the book The Devil's Music: A History of the Blues and the author doesn't mention this in the section on urban blues or chicago blues. In fact in talking about urban blues he talks about how electric guitars were added but he explicitly mentions that the amplification was not like modern guitars. I'm considering changing or deleting this text. If anyone has comments or refs please edit or comment. MadScientistX11 (talk) 19:36, 9 August 2013 (UTC)

Plan to remove two red lined names from list of chicago blues people
There are two names right now Harmonica Hinds and Little Ed Williamson that are red lined. I plan to remove them shortly unless anyone objects and wants to write at least stub articles for them, going by Write_the_article_first BTW, I changed my user ID, used to be MadScientistX11 RedDog (talk) 03:01, 21 October 2013 (UTC)
 * There is a Wikipedia article about LIl' Ed Williams. I corrected the red line.  A quick search revealed that Harmonica Hinds was Koko Taylor's harmonica player also known for acoustic guitar and active in Chicago since the 1970s.  Please don't remove Harmonica Hinds - a Wikipedia article will follow.--Wpwatchdog (talk) 16:09, 21 October 2013 (UTC)
 * Being Koko Talyor's harmonica player is not nearly noteworthy enough to have your name included in an article about Chicago Blues IMO. By that standard the page would end up with hundreds of names on it. Do we have every player who ever played in Koko's band? And how could we justify just stopping with her, we would surely need the Harmonica player(s), drummer(s), bass guitarist(s) from every one of Muddy Waters' bands and Albert King, etc. I realize that everyone has their favorite artist but that's not what Wikipedia is for, its not a fan page its an encyclopedia and if there are names here that are not noteworthy in the history of Chicago Blues they should be removed. I'm getting some books on the subject which I want to review before I make any edits but I just want to be clear I'm not convinced that all the names that are there currently deserve to be. RedDog (talk) 16:35, 21 October 2013 (UTC)
 * OK. Now I understand it is a subjective opinion of each Wikipedia editor.  I agree that the article shouldn't turn into a fan page for a person's favorite artist but it looks to me like Harmonica Hinds has been hard at work for years.  I wasn't aware of him until I entered this discussion.--Wpwatchdog (talk) 20:20, 21 October 2013 (UTC)

Criteria for Notable Chicago Blues Musicians
Please clarify. What are the criteria for notable Chicago blues artists? Who decides whether the artist meets the criteria?--Wpwatchdog (talk) 15:47, 21 October 2013 (UTC)
 * I replied to this question when you put it on my Talk Page. Sorry, I assumed since you left the question on my talk page you would be monitoring that page for the response. Or perhaps you just want to move the discussion here, which I agree makes sense. Anyway, the two points below are copied from my original response to you on my Talk page
 * This is one of those questions that is clearly a judgement call and most people who know the topic won't agree about who exactly is notable and who isn't. There is a List of Chicago blues musicians that included RBB and that makes sense to me. But for someone to be mentioned in the actual article I think they should be not just a blues musician from Chicago but known for some major achievement, innovation, recordings, influence, etc. So Muddy Waters, Albert King, Junior Wells, etc. There is no way I think Ronnie Baker Brooks is in that league. I had never heard of RBB although of course I had heard of his father. I wouldn't say I'm an expert on the topic but it is definitely a personal passion. If you can describe some way that RBB is known for some major influence that I'm not aware of perhaps it's worth more discussion but what I'm trying to avoid is what happens a lot on Wikipedia, people edit a page and just add their favorite artist. Also, RBB didn't start recording until the 80's. By that

point I think the Chicago Blues style was already very well defined. In fact it had been almost turned into a cliche it was bastardized, sorry I mean copied, so often by white bands, a few good many not so. Anyway, that was my thinking. I actually think some of the names that are currently in the article shouldn't be there either but until I have some time to do serious editing and get my hands on some reference books I didn't want to start editing but for now I think cutting down more bloat is a good idea but if you still aren't convinced let's discuss some more. One thing we have in common I'm sure is a love for this neglected form of great music :)
 * One other thought, if you can find a reference in some credible book or prominent article that says something like "RBB epitomized the later years of Chicago Blues" or something else, something besides just saying that RBB was a Chicago Blues musician but that he was notable for some achievement, that would definitely settle the case as far as I'm concerned. Some references that I'm currently trying to get to improve this article are: Chicago Blues my Mike Rowe and The Devil's Music: A History of the Blues. A sentence or two in a book like that about RBB would be what I think is required. RedDog (talk) 16:29, 21 October 2013 (UTC)
 * I'm not advocating for Ronnie Baker Brooks (I didn't know who he was) but I did want clarification of "notable". Your definition, "[N]ot just a blues musician from Chicago but known for some major achievement, innovation, recordings, influence, etc." works for me. I have no doubt that editors will also argue over what constitutes a major achievement.  Thank you for the clarification.--Wpwatchdog (talk) 20:30, 21 October 2013 (UTC)
 * Sounds good. As you say, the whole question over "what counts as notable?" is still going to be something we will debate, I mean it's obvious that Muddy Waters counts but for example I was surprised to see Mike Bloomfield in the list but when I looked up his bio it seems he is known not just for being an awesome guitar player (which I knew and agreed with) but for being significant as specifically doing Chicago Blues. BTW, if anyone knows of any other good books on Urban Blues in general and Chicago Blues in particular other than the two I mentioned above please drop me a note here or on my Talk page. I'm trying to find some references, the refs in the current article are pretty thin and I think we should add more. RedDog (talk) 20:53, 21 October 2013 (UTC)
 * Got curious and found that RBB comes up in at least 10 books on Google Books. He might qualify as notable by "carrying the torch".--Wpwatchdog (talk) 21:08, 21 October 2013 (UTC)
 * Were there any that were particularly good? Either for what they said about RBB or about chicago blues in general? If so please feel free to list the names of the books or of course URLs if they are available online. RedDog (talk) 15:31, 22 October 2013 (UTC)
 * Here's a list with links that let you read the content in the books:
 * 1. Today's Chicago Blues by Karen Hanson (2007)
 * 2. Children of the Blues: 49 Musicians Shaping a New Blues Tradition by Tipaldi, Art (Jan 1, 2002)  - includes a chapter about the Brooks family.
 * 3. Soul of the Man: Bobby "Blue" Bland (American Made Music) by Farley, Charles (Feb 7, 2011) :
 * 4. The Rainy Winters Band by Graham Arlett (2010)  - describes RBB opening for B.B. King
 * 5. Elwood's Blues: Interviews with the Blues Legends & Stars by Dan Aykroyd, Ben Manilla (2004)  - a paragraph that includes RBB--Wpwatchdog (talk) 18:11, 22 October 2013 (UTC)
 * I hate to say it but if anything those quotes convince me more that RBB should not be included. To paraphrase all they said was that RBB is the son of a famous Chicago Blues musician and that he like his father also plays the Blues. To me that is not nearly enough to be included in a paragraph with people like Muddy Waters or Lonnie Brooks. What I think is required is a quote that says Ronnie Baker Brooks is known for some contribution to Chicago Blues besides just being the son of a great Chicago Blues Man. RedDog (talk) 18:04, 24 October 2013 (UTC)

Adding back Harmonica Hinds as he meets Material Scientist's criteria - please see Wikipedia article. Will request arbitration if unable to agee.--Wpwatchdog (talk) 17:15, 11 May 2014 (UTC)
 * I don't see how Harmonica Hinds is in the same league as people like Muddy Waters, James Cotton, Elmore James, etc. I know Chicago Blues pretty well and I've never heard of him. I've read two of the major source books for this article and as far as I can recall his name wasn't even in the index of either one. I could actually see a good case to trim out some of the other names that are there already These articles are supposed to be about the most well known and noteworthy Chicago blues artists not for each editor to add their personal favorite. --MadScientistX11 (talk) 21:42, 11 May 2014 (UTC)
 * I was not the original editor to add Harmonica Hinds to the article. It seems you may be defining "notable" as world famous.  I would like to request a  Third Opinion unless you prefer more formal dispute resolution.  I will abide by a third opinion.  I will wait for your response before proceeding.  Thank you.--Wpwatchdog (talk) 12:36, 12 May 2014 (UTC)
 * There is a difference between saying someone is notable in the sense of meriting their own Wikipedia article and notable in the sense of being famous enough to merit inclusion in an article about Chicago Blues. I'll concede that Hinds is notable in the first sense but I hope you would agree that everyone that is notable in that sense shouldn't be mentioned in the article. If we did the article turns into a list rather than an article. This IMO is a common problem with articles on music, everyone wants to add their favorite name to various articles and the article ends up being diluted. See for example the edit history on on Power trio I think at a minimum if you think that Hinds is notable in that sense you should give some references that list him in the same league as Muddy Waters, Elmore James, etc. As far as I know Hinds main claim to fame was that he was the harmonica player for Koko Taylor. Why not include her guitar player as well? What about the guy who played harmonica for Muddy Waters? The article ends up being diluted to just a list of whichever names are the favorites of the editors who take the trouble to add them. That's not responsible editing IMO. I know Chicago Blues pretty well. I used to live in Chicago and I went to clubs both on the North and the South side. I've read several books on Chicago Blues. Before I started watching this article I had never heard of Harmonica Hinds. If you have some information that says I'm wrong, and that he was famous enough to be mentioned in the same breath as other truly great Chicago Blues artists then please provide it. If you don't then we have nothing left to talk about but I would prefer a formal arbitration at that point. --MadScientistX11 (talk) 16:57, 12 May 2014 (UTC)
 * It looks like we have a difference of opinion. A musician who is regarded as one of the best musicians on the Chicago blues scene respected by the Blues greats and who remains active after 5 decades meets my definition of notable.  I will follow your preference and request formal arbitration.--Wpwatchdog (talk) 17:18, 12 May 2014 (UTC)
 * Upon reviewing the guidelines for formal arbitration process, I found that it is used for more serious disputes. Since this is only a simple content dispute, I placed a request at Dispute resolution noticeboard.--Wpwatchdog (talk) 18:19, 12 May 2014 (UTC)
 * You say "A musician who is regarded as one of the best musicians on the Chicago blues scene respected by the Blues greats" but you've not provided a single reference to back that up. As I said in books like The Devil's Music: A History of the Blues or Chicago Blues the City and the Music I don't recall even seeing the name Harmonica Hinds anywhere in the book. --MadScientistX11 (talk) 13:33, 13 May 2014 (UTC)
 * Here is the reference about Hinds being regarded as one of the best musicians on the Chicago blues scene (it was included in the Harmonica Hinds article): . Hinds has played with many greats and he is a regular artist at the Legends and the Chicago Blues Festival.  The points are moot as I will abide by the decision from the dispute resolution.  I think we are both more interested in Chicago Blues than in an edit war.--Wpwatchdog (talk) 18:01, 13 May 2014 (UTC)
 * Agree. What matters is creating an article worthy of something as awesome as Chicago Blues, even if we may not completely agree on some details. --MadScientistX11 (talk) 18:56, 13 May 2014 (UTC)

Reader feedback: my one suggestion would be t...
75.22.23.192 posted this comment on 13 October 2012 (view all feedback).

"my one suggestion would be to remove the 'far' from 'far south side of chicago'. most of the notable blues clubs were around 43rd St. which is not the Far South Side but just the South Side. You might also mention West Side bluesman, known for their rougher style. I don't know about those ninth chords either- in my brief experience onstage I always got a funny look if I played ninths. I have never heard of a trumpet in a chicago blues band, but that's me."

Any thoughts?

RedDog (talk) 18:08, 21 October 2013 (UTC)

 * I think the feedback suggestions should be followed.--Wpwatchdog (talk) 13:41, 22 October 2013 (UTC)
 * I think so as well from what I know but I'm holding off making more edits for a while. I have what seem like two excellent reference books on order at my local library (it's part of a city chain so has lots of books available fast). I should get them this week and plan to read the relevant parts and make some more changes after that. Of course anyone else is free to make changes in the mean time, just remember to leave good references :) RedDog (talk) 15:35, 22 October 2013 (UTC)
 * Great!--Wpwatchdog (talk) 17:38, 22 October 2013 (UTC)
 * I think I've dealt with all these issues. The stuff about the palette I couldn't find in any of the source books I obtained so I deleted it. I also found a good reference to clarify where the blues clubs were, it wasn't the "far south" side just the south side and also some small black neighborhoods on the West side. RedDog (talk) 18:41, 27 October 2013 (UTC)

Categorisation of Chicago Blues players
The categorization of Chicago Blues players here is obviously based either on simply the fact that the musician was based in Chicago or recorded with a Chicago based label, which is misleading. Muddy Waters, for example, was a Delta blues musician who moved up North and while he obviously would have met new influences there, his style nevertheless remained Delta more than anything else. Arthur Craddup may have recorded with a Chicago label but no one would seriously suggest he was a city blues musician. I admit that no such statement has been made here, but by listing him among Chicago blues label artists, an insinuation is made that he was therefore a Chicago blues musician. Even if BB King had never left Mississippi he would still have been a Chicago blues player, because that's what he plays. There are Chicago blues players in the South, just as there are Southern blues players in other places. Keb Mo, for example, was born and grew up in California but he has more of the Southern sound in his style than Buddy Guy, a Southern born musician. I know it may not be possible to come up with a categorization that will please everyone, but the mistakes are too glaring here.

Albert Khomani, blues maniac — Preceding unsigned comment added by Albert Khomani (talk • contribs) 16:17, 8 September 2014 (UTC)
 * Everything you said sounded reasonable to me. Can you find a source that is widely accepted and that says the same things? If so please document the book or other source here and I will take a shot at revising the article. But of course without a source what you are saying is just wp:original research --MadScientistX11 (talk) 17:05, 8 September 2014 (UTC)

5/25/2015 IP edit
The IP edits on 5/25/2015 are not supported by the "references" (bare URL links) and do not follow policies such as WP:NOR, WP:VER, WP:NPOV or WP:SYNTH. See also Sockpuppet investigations/Jagged 85 (more info: WP:Jagged 85 cleanup and WP:Sockpuppet investigations/Jagged 85/Archive). —Ojorojo (talk) 19:14, 28 May 2015 (UTC)

Is this really true?
"Chicago blues was one of the most significant influences on modern rock music." This is the sort of claim that should be referenced. Knowing what is meant by "modern rock music" would help. So, yes, I am considering cutting it out. Carptrash (talk) 19:20, 19 August 2018 (UTC)
 * It might be more accurate to say "early rock music" than modern rock music. I think I'm going to be bold and just make that change. But with that change I don't see any reason for removing this statement. Everything that comes after that sentence in that small section supports that statement and those later sentences have 5 references in total, which is actually very well referenced for such a small section. --MadScientistX11 (talk) 21:25, 19 August 2018 (UTC)
 * Better. I think that there is a tendency to consider Chuck Berry and Bo Diddly to be Chicago Blues because they recorded at Chess and used Willie Dixon and a few others in the sessions. Dixon somewhere says that he and the other musicians thought Berry was playing country music. So I think the Chicago Blues influence on Rock music is not on the "early" rock but on the later, largely Brritish rock.  But this is better.  For now. Carptrash (talk) 22:41, 19 August 2018 (UTC)
 * I also added two more references to support the influence of Chicago Blues on early rock, one for the Rolling Stones and one for the British Invasion in general. As I read through this section it could use some editing IMO for a better flow. On another topic, I think there are far too many people listed in the "notable musicians" section. I don't have time to work on those issues right now but just thought I would mention it.  --MadScientistX11 (talk) 16:11, 23 August 2018 (UTC)

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

title: Talk:Chicago blues


text:
Ibrahim Rugova

Ibrahim Rugova (2 December 1944 – 21 January 2006) was a Kosovo-Albanian politician, scholar, and writer, who served as the President of the partially recognised Republic of Kosova, serving from 1992 to 2000 and as President of Kosovo from 2002 until his death in 2006. He oversaw a popular struggle for independence, advocating a peaceful resistance to Yugoslav rule and lobbying for U.S. and European support, especially during the Kosovo War.

He founded the political party Democratic League of Kosovo (LDK) in 1989. The LDK, which had the support of 90% of the ethnic Albanian population of Kosovo, advocated for Kosovo's independence by peaceful means. The party established a shadow government that provided basic government and social services to the Kosovo Albanian population, including education and health care, in effect creating a parallel state. In May 1992, Rugova was elected President of this parallel state. In March 2002, with a United Nations mission was administering Kosovo, he was elected President of Kosovo. He held this position until his death in January 2006, and was posthumously declared a Hero of Kosovo. He is sometimes referred to as Ati Kombit ("Father of the Nation") in Kosovo. He is also referred to as the Gandhi of the Balkans due to his strategy of non-violent resistance.

Family and early life
Ibrahim Rugova was born on 2 December 1944 to a family that is a branch of the Kelmendi Albanian clan. At this time, the major part of Kosovo was unified with Albania (controlled by Benito Mussolini's Italy since 1941, and later by the Germans from 1943). Yugoslav control was re-established towards the end of November 1944 when the area was liberated by the Bulgarian Army and Yugoslav partisans who defeated Albanian collaborators. His father Ukë Rugova and his paternal grandfather Rrustë Rugova were summarily executed in January 1945 by Yugoslav communists. Rugova finished primary school in Burim and high school in Peja, graduating in 1967.

He strongly emphasized the heritage of ancient Dardania, an independent kingdom and later-turned Roman province that included modern-day Kosovo, to strengthen the country's identity and to promote his policy of closer relations with the West. He studied literature at the University of Prishtina and the University of Paris, and received a doctorate with a dissertation on Albanian literary criticism. As a student, he participated in a civil rights movement for the Albanians and formally joined the Communist League of Yugoslavia. Thereby, he worked as editor of prestigious literary and scholarly publications and research fellow at the Institute of Albanian Studies; in 1988, he was elected president of the Kosovo Writers Union.

He moved on to the newly established University of Prishtina, where he was a student in the Faculty of Philosophy, Department of Albanian Studies and participated in the 1968 Kosovo Protests. He graduated in 1971 and re-enrolled as a research student concentrating on literary theory. As part of his studies, he spent two years (1976–1977) at the École Pratique des Hautes Études of the University of Paris, where he studied under Roland Barthes. He received his doctorate in 1984 after delivering his thesis, The Directions and Premises of Albanian Literary Criticism, 1504–1983.

Rugova was active as a journalist throughout the 1970s, editing the student newspaper Bota e Re ("New World") and the magazine Dituria ("Knowledge"). He also worked in the Institute for Albanian Studies in Prishtina, where he became the editor-in-chief of its periodical, Gjurmime albanologjike ("Albanian Research"). He formally joined the Yugoslav Communist Party during this period. Rugova managed to make a name for himself, publishing a number of works on literary theory, criticism and history as well as his own poetry. His output earned him recognition as a leading member of Kosovo's Albanian intelligentsia and in 1988 he was elected chairman of the Kosovo Writers' Union (KWU).

Personal life
Rugova was married to Fana Rugova and had three children.

Presidency

As president, Rugova continued to support his non-violent path to independence even as proponents of an armed resistance formed the Kosovo Liberation Army (KLA) to counter increasing Serbian oppression on the ethnic Albanians. In 1998, Rugova secured a second term as president, but was placed at odds with the KLA as the Kosovo War broke out. In 1999, he participated in the failed Rambouillet talks, as a member of the Kosovar delegation, seeking an end to the hostilities. Having resided in the capital Prishtina during his entire presidency, Rugova was taken prisoner by the state authorities after NATO began its U.S.-led aerial campaign against Yugoslav forces in Kosovo. Rugova was exiled to Rome in May 1999 and returned to Kosovo in the summer of that year, shortly after the end of the war.

Rugova remained nominal president of the republic with Bujar Bukoshi as his Prime Minister; meanwhile, Hashim Thaçi, a former KLA commander, had been leading a provisional government since April that year. Effective power, however, was in the hands of the United Nations administration. In 2000, Rugova and Thaçi agreed to relinquish their positions and to work on creating provisional institutions of self-government until Kosovo's final status was decided. Rugova was elected president of Kosovo by the newly formed parliament in 2002 and again in 2005. While his pre-war popularity had certainly diminished, he remained the most powerful leader in the country until his death from lung cancer in 2006.

Political career
Rugova entered politics in 1989, when he assumed the leadership of the Democratic League of Kosovo (LDK), a newly formed political party that opposed the nullification of Kosovo's autonomy in the former Yugoslavia. In 1992, Rugova won the first presidential election in the Republic of Kosova, an unrecognised state declared in secret by members of Kosovo's former assembly within Yugoslavia. Serbia, led by Slobodan Milošević, retained effective power in Kosovo throughout most of the 1990s, but did not secure the full cooperation of the Albanian population. The Republic of Kosova collected donations from Kosovars at home and abroad and set up parallel institutions, including independent, albeit often clandestine, educational and healthcare systems for the ethnic Albanians.

The 1980s saw escalating tension within Kosovo with dissatisfaction by Serbs regarding their treatment at the hands of the Kosovan authorities, and resentment from those same authorities towards the lack of powers devolved to them from Belgrade, Yugoslavia's capital. Since 1974, the Socialist Republic of Serbia's local authority had no constitutional rule over Kosovo. In 1989, unilateral measures taken by Serbian President Milošević shattered Kosovo's autonomy by reverting it to its pre-1974 status. A harsh system was imposed, leading to widespread violations of human rights and the repression of dissenters. An estimated 130,000 Kosovo Albanians were sacked from their jobs and the police in particular were almost completely purged of Albanians. There were numerous reports of extrajudicial beatings, torture and killings, attracting strong criticism from human rights groups and other countries.

Milošević's actions were strongly opposed by the Kosovo-Albanian political élite (including the local Communist Party now stripped of authorities), by ethnic Albanians and by Milošević's counterparts in Yugoslavia's other republics. Members of the abolished Kosovo assembly met to declare an independent Kosovo, the Republic of Kosova, which was recognised by Albania. The local Serbian government responded by arresting 112 of the 120 members of the assembly and six members of the Kosovo government and charging them with "counter-revolutionary activity." Journalists who reported the assembly's declaration were also detained and imprisoned. Kosovo's intellectuals also opposed the changes; Rugova was one of 215 signatories of the "Appeal of Kosovo Intellectuals" against Milošević's decision to change Kosovo's status. He was immediately expelled from the Communist Party in retaliation.

In December 1989, Rugova and a number of other dissents set up the Democratic League of Kosovo as a vehicle for opposing Milošević's policies. Rugova became leader after the first candidate, Rexhep Qosja, a prominent nationalist writer, refused the job. The new party was an overwhelming success and within months, 700,000 people – virtually the entire adult population of Kosovo Albanians – had joined. The LDK established a "shadow government" and a "Parallel Social System" to provide education and health services to the Albanian population, which was either excluded from or chose not to use the equivalent services provided by the Serbian government. An underground Kosovo Assembly was founded with Bujar Bukoshi acting as Prime Minister from the safe distance of Germany. The shadow government's activities were mostly funded by the overseas Kosovo Albanian diaspora, based primarily in Germany and the United States. However, Rugova's government was recognised officially only by the government of Albania.

The Kosovo-Albanians boycotted Yugoslav and Serbian elections on the grounds that they would legitimise the Milošević government, they also questioned its veracity. In May 1992, separate elections were held in Kosovo in which Rugova won an overwhelming majority and was elected President of Kosovo. Although there were questions about the fairness and propriety of the elections – they were held virtually in secret in Albanians' houses, there were repeated reports of harassment by state security forces, and there were allegations of vote-rigging – it was nonetheless generally accepted that Rugova was the legitimate winner of this election.

In 1991 the Yugoslav wars began following Slovenia and Croatia declaring themselves independent from the Socialist Federal Republic of Yugoslavia. By the summer of 1992, Yugoslavia was fully absorbed with the wars in Croatia and Bosnia, and had no spare military capacity to deal with conflicts elsewhere. Rugova supported Kosovo's independence but strongly opposed the use of force as a means of achieving it, fearing a Bosnia-style bloodbath. He instead advocated a policy of Gandhi-like passive resistance, stating on a visit to London that

 * The slaughterhouse is not the only form of struggle. There is no mass humiliation in Kosovo. We are organised and are operating as a state. It is easy to take to the streets and to head towards suicide, but wisdom lies in eluding a catastrophe.

The Serbian and Yugoslav governments subjected LDK activists and members to considerable harassment and intimidation, and argued that the shadow government was an illegal organisation. However, they did not try to shut down the LDK completely and they allowed him to travel abroad. It seems likely that Milošević saw Rugova as being useful in averting an uprising in Kosovo. The Yugoslav government would have found such a situation difficult to contain at the same time as supporting simultaneous wars in Croatia and Bosnia.

For his part, Rugova stuck to a hard line throughout the 1990s, rejecting any form of negotiation with Serbia's authorities other than on achieving outright independence of Kosovo. A compromise, or a setback in the eyes of his critics, came in 1996 when he reached an agreement with Serbia over educational facilities, under which the parallel shadow education system would not be integrated with that of Serbia.

The slide to war
Rugova's strategy of passive resistance attracted widespread support from the Kosovo Albanian population, who had seen the carnage wrought in Croatia and Bosnia and was wary of facing a similar situation. However, the Dayton Agreement of 1995, which ended the Bosnian War, seriously weakened Rugova's position. The agreement failed to make any mention of Kosovo and the international community made no serious efforts to resolve the province's ongoing problems. Radicals among the Kosovo Albanian population began to argue that the only way to break the impasse was to launch an armed uprising, in the belief that this would force the outside world to intervene. They blamed Rugova's policy of non-violence for Kosovo's failure to achieve independence. On 1 September 1996, Rugova and Slobodan Milošević signed the Milošević-Rugova education agreement in an attempt to resolve issues regarding the education of Kosovo Albanian children.

In 1997, the Kosovo Liberation Army (KLA) emerged as a fighting force and began carrying out attacks and assassinations against Serbian civilians, paramilitia and security forces as well as Albanians deemed to be "collaborators". The Serbian response was, as the KLA had predicted, forceful and often indiscriminate. By 1998, the KLA had grown into a full-scale guerrilla army, 100,000 Kosovo Albanians were refugees and the province was in a state of virtual civil war. Rugova was re-elected president in the same year and was awarded the Sakharov Prize for Freedom of Thought by the European Parliament. However, he was by now clearly being eclipsed by the KLA. This was highlighted in February 1999 when he was passed over in favour of the KLA's political chief Hashim Thaçi, who was chosen by the underground Kosovo Assembly to head the Kosovo Albanian negotiating team in the discussions on the aborted Rambouillet Agreement.

At the end of March 1999, after negotiations at Rambouillet had broken down, NATO launched Operation Allied Force to impose a resolution of the Kosovo War. Rugova spent the first few weeks of the war under virtual house arrest, along with his family, in Pristina. At the start of April 1999, Rugova was forcefully taken to Belgrade, where he was shown on Serbian state television meeting Milošević and calling for an end to the war.

Rugova was allowed to leave Kosovo for temporary exile in Italy in early May 1999, not long before the war ended. He attracted further criticism for his slowness to return to Kosovo – it was not until July that he arrived back in the province. Nonetheless, he received a hero's welcome and returned to political life under the new United Nations administration in Kosovo.

Post-war

Despite the political damage suffered by Rugova during the war, he soon regained public esteem and won a decisive victory against his political rivals in the KLA. The guerrillas had been welcomed as liberators by Kosovo Albanians but subsequently alienated many by the perception that they were engaging in organised crime, extortion and violence against political opponents and other ethnic groups in Kosovo. When elections were held in Kosovo in October 2000, the LDK won a landslide victory with 58% of the vote. Its nearest rival, Hashim Thaçi's KLA-linked Democratic Party of Kosovo, polled only 27%. On Monday, 4 March 2002, Rugova was appointed president by the Kosovo Assembly, though this only took place at the fourth attempt after lengthy political negotiations. Rugova lived to see the Constitution of Kosovo adopted by a freely elected democratic Parliament.

As the new President of Kosovo – this time formally acknowledged as such by the international community – Rugova continued to campaign for Kosovo's full independence. However, he insisted that it had to be achieved by peaceful means and with the agreement of all parties. He also pursued a policy of very close relations with the United States, as well as with the European Union. His incremental approach was criticised by radicals, but he sought to bring along the supporters of the former KLA; in November 2004, he appointed Ramush Haradinaj, the former commander of the KLA, as Prime Minister. The following month, Rugova was again elected president by the Kosovo Assembly. Nonetheless, he still encountered violent opposition. On 15 March 2005, he escaped —unhurt —an attempted assassination when a bomb exploded in a waste container as his car passed by. Rugova demonstrated a number of unusual traits during his time as president. He was readily identifiable by the silk neckscarf that he wore as a display of oppression in Kosovo and was known for his habit of giving visitors samples from his rock collection. His presents were carefully graded; the size of a crystal could reflect Rugova's feelings about the outcome of a meeting, prompting diplomats to compare notes afterwards about the size of the rocks presented to them. He was also a chain-smoker, and it may have been this habit that caused his eventual fatal condition.

Death
On 30 August 2005, Rugova left Kosovo and went to the United States Air Force Landstuhl Military Hospital in Germany for medical treatment after earlier treatment in Pristina and Camp Bondsteel, the main US base in Kosovo and the second-biggest in Europe. After a week at Landstuhl he returned to Kosovo. On 5 September 2005, he announced that he was suffering from lung cancer, but said that he would not be resigning from the post of president. He underwent chemotherapy, conducted by U.S. Army doctors, at his residence in Pristina but the treatment failed to resolve the cancer. He died four months later, on 21 January 2006. He was buried without religious rites on 26 January at a funeral attended by regional leaders and a crowd estimated to number one and a half million people.

There have been rumors that Rugova converted to Catholicism just before he died. These rumors have never been confirmed by his family nor other source, and one of his closest associates, Sabri Hamiti, in an essay published on the first anniversary of his death, refuted them. He said that Rugova referred to himself as a ‘symbolic Muslim’. The Chancellor of the Catholic Church of Kosovo, Don Shan Zefi, in an interview for Kosovo's national television, said that there is no evidence of Rugova's conversion to Catholicism or baptism. Zefi denied that he had baptized Rugova. Though he had a state funeral service, the head of the Islamic Community of Kosovo, together with many imams conducted Islamic funeral prayers for Rugova. His grave, located at a hilltop in Prishtina, is oriented perpendicular to Mecca, in accordance with Muslim tradition.

Books by and about Ibrahim Rugova

 * Prekje lirike, [Lyrical Touches], essays, Rilindja, Pristina, 1971;:
 * Kah teoria, [Towards Theory], essays, Rilindja, Pristina, 1978;
 * Bibliografia e kritikës letrare shqiptare 1944–1974, [Bibliography of Albanian Literary Criticism 1944–1974], Instituti Albanologjik, Pristina, 1976 (together with Isak Shema),
 * Kritika letrare (nga De Rada te Migjeni), [Literary Criticism], anthology with commentary, Rilindja, Pristina, 1979 (together with Sabri Hamiti);
 * Strategjia e kuptimit, [Strategy of Meaning], essays, Rilindja, Pristina, 1980;
 * Vepra e Bogdanit 1675–1685, [Bogdani's Oeuvre 1675–1685], monograph study, Rilindja, Pristina, 1982;
 * Kahe dhe premisa të kritikës letrare shqiptare 1504–1983, [Directions and Premises of Albanian Literary Criticism 1504–1983], monograph study, Instituti Albanologjik, Pristina, 1986;
 * Refuzimi estetik', [Aesthetic Rejection], essays, Rilindja, Pristina, 1987;
 * Pavarësia dhe demokracia, [Independence and Democracy], interviews and other occasional pieces, Fjala, Pristina, 1991;
 * Çështja e Kosovës, [The Kosovo Issue], (together with Marie-Françoise Allain and Xavier Galmiche), Dukagjini, Peć, 1994; translation of the original La question du Kosovo – entretiens avec Marie-Francoise Allain et Xavier Galmiche, Preface de Ismail Kadare, Paris, 1994;
 * Ibrahim Rugova: “La frêle colosse du Kosovo” , Desclée de Brouwer, Paris, 1999;
 * Kompleti i veprave të Ibrahim Rugovës në tetë vëllime [Ibrahim Rugova's Oeuvre in eight volumes], Faik Konica, Pristina, 2005.
 * On the first anniversary of Rugova's death, the Kosovo Presidency published a book entitled President Rugova, with a Preface by President Fatmir Sejdiu (‘The First Statesman of Kosovo’) and a long introduction by Sabri Hamiti (‘Memento for Rugova’). The book collects some of the President's major speeches/addresses as a leader and statesman.
 * Rugova: Vizioni nacional", a publicistic book by Vehbi Miftari, „AIKD”, 2007
 * "Rugova: The symbol of independence", a publicistic book by Vehbi Miftari „AIKD”, 2008
 * "Rugova – mendimi, kultura, politika", a book by Vehbi Miftari, 2010
 * The Winter Of Great Despair by Jeton Kelmendi

Honours

 * 1995 Peace Prize of Paul Litzer Foundation, Denmark.
 * 1996 Honorary Doctorate of University of Paris VIII: Vincennes—Saint-Denis, France
 * 1998 Sakharov Prize of the European Parliament.
 * 1998 Homo Homini Award for human rights activism, People in Need
 * 1999 Peace Prize, City of Münster
 * 1999 Honorary Citizen of the Cities of Venice, Milan and Brescia (Italy).
 * 2000 Peace Prize of the Democratic Union of Catalonia, Barcelona, Spain.
 * 2003 Prize European Senator of Honour.
 * 2004 Honorary Doctorate of Tirana University.
 * 2006 National Flag Order (posthumously), by President of Albania Alfred Moisiu
 * 2007 Order "Hero of Kosovo" (posthumously), by President of Kosovo Fatmir Sejdiu
 * 2013 R7 Motorway in Kosovo linking with Albania was named after him

title: Ibrahim Rugova


text:
Kjotve the Rich

Kjotve the Rich (Old Norse: Kjǫtvi hinn auðgi, Norwegian: Kjøtve den Rike) was a king of Agder, then one of the petty kingdoms of Norway  during  the late 9th century. Kjotve led the western Norwegian kings against King Harald Fairhair (Harald Hårfagre) at the Battle of Hafrsfjord (Slaget i Hafrsfjorden). Defeated by Harald, Kjotve fled; many of his allies were killed in the battle. His son Thorir Haklang was a berserker who fell during the Battle of Hafrsfjord.

Popular culture
A character loosely inspired by the historical Kjotve, nicknamed "Kjotve the Cruel", appears in an antagonistic role during the opening hours of the 2020 video game Assassin's Creed Valhalla. Kjotve the Cruel has one son named Gorm, who features periodically throughout the game, and Kjotve is revealed through the mobile game Assassin's Creed: Rebellion to have a second son, Hrolfr.

Kjotve appears in Paradox Interactive's video game Crusader Kings, and its two sequels, ruling the province of Agder.

title: Kjotve the Rich


text:
User talk:24.217.219.69

Typo redirect 'St Louis Blues'
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"German, Standard" listed at Redirects for discussion
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title: User talk:24.217.219.69


text:
List of state routes in Connecticut

The Connecticut Department of Transportation (CTDOT) maintains a system of state highways to serve the predominant flow of traffic between towns within Connecticut, and to towns in surrounding states. State highways also include roads that provide access to federal and state facilities (Special Service Roads).

The state highway system consists of roads indicated on the official CTDOT map and highway log. As of January 1, 2007, the state highway system contains a total of 3719 mi of roads (not including ramps and interchange connections), corresponding to approximately 20% of all roads in the state. All state highways are state-maintained except for several segments (totaling 4 miles) that are locally maintained. Interstate highways and U.S. highways in the state are not Connecticut state routes, however they are maintained by the state.

All state highways are given a number designation. All state highways are assigned Route numbers. Route numbers are in the 2–999 range. State highways that are special service roads are assigned SSR numbers and are unsigned; these numbers are above 399 and are used for internal CTDOT purposes. Signposted state highways that are not U.S. highways or interstates are signed with the square Connecticut state highway shield.

State Routes
Routes are signed state highways and are assigned numbers from 1 to 399 (with the exception of I-684 and I-691). All state, U.S. and Interstate highways are part of the same numbering system. In 1926, the U.S. highway system was implemented. U.S. Routes 1, 5, 6, and 7 were used as designations on several primary state highways, replacing New England routes 1, 2, 3, and 4, respectively. The other New England routes that were not re-designated as U.S. routes became ordinary state highways but kept their number designation, which are used even today (with some realignment). In 1958, Connecticut received approval for the route numbers of its three primary Interstate highways: I-84, I-91, and I-95. State highways with the same number designation as the Interstate highways were renumbered to avoid duplication of route numbers.

Special Service Roads
Roads classified by the Department of Transportation as special service roads are given an unsigned number designation between 400 and 499. Special service roads are roads that connect a federal or state facility (including state parks and some Interstate Highway interchanges) to a signed state route. These numbers only appear in internal documentation, none of them are signed.

State Roads
State Roads are state-maintained roads that are usually long entrance/exit ramps to/from an expressway, or short interconnecting roads between signed routes. Roads classified by the Department of Transportation as state roads are given an unsigned number designation between 500 and 999. The first digit denotes which Maintenance District the road is mainly located in:
 * 500–599: District 1: Greater Hartford
 * 600–699: District 2: Quiet Corner, Lower Connecticut River Valley, Southeastern Connecticut
 * 700–799: District 3: Southwestern Connecticut, Greater New Haven
 * 800–899: District 4: Naugatuck River Valley, Greater Danbury, Northwestern Connecticut
 * 900–999: Statewide; very short routes

State road numbers are only for internal record-keeping and documentation, all of these roads are unsigned.

1913 trunk line system
In 1900, the State Highway Department proposed a statewide system of trunk line routes. By 1913, the system consisted of 10 north-south highways and 4 east-west highways, including the lower Boston Post Road. The system covered roughly 1400 mi. The 14 trunk lines were numbered on paper but were never actually signposted. The 14 trunk line routes were:
 * Route 1: east-west from Greenwich to Stonington, roughly modern U.S. Route 1
 * Route 2: north-south from Stamford to Salisbury, roughly modern Route 106, Route 33, Route 35, U.S. Route 7, Route 341, Route 41
 * Route 3: north-south from Norwalk to North Canaan, roughly modern U.S. Route 7, Route 107, Route 53, Route 37, U.S. Route 202, Route 45, U.S. Route 7
 * Route 4: north-south from Bridgeport to Colebrook, roughly modern Route 8
 * Route 5: north-south from New Haven to Suffield via Cheshire (concurrent with Route 6 north of Hartford), roughly modern Route 10, Route 4, Route 159
 * Route 6: north-south from New Haven to Suffield via Meriden (concurrent with Route 5 north of Hartford), roughly modern U.S. Route 5, Route 71, Route 159
 * Route 7: north-south from New Haven to Enfield via Middletown, roughly modern Route 17, Route 99, U.S. Route 5
 * Route 8: north-south from Old Saybrook to Hartford, roughly modern Route 9, Route 99
 * Route 9: north-south from New London to Colebrook, roughly modern Route 85, Route 2, Route 189, Route 20
 * Route 10: north-south from New London to Thompson, roughly modern Route 32, Route 169, Route 12, Route 193
 * Route 11: north-south from Stonington to Woodstock, roughly modern Route 2, Route 32, U.S. Route 6, Route 198
 * Route 12: east-west from Salisbury to Putnam, roughly Twin Lakes Road, modern U.S. Route 44
 * Route 13: east-west from Kent to Sterling, roughly modern Route 341, U.S. Route 202, Route 118, Route 4, U.S. Route 6, Route 14
 * Route 14: east-west from Sherman to Killingly, roughly Route 37, Route 67, Route 317, Route 64, Route 322, Route 66, U.S. Route 6

New England road marking system
The first public route numbering came with the advent of the New England road marking system of 1922. This highway numbering system was used throughout New England and consisted of 25 routes (with route numbers from 1 to 32). A total of 9 of the routes passed through Connecticut (Routes 1, 2, 3, 4, 8, 10, 12, 17, and 32). In this system, inter-state routes would be numbered 1–99 and state routes numbered 100 and up. The New England route system was soon eclipsed by the national U.S. highway system.

1922–1931
The State Highway Department classified state roads as either State Highways (SH) or State Aid Roads (SA). These roads were given number designations – 100–299 for primary routes and 300+ for secondary routes. Some state roads were signposted and some were not.

1932 renumbering
The state abandoned its old numbering system and renumbered almost all of their state highways in 1932. Most of the present route numbers were formed during this renumbering. The only route numbers that survived were U.S. Routes and a few state highway routes. For route numbers established in 1932, the new numbering system used odd numbers for north-south routes and even numbers for east-west routes, matching the U.S. Highway numbering system. The New England routes that were grandfathered into the highway system (Routes 8, 10, 12, 32) did not follow the new system. The state also assigned new route numbers in clusters, with routes in the same general location having numbers close to each other as well. Shortly after the renumbering, in 1935, two new U.S. Routes were commissioned: US 44 (taking over part of old New England Route 17) and US 202.

1963 renumbering
In 1963, the state passed the Road Reclassification Act to fix the by now fragmented state highway system. Many state highways had state maintenance gaps and several highway segments were even isolated from the rest of the system. State highways were classified into primary, secondary, and service roads. Primary routes were essentially left unchanged, while minor realignments, additions/deletions, and extensions occurred in many secondary routes. About 1/3 of all routes were changed to some degree by this renumbering. The current system of unsigned ("secret") routes, including the special service roads, was also created during this renumbering. The state highway system has not had any major changes since then. The state completely abandoned the odd/even numbering scheme established in 1932 with new numbers in 1963 assigned without regard to their direction or general location.

title: List of state routes in Connecticut


text:
Halbach array

A Halbach array is a special arrangement of permanent magnets that augments the magnetic field on one side of the array while cancelling the field to near zero on the other side. This is achieved by having a spatially rotating pattern of magnetisation.

The rotating pattern of permanent magnets (on the front face; on the left, up, right, down) can be continued indefinitely and have the same effect. The effect of this arrangement is roughly similar to many horseshoe magnets placed adjacent to each other, with similar poles touching.

This magnetic orientation process replicates that applied by a magnetic recording tape head to the magnetic tape coating during the recording process. The principle was further described by James (Jim) M. Winey of Magnepan in 1970, for the ideal case of continuously rotating magnetization, induced by a one-sided stripe-shaped coil.

The effect was also discovered by John C. Mallinson in 1973, and these "one-sided flux" structures were initially described by him as a "curiosity", although at the time he recognized from this discovery the potential for significant improvements in magnetic tape technology.

Physicist Klaus Halbach, while at the Lawrence Berkeley National Laboratory during the 1980s, independently invented the Halbach array to focus particle accelerator beams.

Magnetization

Although this magnetic flux distribution seems somewhat counter-intuitive to those familiar with simple bar magnets or solenoids, the reason for this flux distribution can be intuitively visualised using Mallinson's original diagram (note that it uses the negative y component, unlike the diagram in Mallinson's article). The diagram shows the field from a strip of ferromagnetic material with alternating magnetization in the y direction (top left) and in the x direction (top right). Note that the field above the plane is in the same direction for both structures, but the field below the plane is in opposite directions. The effect of superimposing both of these structures is shown in the figure.

The crucial point is that the flux will cancel below the plane and reinforce itself above the plane. In fact, any magnetization pattern where the components of magnetization are $$\pi/2$$ out of phase with each other will result in a one-sided flux. The mathematical transform that shifts the phase of all components of some function by $$\pi/2$$ is called a Hilbert transform; the components of the magnetization vector can therefore be any Hilbert-transform pair (the simplest of which is simply $$\sin(x) \cos(y)$$, as shown in the diagram above).

The field on the non-cancelling side of the ideal, continuously varying, infinite array is of the form

 * $$F(x, y) = F_0 e^{ikx} e^{-ky},$$

where
 * $$F(x, y)$$ is the field in the form $$F_x + i F_y$$,
 * $$F_0$$ is the magnitude of the field at the surface of the array,
 * $$k$$ is the wavenumber (i.e., the spatial frequency) $$2\pi / \lambda.$$

Applications
The advantages of one-sided flux distributions are twofold:
 * The field is twice as large on the side on which the flux is confined (in the idealized case).
 * There is no stray field produced (in the ideal case) on the opposite side. This helps with field confinement, usually a problem in the design of magnetic structures.

Thus they have a surprising number of applications, ranging from flat refrigerator magnets through industrial applications such as the brushless DC motor, voice coils, magnetic drug targeting to high-tech applications such as wiggler magnets used in particle accelerators and free-electron lasers.

The Inductrack Maglev train and Inductrack rocket-launch system utilize the Halbach array to lift the train by repelling loops of wire in the track. Flat flexible (not hard ceramic ferrite) refrigerator magnets are created with a Halbach magnetization pattern for a stronger holding force when attached to a flat ferromagnetic surface (e.g. a fridge door) than the holding force from a uniform magnetization. They're made from powdered ferrite mixed in a flexible binder (e.g. plastic or rubber) that is exposed to a Halbach magnetization field pattern as it is extruded, permanently giving the ferrite particles in the magnetic compound this one-sided flux distribution (which can be viewed with magnetic viewing film).

Scaling up this design and adding a top sheet gives a wiggler magnet, used in synchrotrons and free-electron lasers. Wiggler magnets wiggle, or oscillate, an electron beam perpendicular to the magnetic field. As the electrons are undergoing acceleration, they radiate electromagnetic energy in their flight direction, and as they interact with the light already emitted, photons along its line are emitted in phase, resulting in a "laser-like" monochromatic and coherent beam.

The design shown above is usually known as a Halbach wiggler. The magnetization vectors in the magnetized sheets rotate in the opposite senses to each other; above, the top sheet's magnetization vector rotates clockwise, and the bottom sheet's magnetization vector rotates counter-clockwise. This design is chosen so that the x components of the magnetic fields from the sheets cancel, and the y components reinforce, so that the field is given by

 * $$H_y \approx \cos(kx),$$

where k is the wavenumber of the magnetic sheet given by the spacing between magnetic blocks with the same magnetization vector.

Variable linear arrays
A series of magnetic rods, magnetized perpendicular to their axes, can be arranged into a Halbach array. If each rod is then rotated alternately through 90°, the resultant field moves from one side of plane of the rods to the other, as shown schematically in the figure.

This arrangement allows the field to effectively be turned on and off above or below the plane of the rods, depending on the rotation of the rods. Such a device makes an efficient mechanical magnetic latch requiring no power. A detailed study of this arrangement has shown that each rod is subject to a strong torque from its neighboring rods, and therefore requires mechanical stabilization. However, a simple and efficient solution, providing both stabilization and the ability to rotate each rod alternately, is simply to provide an equal-gearing arrangement on each rod, as shown in the figure.

Cylinder
A Halbach cylinder is a magnetized cylinder composed of ferromagnetic material producing (in the idealized case) an intense magnetic field confined entirely within the cylinder, with zero field outside. The cylinders can also be magnetized such that the magnetic field is entirely outside the cylinder, with zero field inside. Several magnetization distributions are shown in the figures.

The direction of magnetization within the ferromagnetic material, in plane perpendicular to the axis of the cylinder, is given by

 * $$M = M_r\left[\cos\left((k - 1)\left(\varphi - \frac{\pi}{2}\right)\right) \widehat{\rho} + \sin\left((k - 1)\left(\varphi - \frac{\pi}{2}\right)\right) \widehat{\varphi}\right],$$

where Mr is the ferromagnetic remanence (A/m). A positive value of k − 1 gives an internal magnetic field, and a negative one gives an external magnetic field.

Ideally, these structures would be created from an infinite-length cylinder of magnetic material with the direction of magnetization continuously varying. The magnetic flux produced by this ideal design would be perfectly uniform and be entirely confined to either the bore of the cylinder or the outside of the cylinder. Of course, the ideal case of infinite length is not realizable, and in practice the finite length of the cylinders produces end effects, which introduce non-uniformities in the field. The difficulty of manufacturing a cylinder with a continuously varying magnetization also usually leads to the design being broken into segments.

Applications
These cylindrical structures are used in devices such as brushless AC motors, magnetic couplings and high-field cylinders. Both brushless motors and coupling devices use multipole field arrangements:
 * Brushless motors or alternators typically use cylindrical designs in which all the flux is confined to the centre of the bore (such as k = 4 above, a 6-pole rotor) with the AC coils also contained within the bore. Such self-shielding motor or alternator designs are more efficient and produce higher torque or output than conventional motor or alternator designs.
 * Magnetic-coupling devices transmit torque through magnetically transparent barriers (that is, the barrier is non-magnetic or is magnetic but not affected by an applied magnetic field), for instance, between sealed containers or pressurised vessels. The optimal torque couplings consists of a pair of coaxially nested cylinders with opposite +k and −k flux magnetization patterns, as this configuration is the only system for infinitely long cylinders that produces a torque. In the lowest-energy state, the outer flux of the inner cylinder exactly matches the internal flux of the outer cylinder. Rotating one cylinder relative to the other from this state results in a restoring torque.

Uniform fields
For the special case of k = 2, the field inside the bore is uniform and is given by

 * $$H = M_r \ln\left(\frac{R_\text{o}}{R_\text{i}}\right) \widehat{y},$$

where the inner and outer cylinder radii are Ri and Ro respectively. H is in the y direction. This is the simplest form of the Halbach cylinder, and it can be seen that if the ratio of outer to inner radii is greater than e, the flux inside the bore actually exceeds the remanence of the magnetic material used to create the cylinder. However, care has to be taken not to produce a field that exceeds the coercivity of the permanent magnets used, as this can result in demagnetization of the cylinder and the production of a much lower field than intended.

This cylindrical design is only one class of designs that produce a uniform field inside a cavity within an array of permanent magnets. Other classes of design include wedge designs, proposed by Abele and Jensen, in which wedges of magnetized material are arranged to provide uniform field within cavities inside the design as shown.

The direction of magnetization of the wedges in (A) can be calculated using a set of rules given by Abele and allows for great freedom in the shape of the cavity. Another class of design is the magnetic mangle (B), proposed by Coey and Cugat, in which uniformly magnetized rods are arranged such that their magnetization matches that of a Halbach cylinder, as shown for a 6-rod design. This design greatly increases access to the region of uniform field, at the expense of the volume of uniform field being smaller than in the cylindrical designs (although this area can be made larger by increasing the number of component rods). Rotating the rods relative to each other results in many possibilities, including a dynamically variable field and various dipolar configurations. It can be seen that the designs shown in (A) and (B) are closely related to the k = 2 Halbach cylinder. Other very simple designs for a uniform field include separated magnets with soft iron return paths, as shown in figure (C).

In recent years, these Halbach dipoles have been used to conduct low-field NMR experiments. Compared to commercially available (Bruker Minispec) standard plate geometries (C) of permanent magnets, they, as explained above, offer a huge bore diameter, while still having a reasonably homogeneous field.

Derivation in the ideal case
The method used to find the field created by the cylinder is mathematically very similar to that used to investigate a uniformly magnetised sphere.

Because of the symmetry of the arrangement along the cylinder's axis, the problem can be treated as two-dimensional. Work in plane-polar coordinates $$(r, \theta)$$ with associated unit vectors $$\hat\mathbf{r}$$ and $$\hat\boldsymbol{\theta}$$, and let the cylinder have radial extent $$r_\mathrm{i} < r < r_\mathrm{o}$$. Then the magnetisation in the cylinder walls, which has magnitude $$M_0$$, rotates smoothly as
 * $$\mathbf{M}_\mathrm{cyl} = M_0 (\cos\theta\, \hat\mathbf{r} + \sin\theta\, \hat\boldsymbol{\theta}),$$

while the magnetisation vanishes outside the walls, that is for the bore $$r < r_\mathrm{i}$$ and surroundings $$r > r_\mathrm{o}$$.

By definition, the auxiliary magnetic field strength $$\mathbf{H}$$ is related to the magnetisation and magnetic flux density $$\mathbf{B}$$ by $$\mathbf{B} = \mu_0 (\mathbf{H} + \mathbf{M})$$. Using Gauss' law $$\nabla\cdot\mathbf{B} = 0$$, this is equivalently

Since the problem is static there are no free currents and all time derivatives vanish, so Ampère's law additionally requires $$\nabla\times\mathbf{H}=0 \implies \mathbf{H} = \nabla\varphi$$, where $$\varphi$$ is the magnetic scalar potential (up to a sign under some definitions). Substituting this back into the previous Equation $$ governing $$\mathbf{H}$$ and $$\mathbf{M}$$, we find that we need to solve

which has the form of Poisson's equation.

Consider now the boundary conditions at the cylinder-air interfaces $$r = r_\mathrm{i}$$ and $$r = r_\mathrm{o}$$. Integrating $$\nabla \times \mathbf{H} = 0$$ over a small loop straddling the boundary and applying Stokes' theorem requires that the parallel component of $$\mathbf{H}$$ is continuous. This in turn requires that $$\varphi$$ is continuous across the boundary. (More properly this implies that $$\varphi$$ must differ by a constant across the boundary, but since the physical quantities we are interested in depend on gradients of this potential, we can arbitrarily set the constant to zero for convenience.) To obtain a second set of conditions, integrate Equation $$ across a small volume straddling the boundary and apply the divergence theorem to find
 * $$\left[\frac{\partial \varphi}{\partial r}\right] = \pm \mathbf{M} \cdot \hat{\mathbf{r}},$$

where the notation $$[f]$$ denotes a jump in the quantity $$f$$ across the boundary, and in our case the sign is negative at $$r = r_\mathrm{i}$$ and positive at $$r = r_\mathrm{o}$$. The sign difference is due to the relative orientation of the magnetisation and the surface normal to the part of the integration volume inside the cylinder walls being opposite at the inner and outer boundaries.

In plane-polar coordinates, the divergence of a vector field $$\mathbf{F} = F_r\hat\mathbf{r} + F_\theta \hat\boldsymbol{\theta}$$ is given by

Similarly, the gradient of a scalar field $$f$$ is given by

Combining these two relations, the Laplacian $$\nabla^2 f = \nabla\cdot(\nabla f)$$ becomes

Using Equation $$, the magnetisation divergence in the cylinder walls is

\begin{align} \nabla \cdot \mathbf{M}_\mathrm{cyl} &= \frac{1}{r}\frac{\partial}{\partial r}(r M_0 \cos\theta) + \frac{1}{r} \frac{\partial}{\partial\theta}(M_0 \sin\theta)\\[5pt] &= \frac{M_0 \cos\theta}{r} + \frac{M_0 \cos\theta}{r}\\[5pt] &= \frac{2M_0 \cos\theta}{r}. \end{align} $$ Hence Equation $$, which is that we want to solve, becomes by using Equation $$

Look for a particular solution of this equation in the cylinder walls. With the benefit of hindsight, consider $$\varphi_\mathrm{p} = r \ln r \cos\theta$$, because then we have

\begin{align} \frac{1}{r}\frac{\partial}{\partial r}\left(r \frac{\partial\varphi_\mathrm{p}}{\partial r}\right) &= \frac{1}{r}\frac{\partial}{\partial r}\left[r \frac{\partial}{\partial r}(r \ln r \cos\theta)\right]\\[5pt] &= \frac{\cos\theta}{r}\frac{\partial}{\partial r}\left[r(\ln r + 1)\right]\\[5pt] &= \frac{\cos\theta}{r}(\ln r + 1 + 1)\\[5pt] &= \frac{\ln r\cos\theta}{r} + \frac{2 \cos\theta}{r} \end{align} $$ and also

\begin{align} \frac{1}{r^2}\frac{\partial^2 \varphi_\mathrm{p}}{\partial\theta^2} &= \frac{1}{r^2}\frac{\partial^2}{\partial\theta^2}(r \ln r \cos\theta)\\[5pt] &= -\frac{\ln r \cos\theta}{r}. \end{align} $$ Hence $$\nabla^2 \varphi_\mathrm{p} = \frac{2 \cos\theta}{r}$$, and comparison with Equation $$ shows that $$-M_0 \varphi_\mathrm{p} = - M_0 r \ln r \cos\theta$$ is the appropriate particular solution.

Now consider the homogeneous equation for Equation $$, namely $$\nabla^2 \varphi_\mathrm{h} = 0$$. This has the form of Laplace's equation. Through the method of separation of variables, it can be shown that the general homogeneous solution whose gradient is periodic in $$\theta$$ (such that all the physical quantities are single-valued) is given by
 * $$\varphi_\mathrm{h} = A_0 + B_0 \theta + C_0 \ln r + \sum_{n=1}^\infty \left(A_n r^n + B_n r^{-n}\right)\cos n\theta + \sum_{n=1}^\infty \left(C_n r^n + D_n r^{-n}\right)\sin n\theta,$$

where the $$A_i,\ B_i,\ C_i,\ D_i$$ are arbitrary constants. The desired solution will be the sum of the particular and homogeneous solutions that satisfies the boundary conditions. Again with the benefit of hindsight, let us set most of the constants to zero immediately and assert that the solution is

\varphi = \begin{cases} \alpha r \cos\theta & r < r_\mathrm{i}, \\ \beta r \cos \theta - M_0 r \ln r \cos\theta & r_\mathrm{i} < r < r_\mathrm{o}, \\ 0 & r > r_\mathrm{o}, \end{cases} $$ where now $$\alpha,\ \beta$$ are constants to be determined. If we can choose the constants such that the boundary conditions are satisfied, then by the uniqueness theorem for Poisson's equation, we must have found the solution.

The continuity conditions give

at the inner boundary and

at the outer boundary. The potential gradient has non-vanishing radial component $$\beta\cos\theta - M_0 \ln r \cos\theta - M_0 \cos\theta$$ in the cylinder walls and $$\alpha\cos\theta$$ in the bore, and so the conditions on the potential derivative become
 * $$(\beta\cos\theta - M_0 \ln r_\mathrm{i} \cos\theta - M_0\cos\theta) - \alpha \cos\theta = -M_0\cos\theta \implies \beta - M_0 \ln r_\mathrm{i} - \alpha = 0 \implies \alpha = \beta - M_0 \ln r_\mathrm{i}$$

at the inner boundary and
 * $$0 - (\beta\cos\theta - M_0 \ln r_\mathrm{0} \cos\theta - M_0\cos\theta) = M_0\cos\theta \implies \beta - M_0 \ln r_\mathrm{o} = 0$$

at the outer boundary. Note that these are identical to Equations $$ and $$, so indeed the guess was consistent. Hence we have $$\beta = M_0 \ln r_\mathrm{o}$$ and $$\alpha = M_0 \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right)$$, giving the solution

\varphi = \begin{cases} M_0 \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right) r \cos\theta & r < r_\mathrm{i},\\ M_0 \ln\left(\frac{r_\mathrm{o}}{r}\right) r \cos\theta & r_\mathrm{i} < r < r_\mathrm{o},\\ 0 & r > r_\mathrm{o}. \end{cases} $$ Consequently, the magnetic field is given by

\mathbf{H} = \nabla\varphi = \begin{cases} M_0 \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right) \cos\theta\,\hat\mathbf{r} - M_0 \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right) \sin\theta\,\hat\boldsymbol{\theta} & r < r_\mathrm{i},\\ M_0 \cos\theta \left[\ln\left(\frac{r_\mathrm{o}}{r}\right)-1\right]\,\hat\mathbf{r} - M_0 \ln\left(\frac{r_\mathrm{o}}{r}\right) \sin\theta\,\hat\boldsymbol{\theta} & r_\mathrm{i} < r < r_\mathrm{o},\\ 0 & r > r_\mathrm{o}, \end{cases} $$ while the magnetic flux density can then be found everywhere using the previous definition $$\mathbf{B} = \mu_0 (\mathbf{H} + \mathbf{M})$$. In the bore, where the magnetisation vanishes, this reduces to $$\mathbf{B}_\mathrm{bore} = \frac{1}{\mu_0}\mathbf{H}_\mathrm{bore}$$. Hence the magnitude of the flux density there is
 * $$B_\mathrm{bore} = \left|\mathbf{B}_\mathrm{bore}\right| = \sqrt{\cos^2\theta + \sin^2\theta}\frac{M_0}{\mu_0} \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right) = \frac{M_0}{\mu_0} \ln\left(\frac{r_\mathrm{o}}{r_\mathrm{i}}\right),$$

which is independent of position. Similarly, outside the cylinder the magnetisation also vanishes, and since the magnetic field vanishes there, the flux density does too. So indeed the field is uniform inside and zero outside the ideal Halbach cylinder, with a magnitude depending on its physical dimensions.

Varying the field
Halbach cylinders give a static field. However, cylinders can be nested, and by rotating one cylinder relative to the other, cancellation of the field and adjustment of the direction can be achieved. As the outside field of a cylinder is quite low, the relative rotation does not require strong forces. In the ideal case of infinitely long cylinders, no force would be required to rotate a cylinder with respect to the other.

Sphere
If the two-dimensional magnetic distribution patterns of the Halbach cylinder are extended to three dimensions, the result is the Halbach sphere. These designs have an extremely uniform field within the interior of the design, as they are not affected by the "end effects" prevalent in the finite-length cylinder design. The magnitude of the uniform field for a sphere also increases to 4/3 the amount for the ideal cylindrical design with the same inner and outer radii. However, for a spherical struction, access to the region of uniform field is usually restricted to a narrow hole at the top and bottom of the design.

The equation for the field in a Halbach sphere is

 * $$B = \frac{4}{3} B_0 \ln\left(\frac{R_\text{o}}{R_\text{i}}\right).$$

Higher fields are possible by optimising the spherical design to take account of the fact that it is composed of point dipoles (and not line dipoles). This results in the stretching of the sphere to an elliptical shape and having a non-uniform distribution of magnetization over the component parts. Using this method, as well as soft pole pieces within the design, 4.5 T in a working volume of 20 mm3 was achieved by Bloch et al. in 1998, and this was increased further to 5 T in 2002, although over a smaller working volume of 0.05 mm3. As hard materials are temperature-dependent, refrigeration of the entire magnet array can increase the field within the working area further, as shown by Kumada et al. This group also reported development of a 5.16 T Halbach dipole cylinder in 2003.

title: Halbach array


text:
HMS Fearless (L10)

HMS Fearless (L10) was a Royal Navy amphibious assault ship that served from 1965 until 2002. One of two Fearless-class landing platform docks, she was based in HMNB Portsmouth and saw service around the world over her 37-year life. She was the last steam-powered surface ship in the Royal Navy.

Role
The landing platform docks (LPD) supported a Royal Marines amphibious assault force and provided a platform for the Headquarters capability prior to, and during, the assault phase. The Royal Marines served aboard as the 4th Assault Squadron. The Squadron included crew for the four LCUs, four LCVPs and the Beach Party, which was equipped with a Land Rover, a Bedford 4-ton truck, two tractor units—one a track layer, the other equipped with a bucket—and a Centurion BARV. The squadron also had duties aboard, (ensuring equipment and troops got to shore as they were needed), radio operators and administration.

Service
Fearless was the first purpose-built LPD used by the Royal Navy. Built in Belfast at the Harland and Wolff yard, she was launched in 1963 before undergoing trials and commissioning in 1965.

Following commissioning, her first operational tasking was acting as a command platform for British Counter-Terrorism operations in Aden, operating Royal Air Force aircraft and the Irish Guards prior to the British withdrawal as Flag of a 25 platform task group. Following the Aden experiences, she was the venue for talks between Harold Wilson and Ian Smith in 1968, over the future of Rhodesia. The latter had unilaterally declared independence (UDI) from Britain, owing to Britain's insistence on the removal of white minority rule.

Between 1969 and 1970 she was commanded by Captain John Gerard-Pearse. During this time, Fearless toured the Far East and was involved in emergency assistance work in Bangladesh after Typhoon Bhola, carrying 59 Royal Engineers Squadron, who would later become 59 Independent Commando Squadron.

In July 1972, Fearless ferried several Centurion AVRE demolition vehicles, derived from the Centurion tank, to Northern Ireland to be deployed there as part of Operation Motorman.

Fearless featured in the 1977 James Bond film The Spy Who Loved Me as the ship that picks up Bond's escape pod. The filming took place the previous year near the island of Malta.

Fearless was part of the British naval force committed to Operation Corporate, the 1982 Falklands War. Fitted with modern satellite communications equipment, it hosted the staff of amphibious force commander Commodore Michael Clapp (Commodore Amphibious Warfare (COMAW)), and Commanding Officer 3 Commando Brigade, Brigadier Julian Thompson and his staff, as well as elements of the landing force. During the conflict, two of the ship's landing craft were involved in rescuing crew from HMS Antelope (F170) after it had been bombed. Royal Marine Coxswain Corporal Alan White received a commendation from the Task Force Commander, Admiral Sir John Fieldhouse, for his part in rescuing 41 crew using Foxtrot 7, one of four LCVP landing craft carried by Fearless. Colour-Sergeant Brian Johnston was awarded the Queen's Gallantry Medal for rescuing other crew members in Foxtrot 4, a larger LCU landing craft; he and five of F4's crew were killed, and two injured, on 8 June 1982 in an attack by enemy aircraft. Foxtrot 7 is now located in the Royal Marines Museum in Portsmouth, with detailed accounts from Corporal White of the missions he took part in, including the landings at San Carlos. F4 was replaced but is now named FJ in memory of C-Sgt Johnston.

She was placed out of commission for three years in 1985 prior to a two-year refit at Devonport, recommissioning in 1991. During this refit, her 1940s-vintage 40mm Bofors cannon and 1960s-vintage Sea Cat anti-aircraft missile launchers were replaced by 20 mm BMARC and Phalanx CIWS guns.

From 1991 until 1995 she supported the sea training phase of initial officer training, undertaken at Britannia Royal Naval College, as part of the Dartmouth Training Squadron.

She was due to undertake an operation in the Gulf, but that was handed to HMS Ocean (L12) in 2000. Her last major duty was to take part in amphibious exercises shortly before decommissioning.

Decommissioned

Fearless was decommissioned in 2002 and awaited disposal in Fareham Creek, Hampshire, moored alongside her sister ship HMS Intrepid (L11). In October 2007, it was reported that Fearless was to be scrapped in Belgium, five years after the vessel was officially mothballed in Portsmouth. On 17 December 2007, Fearless was towed to Ghent in Belgium to be broken. This was the first warship successfully exported for recycling by any Western government that fully complied with international agreements and the principles concerning environmentally sound management of waste.

Replacement LPDs HMS Albion (L14) and HMS Bulwark (L15) were ordered during the 1990s. They were commissioned in 2003 and 2005 respectively.

title: HMS Fearless (L10)