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User talk:Danhuby

Thanks
Great foto of the Uffington White Horse. Congratulations to the birth of your daughter. (info from your homepage). :) Longbow4u 09:12, 10 September 2005 (UTC)

Pictures to Wiki Commons?
Nice picture of the Burgh Island sea tractor! How about pitting it on Wikimedia Commons where it can be used more widely?

Nomination of Shoreditch TV for deletion
A discussion is taking place as to whether the article Shoreditch TV is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Shoreditch TV until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article until the discussion has finished. Stifle (talk) 13:37, 16 June 2023 (UTC)

title: User talk:Danhuby


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Talk:Gaza–Israel barrier

who has actual control of rafah ?
i read things that suggest rafah is totally under egyptian control, and other things that suggest the egyptians operate under some israeli guidelines or rules is there a clear answer here ? — Preceding unsigned comment added by 24.91.51.31 (talk) 05:01, 30 December 2012 (UTC)

 * check this report from Gisha: https://gisha.org/en/rafah-crossing-who-holds-the-keys/ DMH43 (talk) 03:50, 23 January 2024 (UTC)

Recent changes
The claim that Israel does not allow goods to go directly from Egypt into Gaza through the Egypt–Gaza border is unfounded. Israel has no control over that border. I have undone the changes and it can be discussed here. Dovidroth (talk) 06:34, 8 January 2023 (UTC)

Why no pictures of the wall?
Wikimedia Commons has a whole bunch of pictures of the wall, including the anti-tunnel barrier. We should add some. KetchupSalt (talk) 08:49, 8 October 2023 (UTC)

Extended-confirmed-protected edit request on 10 October 2023
I suggest deleting the phrase ", which could only be of use for infiltration by militants," as it does not seem to be supported by reliable sources. The NPR article says that many tunnels discovered had been used for infiltration, but does not state that tunnels could "only" be used to infiltrate. Experience with tunnels in other regions suggests that cross-border tunnels could be used for migration, smuggling of goods, and several other purposes. Given the contentious nature of the topic I suggest a strict reading of the reliable source. Vegastrong (talk) 03:25, 10 October 2023 (UTC)
 * I've removed the word "only" but left the rest. ARandomName123 (talk)Ping me! 14:42, 11 October 2023 (UTC)

Edit needed for malformed sentence
The following sentence looks like an editing error: "From 1994 until 2004 a suicide bomber originating from within the Gaza Strip successfully carried out an attack in Israel (on 14 March 2004 in Ashdod)." — Preceding unsigned comment added by Wmagro (talk • contribs) 15:34, 29 October 2023 (UTC)

Talk:List of Islamist terrorist attacks
An editor has started an RfC asking "Should Operation Al-Aqsa Flood by Hamas be included in the List of Islamist terrorist attacks?" at Talk:List of Islamist terrorist attacks. Interested editors are invited to participate. TarnishedPathtalk 03:46, 4 November 2023 (UTC)

Poor on essential facts
For lots of unanswered, but essential technical questions, see Talk:Rafah Border Crossing

Not up to date (2 more relevant crossings for instance). Arminden (talk) 21:13, 17 December 2023 (UTC)

"Dubious" claim
The NYT article doesn't mention 2011 at all. Please revert the two latest edits and change the 2011 to 2006. Probably an editor made a mistake. KetchupSalt (talk) 10:19, 31 December 2023 (UTC)

Highly subjective
So many parts miss quotations. 2A02:908:1A12:460:E151:7B93:A7F5:2268 (talk) 00:49, 16 January 2024 (UTC)

Illegal occupation
Israel is a criminal state that should end 24.89.65.159 (talk) 12:32, 18 January 2024 (UTC)

acceSSed
Please correct: "accesed" to "accessed". 80.180.159.222 (talk) 19:01, 7 April 2024 (UTC)
 * ✅ Zerotalk 04:44, 8 April 2024 (UTC)

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

title: Talk:Gaza–Israel barrier


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Dom Joly

Dominic John Romulus Joly (born 15 November 1967) is an English comedian and writer. He is best known as the star of Trigger Happy TV (2000–2003), a hidden camera prank show that was broadcast in over 70 countries.

Early life
Dominic John Romulus Joly was born in Beirut on 15 November 1967, to British parents John Joly and his second wife, Yvonne. John Joly, a pilot with the Fleet Air Arm during the Second World War, owned banking, insurance and shipping agency Henry Heald & Co., which was managed, and later bought, by Joly's great-grandfather. The family business is now run by Joly's sister. Joly's parents were "quite detached" and he was raised with a nanny; his parents separated when Joly was 18, and for 20 years he had little contact with his father, reconciling in his old age prior to the latter's death in 2011. He has a half-brother and two half-sisters resident in Lebanon and England, to whom he is not close.

Joly attended Brummana High School in Lebanon. He then moved to England, where he was educated at Dragon School in Oxford and Haileybury College near Hertford. He later attended the School of Oriental and African Studies at the University of London. He studied for a degree in politics. Joly speaks Arabic, Czech and French in addition to English.

In 2018, Joly told The Sunday People that when he was at school in Beirut in the 1970s a fellow pupil brought a severed head to show his class.

Career
After university, Joly was a diplomat, based in Prague.

Trigger Happy TV
The original series ran for two series on Channel 4 from 2000 to 2003.

In 2003, a new series of Trigger Happy TV was made for an American audience with an altered format that featured a band of different comedians who performed skits without Joly although he cameoed. Joly was not happy with the US version.

Following the success of Trigger Happy TV on Channel 4, Joly was secured by the BBC for a rumoured £5 million.

This is Dom Joly
This is Dom Joly was a spoof chat show presented by Dom Joly, originally shown on BBC Three in 2003.

World Shut Your Mouth
World Shut Your Mouth was a hidden camera television series starring Joly. It ran on Friday nights in 2005 on BBC One.

Dom Joly's Happy Hour
In this series which aired in 2006, Joly and his partner Peter Wilkins travelled the world and tried the unique alcoholic beverages of each country. It ran on BBC One.

Made in Britain
In 2009, Joly fronted a show titled Made in Britain, shown on the Blighty channel in the UK.

Fool Britannia
In 2012–13, Joly made two series of Fool Britannia, a hidden camera show that aired on Saturday evenings on ITV1.

Celebrity Island with Bear Grylls
In 2016, Joly was marooned on a desert island for two weeks for Celebrity Island with Bear Grylls.

Pilgrimage
In 2020, Joly walked the Sultans Trail from Belgrade to Istanbul for the BBC One series Pilgrimage.

Writing
Joly was a columnist for The Independent on Sunday from 2003 until the paper closed in 2016.

He was thought to be the writer of a spoof column in The Independent and then i called "Cooper Brown: He's out there", and later confirmed in his autobiography that this was the case. The column was presented as the work of an American character named Cooper Brown and revolves around his putative adventures as "a garrulous American showbiz type".

In 2010, Joly published a travel book called The Dark Tourist: Sightseeing in the World's Most Unlikely Holiday Destinations, investigating dark tourism. In the book Joly travels to places that witnessed great tragedy and death, including Chernobyl, which he visited on 4 May 2009; his childhood home of Lebanon; North Korea; various spots in the United States including locations of famous assassinations; the Killing Fields of Cambodia; and Iran for a skiing holiday. The book was published on 2 September 2010 in the UK.

Joly published his second travel book, Scary Monsters and Super Creeps, in 2012. In the book, he travels the world in search of six cryptids such as Bigfoot and the Yeti.

In 2019, Joly published the travel book The Hezbollah Hiking Club, in which he documented his walk across Lebanon with two friends.

Joly was a special correspondent for the Independent at the 2008 Summer Olympics in Beijing. While in Beijing, he also appeared daily on the Drive programme on Five Live.

In 2023, Joly published a book The Conspiracy Tourist, in which he travels the world investigating conspiracy theories and the people who believe them including QAnon, hunting for UFOs in Roswell, chasing Alex Jones of Info Wars around Austin, trying to prove that Finland exists and taking a flat-earther to the edge of the world.

Political career
In the 1997 UK general election, Joly stood in Kensington and Chelsea against Alan Clark. Hiring out hundreds of teddy bear costumes, he staged mock protests at Westminster and came fifth out of nine candidates, receiving 218 votes (0.6%).

Podcast
On 29 June 2018, Joly released the first episode of his comedy podcast, Earworm. In 2020 the second series of the podcast was released by Audible.

Personal life
Joly is married to Canadian graphic designer Stacey MacDougall. Having lived in the Notting Hill area of London, the two later sold their apartment to novelist Salman Rushdie and bought a property in Gloucestershire to raise their children there.

Joly has spoken about his struggles with anxiety and depression.

title: Dom Joly


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Purple Rain (album)

Purple Rain is the sixth studio album by the American singer, songwriter, producer, and multi-instrumentalist Prince. It was released on June 25, 1984, by Warner Bros. Records as the soundtrack album to the 1984 film of the same name. Purple Rain was musically denser than Prince's previous albums, emphasizing full band performances, and multiple layers of guitars, keyboards, electronic synthesizer effects, drum machines, and other instruments.

Much of the album had a grandiose, synthesized, and psychedelic sheen to the production and performances. The music on Purple Rain is generally regarded as the most pop-oriented of Prince's career, though a number of elements point towards the more experimental records Prince would release after Purple Rain. The music video for the album's lead single "When Doves Cry" sparked controversy among network executives, who thought its sexual nature was too explicit for television. The risqué lyrics of "Darling Nikki" raised complaints from Tipper Gore and the Parents Music Resource Center and contributed to the implementation of Parental Advisory stickers and imprints on album covers.

Purple Rain became Prince's first album to reach number one on the Billboard 200. The album spent 24 consecutive weeks atop on the Billboard 200 and was present on the chart for a total of 167 weeks. "When Doves Cry" and "Let's Go Crazy" reached number one on the Billboard Hot 100, while "Purple Rain" peaked at number two and "I Would Die 4 U" peaked at number eight. In May 1996, the album was certified 13× Platinum by the Recording Industry Association of America (RIAA). It is Prince's commercial peak, with total sales standing at 25 million copies worldwide, making it one of the best-selling albums of all time. Prince and the Revolution won Grammy Awards for Best Rock Performance by a Duo or Group with Vocal and Best Score Soundtrack for Visual Media, while Prince also won the Academy Award for Best Original Song Score for the film Purple Rain.

Music critics noted the innovative and experimental aspects of the soundtrack's music, most famously on the spare, bass-less "When Doves Cry". Other aspects of the music, especially its synthesis of electronic elements with organic instrumentation and full-band performances along with its consolidation of rock and R&B, were identified by critics as distinguishing, even experimental factors. Purple Rain is regularly ranked among the greatest albums of all time. Rolling Stone ranked the album number 8 on its 2020 list of the "500 Greatest Albums of All Time". It was inducted into the Grammy Hall of Fame and added to the Library of Congress' National Recording Registry list of sound recordings that are "culturally, historically, or aesthetically significant".

Background
While Prince's previous albums were primarily solo recordings by Prince, Purple Rain contained the credits "produced, arranged, composed and performed by Prince and the Revolution", though he had teased the name two years earlier on 1999, writing "and the Revolution" backwards on the album cover. The album was mostly recorded between July 1983 and March 1984, the exception being "Baby I'm a Star", composed and demoed in early December 1981. The last three songs on the album ("I Would Die 4 U", "Baby I'm A Star" and the title track "Purple Rain") were recorded live at the 3August 1983 First Avenue show in Minneapolis, although overdubs and edits took place on all three in September 1983; this marked Prince's first album to include live recordings.

Regarding the meaning of "Purple Rain", both Mikel Toombs of The San Diego Union and Bob Kostanczuk of the Post-Tribune have written that Prince took the title "Purple Rain" from lyrics in the America song "Ventura Highway". Asked to explain the phrase "purple rain" in "Ventura Highway", Gerry Beckley responded: "You got me." However, Prince explained the meaning of "Purple Rain" as follows: "When there's blood in the sky – red and blue = purple... purple rain pertains to the end of the world and being with the one you love and letting your faith/god guide you through the purple rain."

"Purple Rain" was originally written as a country song and intended to be a collaboration with Stevie Nicks. According to Nicks, she received a 10-minute instrumental version of the song from Prince with a request to write the lyrics, but felt overwhelmed. She said: "I listened to it and I just got scared. I called him back and said, 'I can't do it. I wish I could. It's too much for me.'" At a rehearsal, Prince then asked his backing band to try the song: "I want to try something before we go home. It's mellow." According to the Revolution member Lisa Coleman, Prince then changed the song after the Revolution's Wendy Melvoin started playing guitar chords to accompany the song: "He was excited to hear it voiced differently. It took it out of that country feeling. Then we all started playing it a bit harder and taking it more seriously. We played it for six hours straight and by the end of that day we had it mostly written and arranged."

"Take Me with U" was written for the Apollonia 6 album Apollonia6 (1984), but later enlisted for Purple Rain. The inclusion of that song necessitated cuts to the suite-like "Computer Blue", the full version of which did not earn an official release, although a portion of the second section can be heard in the film of the same name, in a sequence where Prince walks in on the men of the Revolution rehearsing. The risqué lyrics of "Darling Nikki" contributed to the use of Parental Advisory stickers and imprints on album covers that were the record label's answer to complaints from Tipper Gore and the Parents Music Resource Center (PMRC).

Prince wrote and composed the album's lead single "When Doves Cry" after all the other tracks were complete on Purple Rain. In addition to providing vocals, he played all instruments on the track. With there being no bass line, the song's production is noted for being unconventionally bare in comparison to 1980s pop hits. Prince said there originally was a bass line but, after a conversation with singer Jill Jones, he decided the song was too conventional with it included.

Composition
Like Prince's previous albums, nearly all tracks on Purple Rain were written by him. Purple Rain was musically denser than Prince's previous albums, emphasizing full band performances, and multiple layers of guitars, keyboards, electronic synthesizer effects, drum machines, and other instruments. As a soundtrack record, much of the music had a grandiose, synthesized, and even – by some evaluations – a psychedelic sheen to the production and performances. The music on Purple Rain is generally regarded as the most pop-oriented of Prince's career, though a number of elements point towards the more experimental records Prince would release after Purple Rain. Apollonia6 member Apollonia recalled that after watching the Purple Rain cinematographic takes, she told Prince, "You know you're going to get an Oscar for this movie – not for the acting, but for the music."

The Revolution member Doctor Fink told PopMatters in 2009 the recording of the album was "a very creative time... There was a lot of influence and input from band members towards what [Prince] was doing. He was always open to anybody trying to contribute creatively to the process of writing... But Prince was the main lyricist and melody maker for all the songs... and never took any lyrical content from people." Melvoin told Mojo in 1997 the band members were "absolute musical equals in the sense that Prince respected us, and allowed us to contribute to the music without any interference... I think the secret to our working relationship was that we were very non-possessive about our ideas, as opposed to some other people that have worked with him."

Revolution members Fink, Coleman, and Melvoin helped write the album's fourth track "Computer Blue". Doctor Fink, who wrote a keyboard bass line for the track, said he "started playing that main bass groove which later became 'Computer Blue'. So the band [the Revolution] started grooving on it, and Prince started coming up with some stuff, then we recorded a rough version and he took it into the studio and just incorporated it all and made it fly that way. Wendy [Melvoin] and Lisa [Coleman] did some of the stuff on it. Prince borrowed the bridge/portal section from the then-unreleased Father's Song, by his father jazz musician John L. Nelson, who had given him some music over the years to play around with. So the song was a real mixture of different people and influences."

The full band appears on six tracks: "Let's Go Crazy", "Take Me With U", "Computer Blue", "I Would Die 4 U", "Baby I'm A Star" and "Purple Rain" while the remaining three tracks are essentially solo performances by Prince. Apollonia sings co-lead on "Take Me WithU". Three of the tracks include a string section arranged by Coleman and Prince which were conducted by Coleman and Melvoin: "Take Me WithU", "Baby I'm A Star", and "Purple Rain". The string players are violin and viola player Novi Novog and cellists David Coleman and Suzie Katayama.

Early configurations
Prince configured at least two unique track listings of Purple Rain prior to setting the final running order. November 7, 1983 and March 23, 1984, configurations are listed below. The early configuration included "Wednesday" (a song by Prince with Jill Jones) and "Father's Song". The latter was replaced by "When Doves Cry". Edits to "Let's Go Crazy" and "Computer Blue" were introduced in order to include "Take Me withU" in the final running configuration. The full length version of "Let's Go Crazy", as it can be seen in the movie, would later be released as "Special Dance Mix" on 12" maxi-single.

November 7, 1983 configuration
 * Side one
 * 1) "Let's Go Crazy" (Full length version) – 7:37
 * 2) "The Beautiful Ones"
 * 3) "Computer Blue" (Longer edit) – 7:23
 * 4) "Darling Nikki"
 * 5) "Wednesday"
 * Side two
 * 1) "Purple Rain"
 * 2) "I Would Die 4 U"
 * 3) "Baby I'm a Star"
 * 4) "Father's Song"

March 23, 1984 configuration
 * Side one
 * 1) "Let's Go Crazy" (Full length version) – 7:37
 * 2) "The Beautiful Ones" – 5:15
 * 3) "Computer Blue" (Longer edit) – 7:23
 * 4) "Darling Nikki" – 4:15
 * Side two
 * 1) "When Doves Cry" – 5:52
 * 2) "I Would Die 4 U" – 2:51
 * 3) "Baby I'm a Star" – 4:20
 * 4) "Purple Rain" – 8:45

Artwork
The album cover was photographed at the Warner Bros Studio Backlot in California. The area known as Hennesy St, designed to look like a New York tenement area, was the location of the balcony where the album photo was taken.

Tour
The Purple Rain Tour began at the Joe Louis Arena in Detroit in November 1984. In addition to Prince and the Revolution, the Purple Rain Tour featured Apollonia6, and Sheila E. and her band. The tour opened with the album's opener, "Let's Go Crazy". Three singles from 1999 (1982) followed: "Delirious", "1999" and "Little Red Corvette". An instrumental interlude of "Yankee Doodle" usually introduced another song from 1999, "Free". The B-side "God" was often played, followed by a usual sequence of "Computer Blue", "Darling Nikki", "The Beautiful Ones" and "When Doves Cry". As encores, the remaining Purple Rain songs closed the concert, "I Would Die 4 U", "Baby I'm a Star" and "Purple Rain".

The tour spanned 98 shows, ending in April 1985, and sold 1.7 million tickets. Prince and the Revolution played the final date of the tour, to an audience of 55,000 in Miami's Orange Bowl. Prince ended the show saying, "I have to go now. I don't know when I'll be back. I want you to know that God loves you. He loves us all." Two weeks after the end of the tour, Around the World in a Day (1985) was released, which officially brought an end to Prince's Purple Rain era. The tour was considered by Rolling Stone as "groundbreaking in many ways" because it introduced Prince's most "elaborate" sets and featured occasional cameos from Bruce Springsteen and Madonna, which confirmed Prince's place as "pop's most commanding star" during the Purple Rain era.

Singles
Purple Rain 's lead single "When Doves Cry" was Prince's first Billboard Hot 100 number-one single, staying there for five weeks, and was also a worldwide hit. It was ranked number one on the Billboard Year-End Hot 100 singles of 1984. The music video, directed by Prince himself, was premiered on MTV in June 1984. The video sparked controversy among network executives, who thought its sexual nature was too explicit for television.

The second single "Let's Go Crazy" became Prince's second number-one hit on the Billboard Hot 100. Common to much of Prince's writing, the song is thought to be exhortation to follow Christian ethics, with the "De-elevator" of the lyrics being a metaphor for the Devil.

A power ballad and a combination of rock, R&B, gospel, and orchestral music, "Purple Rain" reached number2 on the Billboard Hot 100 and stayed there for two weeks. "I Would Die 4 U", the fourth and final Billboard Hot 100 top 10 hit from Purple Rain, reaching number eight on the chart. The album's final single, "Take Me withU", was released on January 25, 1985.

Critical reception
Purple Rain was well received by contemporary critics. Kurt Loder, writing for Rolling Stone in 1984, compared Prince to Jimi Hendrix and praised him for merging "black and white styles": "The spirit of Jimi Hendrix must surely smile down on Prince Rogers Nelson. Like Hendrix, Prince seems to have tapped into some extraterrestrial musical dimension where black and white styles are merely different aspects of the same funky thing. Prince's rock & roll is as authentic and compelling as his soul and his extremism is endearing in a era of play-it-safe record production and formulaic hit mongering."

At the end of 1984, Purple Rain was voted the second best album of the year in the Pazz & Jop, an annual poll of American critics nationwide, published by The Village Voice. However, the newspaper's chief critic and poll creator Robert Christgau was less impressed by the album, saying that while it is "quirky, dangerous, [and] unabashedly pop", it is also plagued by "despair" and, "for Prince ... ingratiatingly unsolipsistic", although he would later call it "seriously gorgeous".

Prince and the Revolution won a 1984 Grammy Award for Purple Rain, for Best Rock Vocal Performance by a Duo or Group, the four composers (Nelson, Coleman, Prince, and Melvoin) won Best Score Soundtrack for Visual Media, and the album was nominated for Album of the Year. Prince won a third Grammy that year for Best R&B Song for Chaka Khan's cover of "I Feel for You". Purple Rain also won an Oscar for Best Original Song Score in 1985. Purple Rain posthumously won Top Soundtrack at the American Music Awards in 2016.

Retrospective appraisals have also been positive. Music critics noted the innovative and experimental aspects of the soundtrack's music, most famously on the spare, bass-less "When Doves Cry". Other aspects of the music, especially its synthesis of electronic elements with organic instrumentation and full-band performances (some, as noted above, recorded live) along with its landmark consolidation of rock and R&B, were identified by critics as distinguishing, even experimental factors.

Stephen Erlewine of AllMusic wrote that Purple Rain finds Prince "consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal", as well as "push[ing] heavily into psychedelia" under the influence of the Revolution. Erlewine identifies the record's nine songs as "uncompromising ... forays into pop" and "stylistic experiments", echoing general sentiment that Purple Rain's music represented Prince at his most popular without forsaking his experimental bent. In a retrospective review, Kenneth Partridge, writing for Billboard, described the album's opening track, "Let's Go Crazy", as "arguably the best intro in pop history".

Commercial performance
In the United States, Purple Rain debuted at number 11 on the Billboard 200 the week of July 14, 1984. After four weeks on chart, it reached number one on August 4, 1984. The album spent 24 consecutive weeks at number one on the Billboard 200 from August 4, 1984, to January 18, 1985, and more than 32 weeks in the top 10, becoming one of the most successful soundtracks ever. Prince also joined Elvis Presley and the Beatles in being the only artists to have the number-one album, single and film in the US all at the same time.

It traded the number-one position on the chart with Bruce Springsteen's Born in the U.S.A. twice, during 1984 and 1985. Purple Rain was present on the Billboard 200 for one hundred twenty two weeks. After the advent of the Nielsen SoundScan era in 1991, the album sold a further three million copies. By 1996, the album had sold 13 million copies in the United States, making it certified 13× Platinum by the Recording Industry Association of America (RIAA).

In the United Kingdom, Purple Rain entered the UK Albums Chart at number 21 on July 21, 1984, after thirty five weeks on the chart it reached and peaked at number seven during the week of March 16, 1985 and stayed there for a week, it fell off to number twelve the next week. The album remained on the chart for 86 weeks. It was certified 2× Platinum by the BPI on May 1, 1990, denoting shipments of 600,000 units. By 1988, Purple Rain had sold 17 million copies worldwide making it one of the most successful albums of the 1980s. Its sales as of 2008 stood at over 25million copies worldwide. The album is also multi-platinum in Australia, Canada, New Zealand and the United Kingdom.

Legacy and influence
Purple Rain further established Prince as a figurehead for pop music of the 1980s and is regarded as one of the greatest albums of all time. In 2010, Purple Rain was inducted into the Grammy Hall of Fame. In 2012, the album was added to the Library of Congress's National Recording Registry list of sound recordings that "are culturally, historically, or aesthetically important". In 2019, the film was selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".

Jon Bon Jovi, lead singer of the rock band Bon Jovi, observed that "There's every emotion [in Purple Rain] from the ballad to the rocker" and "All the influences were evident, from Hendrix to Chic." Lionel Richie praised Prince for making a "very important step" in advancing the concept from creating music videos for songs to making a motion picture for an album. Partridge of Billboard emphasized Prince's popularity during the Purple Rain era, writing, "In 1984, there was only one man in America more popular than President Ronald Reagan. His name was Prince, and he was funky. Had Prince run for president that year, he would have certainly carried his native Minnesota – the only state Ronnie lost – and he probably would've cleaned up most other places. The reason: Purple Rain, his groundbreaking, genre-blurring, utterly genius sixth album. It was a massive seller wherever there were radios and people with pulses."

Described as a "masterpiece" by the Grammy Awards, Ana Yglesias wrote, "Even after his heartbreaking passing, Prince will live on forever in our hearts, through his music, and even on the charts. Purple Rain was inducted into Grammy Hall of Fame in 2011, celebrating it as a 'recording of lasting qualitative or historical significance'.... It is safe to say there will never be another star quite like Prince."

For The New Yorker, Ben Greenmane wrote, "Purple Rain may or may not be Prince's best record, but it came at the best time, propelling him from ordinary stardom (his previous album 1999 put three singles into the Billboard top 20) to supernova status. It created his iconic look (ruffled shirt, purple jacket, motorcycle), formally introduced his most famous backing band (the Revolution), and included the lion's share of the songs most likely to appear in a capsule bio ('When Doves Cry', 'Let's Go Crazy', and the title track)." In Rolling Stone 's list of The 25 Greatest Soundtracks of All Time, Purple Rain was described as "an epic celebration of everything rock & roll, which means sex and religion and eyeliner and motorcycles and guitars and Lake Minnetonka".

Chris Gerard wrote for PopMatters that "Purple Rain is one of the cornerstone albums not just of the 80s, but in all of pop/rock history... at the core of [Prince's] legacy Purple Rain will always stand as his signature triumph, a monument to his boundless talent and ambition." Gerard also praised "When Doves Cry" for being the "gateway" to the "Purple Rain universe: an album, a major motion picture, and a tour that dominated the pop culture landscape of 1984".

Andrew Unterberger of Billboard gave the album high appraisal, regarding it as one of the greatest albums in popular music: "Purple Rain is certainly in contention for the most perfect album in rock or pop history, expertly flowing from track to track while delighting, surprising and astounding at each bend. Personal and universal, familiar and challenging, romantic and narcissistic, religious and orgasmic, accessible to all and profoundly weird, Purple Rain rightly remains the cornerstone of Prince's recorded legacy, almost too obvious in its brilliance to even be worth discussing at length."

Writing for Pitchfork, Carvell Wallace appraised the album's impact and Prince's musicianship, "With Purple Rain, Prince bursts forth from the ghetto created by mainstream radio and launches himself directly onto the Mt. Rushmore of American music. He plays rock better than rock musicians, composes better than jazz guys, and performs better than everyone, all without ever abandoning his roots as a funk man, a party leader, a true MC... for the 24 weeks Purple Rain spent atop the charts in 1984, the black kid from the midwest had managed to become the most accurate expression we had of young America's overabundance of angst, love, horniness, recklessness, idealism, and hope."

Accolades
Purple Rain is regarded as one of the greatest albums of all time by numerous publications. Rolling Stone ranked Purple Rain number two on its list of the 100 Best Albums of the 1980s and number eight on its list of the 500 Greatest Albums of All Time. In their list of The 25 Greatest Soundtracks of All Time, Purple Rain was ranked second, behind the Beatles' Help!. Time included it in its list of the All-Time 100 Albums. The album was ranked 18th on VH1's Greatest Rock and Roll Albums of All Time countdown. The Times ranked Purple Rain at number 15 on its list of the 100 Best Albums of All Time.

In 2007, the editors of Vanity Fair labeled it the best soundtrack of all time, and Tempo magazine named it the greatest album of the 1980s. In 2008, Entertainment Weekly ranked Purple Rain at number one on their New Classics list, the top 50 best albums of the previous 25 years. The album was also included in the 2008 edition of 1001 Albums You Must Hear Before You Die. In 2012, Slant Magazine ranked the album at number two on its list of Best Albums of the 1980s. In 2012, Entertainment Weekly also ranked the album at number two on their list of the 100 Greatest Albums Ever.

In 2018, Pitchfork regarded it as the best album of the 1980s, ranking it at number one on its list of the 200 Best Albums of the 1980s. (In 2002, the album had placed at No. 12 on that website's Top 100 Albums of the decade list. ) In Billboard 's list of All 92 Diamond-Certified Albums Ranked From Worst to Best: Critic's Take, Purple Rain was ranked first. Consequence of Sound, in its ranking of the greatest albums of all time, placed Purple Rain at number one. The 2024 Apple Music 100 Best Albums poll ranks Purple Rain as number four.

Reissues
The album was re-issued on June 23, 2017. It is the first Prince album to be remastered and reissued, and was released in a variety of formats, including a 20-track Deluxe edition with unreleased bonus tracks and a 35-track Deluxe Expanded edition with additional B-sides, rarities and a live DVD of the Purple Rain Tour from 1985. The album debuted at number four on the Billboard 200 at with 52,000 album-equivalent units earned in its first week. It debuted at number three on the Top R&B/Hip-Hop Albums chart, its highest peak in 32 years having previously spent 19 weeks atop the chart in 1984. The album debuted at number one on the Top R&B Albums chart and the Vinyl Albums chart.

On June 21, 2024, a Dolby Atmos version of the original album was released to Apple Music and other streaming services, along with news of "an audiophile Blu-ray to be released later in 2024". The new mix of the album was created from the original multi-track master tapes by Chris James.

Deluxe and expanded editions
The 2017 Deluxe edition consists of two discs, the first being a remaster of the original album made in 2015 overseen by Prince himself and a bonus disc of previously unreleased songs called "From the Vault & Previously Unreleased". The Deluxe Expanded edition consists of two more discs, a disc with all the single edits, maxi-single edits and B-sides from the Purple Rain era and a DVD with a concert from the Purple Rain Tour filmed in Syracuse, New York on March 30, 1985, previously released on home video in 1985.

Personnel
Information taken from Duane Tudahl, Benoît Clerc, Robyn Flans, Michael Aubrecht, and the album's liner notes.

Musicians

 * Prince – lead and backing vocals, electric and acoustic guitars, synthesizers, piano, Yamaha CP-80 electric grand piano, bass guitar, Linn LM-1, LinnDrum, Simmons SDS-V, drums, tambourine, string arrangement
 * Bobby Z. – Linn LM-1, Simmons SDS-V, drums and percussion (1, 4, 7–9)
 * Brown Mark – bass guitar (1, 4, 7–9), backing vocals (1, 4, 9)
 * Wendy Melvoin – electric rhythm guitar (1, 4, 7–9), backing vocals (1, 4, 7–9), string conductor (2, 8, 9)
 * Lisa Coleman – synthesizers (1, 4, 7–9), co-lead (2) and backing vocals (1, 2, 4, 7–9), string arrangement (2, 8, 9), string conductor (2, 8, 9)
 * Matt Fink – synthesizers (1, 4, 7, 8), Yamaha CP-70 electric grand piano (9), backing vocals (1, 4, 9)
 * Apollonia – co-lead and backing vocals (2)
 * David Coleman – cello (2, 8, 9), finger cymbals (2)
 * Novi Novog – violin (2, 9), viola (9), electric violin (8)
 * Suzie Katayama – cello (8, 9)
 * Jill Jones – co-lead (2) and backing vocals (2, 8)

Production

 * Prince – producer and arranger, clothing (credited for "rags"), art direction
 * David Leonard – engineer (The Warehouse, St. Louis Park, Minnesota; Sunset Sound, Hollywood, California; First Avenue, Minneapolis and Record Plant Remote – Mobile Truck (from New York City in Minneapolis)
 * Susan Rogers – engineer (The Warehouse, St. Louis Park, Minnesota)
 * Peggy McCreary – engineer (Sunset Sound, Hollywood, California)
 * David Rivkin – engineer (First Avenue, Minneapolis, Minnesota in Record Plant Remote – Mobile Truck (from New York City)
 * Bernie Grundman – mastering
 * Laura LiPuma – design
 * Ed Thrasher and Associates – front cover photograph
 * Ron Slenzak – front cover photograph
 * Larry Williams – additional photography
 * Doug Henders – painting
 * Earl Jones – hair
 * Jayson Jeffreys – makeup
 * Louis & Vaughn – clothing (credited for "rags")
 * Marie France – clothing (credited for "rags")

title: Purple Rain (album)


text:
Baron Wolverton

Baron Wolverton, of Wolverton in the County of Buckingham, is a title in the Peerage of the United Kingdom. It was created in 1869 for the banker George Glyn. He was the fourth son of Sir Richard Carr Glyn, 1st Baronet, of Gaunt's House, Lord Mayor of London in 1798, himself the fourth son of Sir Richard Glyn, 1st Baronet, of Ewell, Lord Mayor of London in 1758. Lord Wolverton was succeeded by the eldest of his nine sons, the second Baron. He was a Liberal politician and served under William Ewart Gladstone as Paymaster General and as Postmaster General. He was childless and was succeeded by his nephew, the third Baron. He was the eldest son of Vice-Admiral the Hon. Henry Carr Glyn, younger son of the first Baron. He died childless the following year aged only twenty-six, and was succeeded by his younger brother, the fourth Baron. He served as Vice-Chamberlain of the Household from 1902 to 1905 in the Conservative administration of Arthur Balfour. On the death in 1988 of his second but eldest surviving son, the fifth Baron, this line of the family failed. The title was inherited by the late Baron's second cousin, the sixth Baron. He was the grandson of the Hon. Pascoe Glyn, younger son of the first Baron. the title is held by his grandson, the eighth Baron, who succeeded in 2011.

Several other members of the Glyn family have also gained distinction. The Hon. Pascoe Glyn, younger son of the first Baron, sat as Member of Parliament for Dorset East. The Hon. Sidney Glyn, younger son of the first Baron, was Member of Parliament for Shaftesbury. The Right Reverend the Hon. Edward Glyn, younger son of the first Baron, was Bishop of Peterborough and the father of Ralph Glyn, 1st Baron Glyn. The Hon. Henry Carr Glyn, younger son of the first Baron, was a vice-admiral in the Royal Navy.

Barons Wolverton (1869)

 * [[Image:Coronet of a British Baron.svg|15px]] George Carr Glyn, 1st Baron Wolverton (1797–1873)
 * [[Image:Coronet of a British Baron.svg|15px]] George Grenfell Glyn, 2nd Baron Wolverton (1824–1887)
 * Vice-Admiral Hon. Henry Carr Glyn (1829–1884)
 * [[Image:Coronet of a British Baron.svg|15px]] Henry Richard Glyn, 3rd Baron Wolverton (1861–1888)
 * [[Image:Coronet of a British Baron.svg|15px]] Frederick Glyn, 4th Baron Wolverton (1864–1932)
 * Hon. George Edward Dudley Carr Glyn (1896–1930)
 * [[Image:Coronet of a British Baron.svg|15px]] Nigel Reginald Victor Glyn, 5th Baron Wolverton (1904–1986)
 * Hon. Pascoe Charles Glyn (1833–1904)
 * Colonel Geoffrey Carr Glyn (1864–1933)
 * Maurice George Carr Glyn (1872–1920)
 * [[Image:Coronet of a British Baron.svg|15px]] John Patrick Riversdale Glyn, 6th Baron Wolverton (1913–1988)
 * [[Image:Coronet of a British Baron.svg|15px]] Christopher Richard Glyn, 7th Baron Wolverton (1938–2011)
 * Hon. Andrew John Glyn (1943–2007)
 * [[Image:Coronet of a British Baron.svg|15px]] Miles John Glyn, 8th Baron Wolverton (born 1966)
 * (1) Jonathan Carlin Glyn (born 1990)
 * Hilary Beaujolais Glyn (1916–1995)
 * James Hilary Glyn (1939–2000)
 * (2) Caspar Hilary Gordon Glyn (born 1969)
 * (3) Oscar Robert Beaujolais Glyn (born 2001)
 * (4) Montfort James Jack Glyn (born 2003)
 * (5) Frederick Glyn (born 1987)

The heir presumptive is the present holder's half-brother Jonathan Carlin Glyn (born 1990).

title: Baron Wolverton


text: File:Princepurplerain.jpg

title: File:Princepurplerain.jpg


text:
Acoustical intelligence

Acoustical intelligence (ACOUSTINT, sometimes ACINT) is an intelligence gathering discipline that collects and processes acoustic phenomena. It is a subdiscipline of MASINT (Measurement and Signature Intelligence).

This uses broadband and narrowband analysis of acquired acoustic signatures from surface ships and submarines, although it can also be used for low-flying aircraft such as helicopters. Broadband analysis concerns the overall noise created by a platform, whereas narrowband analysis examines the spectra of the received energy at a more precise level.

Broadband analysis is useful for identifying any vessel at a long range, whereas narrowband analysis is generally more useful for identifying the category, type and ideally the individual vessel name. The category might be for example differentiating between a commercial vessel and a warship; the type might be narrowing this down to an individual class and hence identifying nationality, and the individual name might identify the specific ship or submarine.

As a simple example, narrowband analysis might identify whether a subject of interest has single or multiple propeller shafts; how many blades per shaft and other salients that may help identify the platform. This may include the fundamental or harmonic emissions based on the electric services used, the gearing between shaft and engine and also the combination of gear teeth used in the ratio(s). For nuclear vessels, necessary pump frequencies can be detected. It is possible for an expert to work out how many gears, teeth and ratios are used from engine right through to propeller; this can be used to identify a particular type. Sometimes, there are machining faults - however small - introduced at the manufacturing stage. This can help to identify individual platforms.

title: Acoustical intelligence


text:
User:MooseDigits~enwiki

en:User:MooseDigits meta:User:MooseDigits ru:User:MooseDigits

title: User:MooseDigits~enwiki


text:
Baron Wrenbury

Baron Wrenbury, of Old Castle, Dallington in the County of Sussex, is a title in the Peerage of the United Kingdom. It was created in 1915 for the barrister and judge Sir Henry Buckley. He served as a Judge of the High Court of Justice and as a Lord Justice of Appeal. the title is held by his great-grandson, the fourth Baron, who succeeded his father in 2014. The Hon. Sir Denys Buckley, younger son of the first Baron, was also a Judge of the High Court of Justice and Lord Justice of Appeal.

Barons Wrenbury (1915)

 * Henry Burton Buckley, 1st Baron Wrenbury (1845–1935)
 * Bryan Burton Buckley, 2nd Baron Wrenbury (1890–1940)
 * John Burton Buckley, 3rd Baron Wrenbury (1927–2014)
 * William Edward Buckley, 4th Baron Wrenbury (b. 1966)

The heir presumptive is the present holder's second cousin Arthur Burton Buckley (b. 1967), whose heir is his son Adam Burton Buckley (b. 1997)

title: Baron Wrenbury


text:
Dawn Coe-Jones

Dawn Coe-Jones (October 19, 1960 – November 12, 2016) was a Canadian professional golfer who played on the LPGA Tour, and a member of the Canadian Golf Hall of Fame. She was the first female Canadian golfer to surpass $1million in career earnings, announcing the arrival of Canadian female golfers upon the world stage in the 1990s.

Early years
Coe-Jones was born in Campbell River, British Columbia. Growing up in Lake Cowichan on Vancouver Island, she worked as a teenager at March Meadows Golf Course in Honeymoon Bay.

She had an outstanding amateur career, scoring back-to-back wins in the B.C. Junior tournament in 1978 and 1979 and the B.C. Amateur in 1982 and 1983. She capped her 1983 season with the Canadian Women's Amateur title and won NCAA all-American honours at Lamar University. She won a scholarship in her sophomore year and graduated in 1983 with a degree in elementary education.

Professional career
Her first LPGA win came at the Women's Kemper Open in 1992. Coe-Jones was accompanied by caddie and childhood friend Kelly Feltrin, who was on her bag when she won the Kemper. She went on to claim the 1994 LPGA Palm Beach Classic and 1995 Tournament of Champions. Her best score ever was 63 at the Safeco Classic in 1998. In 1993, she became the first female golfer to sink an albatross in a women's major.

Coe-Jones played on the LPGA Tour from 1984 to 2008, winning three tournaments, and over $3 million in career earnings. She competed in over 20 Canadian Women's Opens. Her best chance to win her national open was in 1993, when she was third behind Brandie Burton and Betsy King at London Hunt. She tied for fourth with Canadian Gail Graham in 1998 in Windsor, Ontario.

Coe-Jones made her farewell appearance at the CN Canadian Open in 2008, finishing 14-over after two rounds and missing the cut.

Personal
She competed under her maiden name, Dawn Coe, until her marriage to Jimmy Jones in November 1992. She moved to Tampa from Texas in 1992 to be near the man she would marry that year, Jimmy Jones, and friends from the tour. Their son James was born three years later.

Coe-Jones' favourite hockey team growing up was the Montreal Canadiens, but after living in Florida for many years she adopted the Tampa Bay Lightning. She was present for their 2004 Stanley Cup victory.

Death
She died of chondrosarcoma, a form of bone cancer at a hospice on November 12, 2016, near her home in Tampa, Florida, aged 56.

She is survived by her husband, Jimmy, son, Jimmy, in-laws Sandy and General James Jones, and brothers Mark and John Coe. Her son is a college golfer at the University of South Florida and winner of the 2015 Florida State Amateur.

Legacy
The inaugural Dawn Coe-Jones Golf Classic was held in October 2016 to raise funds for Sarcoma research in her name.

Honours
Coe-Jones was inducted into the Canadian Golf Hall of Fame in 2003, and the B.C. Sports Hall of Fame in 2013.

Amateur wins (5)

 * 1978 British Columbia Junior
 * 1979 British Columbia Junior
 * 1982 British Columbia Amateur
 * 1983 British Columbia Amateur, Canadian Women's Amateur

LPGA Tour wins (3)
LPGA Tour playoff record (0–1)

Other wins (1)

 * 1992 Pizza-La LPGA Matchplay Championship

Team appearances
Professional
 * World Cup (representing Canada): 2005
 * Handa Cup (representing World team): 2006, 2007, 2008, 2009, 2010, 2011, 2012 (tie), 2014

title: Dawn Coe-Jones


text:
Erigoninae

Erigoninae are the largest subfamily of sheet weavers (Linyphiidae), which is itself the second largest spider family. In the United States they are known as dwarf spiders, while they are called money spiders in England. The exact taxonomic limits of the subfamily are not yet known.

Erigoninae are the most numerous of the sheet weavers, with more than 2,000 described species.

Many species live in leaf litter and build minute sheet webs.

These spiders probably are more important as members of the beneficial complex of predators in agroecosystems than is generally known. One species, Atypena formosana, lives in colonies in wetland habitats, where it builds nets just above the water line in rice fields to hunt planthopper nymphs.

The most well-known genus is Erigone.

Description
Most are very small (some less than 1 mm, very few up to 6 mm) spiders that balloon both as spiderlings and adults.

Many males have bizarre projections on their carapaces, including lobes, turrets, grooves, pits and modified hairs. The function of these projections is little understood, but is presumed to be involved with courtship. In a few species the females have been observed to grip the males by the pits or grooves during copulation, using their chelicerae. They later ingested secretions produced by the male prosomic glands after depositing saliva-like fluid on them.

Distribution
More than 300 species occur in northern Europe, comprising about one fourth of the spider fauna there. About 650 are known from North America. While they are the dominant spider group of the temperate and cold regions of the Northern Hemisphere they are less diverse in the Southern Hemisphere. No native species have been found from New Zealand and Australia.

title: Erigoninae


text:
Blonde Redhead

Blonde Redhead is an American alternative rock band composed of Kazu Makino (vocals, keyboards, rhythm guitar) and twin brothers Simone (drums, keyboards) and Amedeo Pace (lead guitar, bass, keyboards, vocals) that formed in New York City in 1993. The band's earliest albums were noted for their noise rock influences, though their sound evolved by the early 2000s with the releases of Misery is a Butterfly (2004) and 23 (2007), which both incorporated elements of dream pop, shoegaze and other genres. They have released ten studio albums and have toured internationally.

Career
Amedeo and Simone Pace were born in Milan, Italy, and grew up in Montreal (Saint-Léonard), but later moved to Boston to study jazz. After earning Bachelor's degrees, they entered the New York City underground music scene. Blonde Redhead formed in New York in 1993 after Amedeo and Simone met Kazu Makino, a film student at the time, through mutual friends. The band named themselves after a song on the 1981 EP A Taste of DNA by the no wave group DNA. For the group's first decade, Amedeo and Makino were romantically involved.

Blonde Redhead's self-titled debut album was released in 1995. Shortly afterwards, fourth member Maki Takahashi left the band and was replaced by her friend Toko Yasuda as bassist. Yasuda played on the band's second album La Mia Vita Violenta also released in 1995. Both records appeared on the New York label Smells Like. The band continued as a trio.

Their third album, Fake Can Be Just as Good, was released through Touch & Go in 1997. The band enlisted the help of Vern Rumsey of Unwound, who filled the role of guest bassist, while the subsequent albums have featured the Icelandic musician Skúli Sverrisson.

On their fourth album, In an Expression of the Inexpressible, Guy Picciotto of Fugazi was hired as producer. Picciotto also contributed in the construction to the song "Futurism vs. Passéism Part 2" as well as lending it his vocals to the 1998 release. In 2000 Picciotto also co-produced Melody of Certain Damaged Lemons with Ryan Hadlock, an album about the relationship between Makino and Amedeo Pace.

The four-year delay between Melody of Certain Damaged Lemons and Misery Is a Butterfly is attributed to Makino's recovery time after being trampled by a horse. Much of the visual and lyrical imagery of Misery Is a Butterfly is reflective of the accident, especially in the music video for "Equus." It was the last time Picciotto produced the band.

In 2006 Makino recorded vocals for the film Sisters. Alan Moulder mixed the trio's album 23 which was released on 4AD, in April 2007.

In mid-2008, they wrote and recorded the score of the documentary feature film The Dungeon Masters. The film premiered at the Toronto International Film Festival and was released on February 12, 2010; a soundtrack album was released in July 2010. In 2009, Blonde Redhead collaborated with Devestations on "When the Road Runs Out" for the AIDS benefit album Dark Was the Night produced by the Red Hot Organization.

In March 2010 the band included a demo version of the song "Not Getting There" on a 4AD sampler entitled Fragments From Work In Progress. Their eighth album, Penny Sparkle, was released in September 2010 through 4AD. The album was again mixed by Alan Moulder, and reached 79 in the Billboard 200 chart. For the subsequent tour the band added a key-board player. The band released a six-track remix EP in July 2011.

A year later, the band started the project for their next album but without the support of 4AD. Self-financed, the band embarked on a haphazard recording schedule with producer Drew Brown. Simone Pace noted about Brown's involvement that "he has so much experience and definitely dictated the direction of the record; the choices of instruments, concept and that it was minimal." He forced the band to use analogue instruments.

In April 2014 their song "For the Damaged Coda" was used in an episode of the first season of the cartoon Rick and Morty. The use of this song was again repeated in April 2017 in the third season. The use of the song became an important plot device regarding the character "Evil Morty" for the series. Around 2018 this song became an Internet meme expressing the sadness one feels at the worst moments of one's life.

The band released their ninth album, Barragán, on September 2, 2014, through Kobalt. It was preceded by the single "No More Honey" that appeared in June. It was followed by the second single, "Dripping," which included a video. The band also provided the soundtrack to the Danish film The Commentator.

In June 2016 it was announced that the band would release the box set Masculin Féminin on September 30 through The Numero Group. It contains 37 tracks, which cover the first two albums, associated singles, radio sessions and unreleased demos from the period. In 2017, the band released the EP 3 O'Clock, which comprises four songs and featured contributions from Eyvind Kang, Michael Leonhart, Sam Owens and Mauro Refosco, among others.

In September 2019, Kazu Makino released her first solo album, Adult Baby, which featured Ryuichi Sakamoto (on piano, field recordings, and "organic instruments"), Ian Chang and Greg Saunier (drums), and Mauro Refosco (percussion).

The band toured the US in 2022 on select dates supporting Tool. The following year, the band announced the release of their tenth album, Sit Down for Dinner, on September 29, 2023, through section1. In November, they released a reworked version of "Damaged Coda" entitled "More Coda" for Rick and Morty. On June 14, 2024, Blonde Redhead performed at the Forum Melbourne in Melbourne, appearing as part of the 2024 RISING: festival, supported by Melbourne-based singer, Georgia Knight.

Members
Current members
 * Kazu Makino – rhythm guitar, keyboards, lead vocals (1993–present)
 * Amedeo Pace – lead guitar, bass, keyboards, lead vocals (1993–present)
 * Simone Pace – drums, keyboards (1993–present)

Former members
 * Maki Takahashi – bass (1993–1995)
 * Toko Yasuda – bass (1995-1996)

Timeline

title: Blonde Redhead


text:
Talk:Ornamentation and crime

Is this the entire writing by Loos? If not, the attribution is misleading. Why is the article started off with his name? - Texture 21:14, 4 Mar 2004 (UTC)

title: Talk:Ornamentation and crime


text:
Baron Wraxall

Baron Wraxall, of Clyst St George in the County of Devon, is a title in the Peerage of the United Kingdom. It was created in 1928 for the Conservative politician George Gibbs. , the title is held by his grandson, the fourth Baron, who succeeded his father, a former diplomat, in that year. The Barons Wraxall are related to the Barons Aldenham and Barons Hunsdon of Hunsdon. The first Baron's grandfather William Gibbs was the younger brother of George Henry Gibbs, the father of Hucks Gibbs, 1st Baron Aldenham, whose fourth son was Herbert Gibbs, 1st Baron Hunsdon of Hunsdon.

The family seat was at Tyntesfield, near Wraxall, Somerset, which is now owned and administered by The National Trust.

Barons Wraxall (1928)

 * George Abraham Gibbs, 1st Baron Wraxall (1873–1931)
 * (George) Richard Lawley Gibbs, 2nd Baron Wraxall (1928–2001)
 * Eustace Hubert Beilby Gibbs, 3rd Baron Wraxall (1929–2017)
 * Antony Hubert Gibbs, 4th Baron Wraxall (born 1958)

The current heir apparent is the present holder's son, the Hon. Orlando Hubbert Gibbs (born 1995).

title: Baron Wraxall


text:
Borough of Manhattan Community College

The Borough of Manhattan Community College (BMCC) is a public community college in New York City. Founded in 1963 as part of the City University of New York (CUNY) system, BMCC grants associate degrees in a wide variety of vocational, business, health, science, engineering and continuing education fields.

BMCC's original campus was scattered all over midtown Manhattan, utilizing office spaces, hotel conference rooms, and various spaces throughout Manhattan. In the mid-1970s, CUNY began scouting for suitable property on which to erect a new campus of its own. The current campus has been in use since 1983.

History
Martin B. Dworkis was BMCC's first president. Classes were originally held in part of the ground floor, the entire second floor, and part of the third floor of an office building at 131 West 50th Street in midtown Manhattan. BMCC renovated the office space into classrooms and administrative areas, and it created its own entrance at 134 West 51st Street. Fred Kelly, a graphic designer living in of Kew Gardens, designed BMCC's official seal. BMCC's first classes were held in fall 1964. During its first school year, 42 percent of its students were African American.

Plans were announced for BMCC to have its own buildings to hold its classes in 1968. In 1974, the Middle States Association of Colleges and Schools determined that BMCC's physical facilities were "so inadequate as to defy description", and it said it would suspend BMCC's accreditation unless improvements were made quickly. The City University of New York's central administration evaluated BMCC the same year, and it found that student grades were inflated to such an extent that they were essentially meaningless. There was a ground-breaking ceremony on a new building for BMCC the same year. Because of the 1975 New York City fiscal crisis, however, construction was suspended the next year. In 1977, BMCC's president, Edgar D. Draper, was fired after he improperly persuaded a college association evaluation team to alter its report to show the college administration more favorably. By 1980, BMCC's passing rates on nursing certification exams had significantly improved, and BMCC no longer had a financial deficit. BMCC's new campus building opened in January 1983. A 15-story building at 30 West Broadway was donated to BMCC in 1993 by Miles and Shirley Fiterman; the building was subsequently named Fiterman Hall in their honor. On the morning of September 11, 2001, BMCC's students, teachers, and staff members heard explosions coming from the direction of the World Trade Center, which was located just a few blocks away. Port Authority of New York and New Jersey used the gymnasium at BMCC's main building to triage survivors, and BMCC donated medical supplies from BMCC's Nursing Department to treat victims. The Port Authority set up generators at BMCC's main building, and the building became its command center. That afternoon, 7 World Trade Center, across the street from BMCC's Fiterman Hall, collapsed, and the building fell onto Fiterman Hall, rendering the hall uninhabitable. BMCC's staff worked constantly to restore Fiterman Hall and, on October 1, the building reopened for classes. The hall was eventually demolished and a new building opened in September 2012.

Academics
BMCC has also recorded a large rise in remedial education, lack of freshman retention, and overcrowding. Due to its larger base of capital compared to most other two-year colleges, expansion of new campuses during the rebuilding of Fiterman Hall was possible. Several trailers are still used as classrooms to help expand capacity. Internal programs have also been created or expanded to help with academic advisement, provide online access for registration, transferring to other colleges, and job placement.

BMCC also has a diverse student base, some of whom had immigrated to America shortly before enrolling. Among other issues are improving the retention and graduation rate, as well as the increased financial and academic burdens of a remedial program.

Campus
Borough of Manhattan Community College's four main campuses are in the Tribeca, Civic Center, and Financial District neighborhood of Lower Manhattan. BMCC occasionally hosts the Tribeca Film Festival's ceremonies and films. The main campus on 4.28 acres is located in Chambers Street, North Moore Street and covers a four block radius. It houses a swimming pool and gymnasium as well as technical facilities, computer laboratories, and a media centre.

Downtown/Tribeca campus

 * 199 Chambers Street, New York, NY 10008 – Main Campus
 * 245 Greenwich Street (North entrance), 81 Barclay Street (South entrance); New York, NY 10007 – Fiterman Hall
 * 70 Murray Street, New York, NY 10008 – Chambers Street

Fiterman Hall

The original Fiterman Hall opened in 1959 and occupied a block bounded by Greenwich Street, Barclay Street, West Broadway, and Park Place. It had been the original location of King's College, before it was renamed Columbia University and moved to Morningside Heights. Fiterman Hall was donated to BMCC in 1993 by Miles and Shirley Fiterman, for whom the building was subsequently named. The building had previously been used as a bank, and CUNY had wanted to rent the building from the Fitermans, but they decided to donate the building to CUNY instead. It was the largest gift of a building to a community college in the United States, and it was the largest donation ever to CUNY. The building was renamed Miles and Shirley Fiterman Hall. In 2000, the Dormitory Authority of the State of New York, which owned the building, began a massive renovation to better adapt the building for classroom use.

During the September 11 attacks, the building's structure was heavily compromised by debris from the collapse of 7 World Trade Center, and the renovation was never completed. The building became unsafe to occupy because of exposed asbestos and mold growth. Since traditional demolition would result in an unacceptable environmental impact, the building was scheduled for deconstruction and decontamination as a part of the Lower Manhattan redevelopment project. Fiterman Hall was to be replaced by a new building designed by the architectural firm Pei Cobb Freed & Partners after the deconstruction, and was scheduled to be completed by February 2007. However, environmental impact concerns and funding issues caused numerous delays. At a press conference at BMCC on November 13, 2008, city and state officials announced a new agreement that revised demolition and reconstruction plans through a funding agreement among New York City, New York State, and the City University of New York. In addition, approximately $80 million from an insurance settlement would be applied to the project's budget. Under the plan, the building was demolished and rebuilt in November 2009, and the new Fiterman Hall was completed in September 2012.

Off-site programs

 * Brooklyn College
 * CUNY in the Heights
 * John Jay College
 * Lehman College
 * Long Island University Brooklyn
 * St. John's University Manhattan

Athletics
College teams of the BMCC participate as a member of the National Junior College Athletic Association (NJCAA). The Panthers are a member of the community college section of the City University of New York Athletic Conference (CUNYAC). Men's sports include baseball, basketball, soccer and swimming; while women's sports include basketball, soccer, swimming and volleyball.

BMCC offers a large state-of-the-art recreation facility including a regulation basketball court, swimming pool, and weight room. There are active teams in many sports such as handball, bowling, baseball, soccer, and basketball. Sports teams compete in both the CUNY athletic system and the local NJCAA collegiate sports system. The women's basketball team has won numerous championships including the CUNY basketball championship and the regional Division III championships including placing third nationally in 2000 with a 21–3 regular season record. The chess team has won national awards. One of the most successful programs at BMCC is the men's soccer team with 6 consecutive wins at CUNY soccer championships, 1 regional Division III championship, and placing third in the NJCAA national championship in 2005.

Notable alumni

 * Cardi B, rapper, songwriter, and reality television personality
 * Kid Chaos, musician
 * Queen Latifah, singer-songwriter, rapper, actress, and producer
 * Saul Rogovin, professional baseball player
 * Mirko Savone, voice-over actor
 * Gabourey Sidibe, actress
 * Adam Saleh, YouTuber and boxer
 * Michael K. Williams, actor

title: Borough of Manhattan Community College


text:
Baron Wise

Baron Wise, of King's Lynn in the County of Norfolk, is a title in the Peerage of the United Kingdom. It was created on 24 December 1951 for the Labour politician Frederick Wise. He had previously represented King's Lynn in the House of Commons. the title is held by his grandson, the third Baron, who succeeded in 2012. This is the latest extant hereditary peerage created on the recommendation of a Labour government.

Barons Wise (1951)

 * Frederick John Wise, 1st Baron Wise (1887–1968)
 * John Clayton Wise, 2nd Baron Wise (1923–2012)
 * Christopher John Clayton Wise, 3rd Baron Wise (born 1949)

The heir apparent is the present holder's elder son the Hon. Thomas Christopher C, Wise (born 1989). A younger son, Hilary Archibald Frederick Wise, was born in 1990.

title: Baron Wise


text:
Talk:Pentagonal number

Generalized
I don't know what is the point of generalized pentagonal numbers, as opposed to regular pentagonal numbers, so if someone knows, it would be appreciated if they added it to the article. PrimeFan 21:17, 4 Mar 2004 (UTC)

 * There's a point to the regular ones? The generalized ones are the scrunty little 'pentagons' inside the patterns for the 'regular' ones. Personally, I can't see why a ten-dot pentagon with two dots in the middle is any more regular than the two dots on their own. Grant 18:37, 25 November 2006 (UTC)

 * 7719539042 2409:4051:387:3722:0:0:20A6:90A1 (talk) 03:12, 24 January 2024 (UTC)

Represents a pentagon
The article as it appears in 2010 does not (no lnger?) seems to have the phrase "represents a pentagon." The numbers in fact do not represent pentagons; rather pentagons (or superpositions of pentagons) are one way of represnrting the numbers. And not the only way. For an alternative representaiton, which treats generalized pentagonal numbers equally rtegardless of whether they are pentagonal numbers proper, see the section of the article on centered hexagonal numbers. 170.170.59.138 (talk) 23:39, 15 July 2010 (UTC)OL3

The article should explain what "represents a pentagon" means. 84.139.0.238 17:38, 7 February 2006 (UTC)

 * You're absolutely right. This is one of those things that need to be explained precisely because they seem so obvious.
 * I looked to Mathworld for guidance. Their article on the topic has a graphic of dots arranged in pentagons, but nothing in words. So it's a challenge for us to come up with appropriate words. PrimeFan 21:16, 7 February 2006 (UTC)

 * You're having a laugh. It's not remotely obvious. Give that one of the chief features of a regular pentagon is its rotational symmetry, might one not expect a pattern of dots that represents such a figure to have its own rotational symmetry? In fact there is no sense in which the number 12, say, represents a pentagon. Grant 17:33, 25 November 2006 (UTC)

 * I created a gif image representing the first six pentagonal numbers in pentagon form, hopefully it clears things up. timrem 02:21, 15 March 2007 (UTC)

Music to my ears
One can see 1, 5, 12, 22, 35... as pentagonal patterns. One can also see this pattern in human music. 1 from monochords, 5 for 'pentatonic scales, 12 for Western dodecaphonic (12 tone) system in music, and 22 for the 'Sruti' (22-tone) system in Indian music. Some jazz musicians have experimented with 35-tone music. Figurate numbers should find a place along side Pythagoras' "music of the spheres" in the bridging of Math and Music. If you like, we can discuss this more over at my forum: http://forums.delphiforums.com/figurate/start —Preceding unsigned comment added by 66.236.228.11 (talk • contribs)

Comparison to triangular numbers dubious
Currently the lede states that unlike triangular numbers, "the patterns involved in the construction of pentagonal numbers are not rotationally symmetrical". Well, if you construct the triangular numbers as right-angled triangles, they are not rotationally symmetrical either. Wouldn't it be more correct to express the difference by stating that the constructed points cannot all be a subset of a regular grid? References of expert attention would be good. --Cedderstk 09:19, 5 November 2018 (UTC)

Commons files used on this page have been nominated for deletion
The following Wikimedia Commons files used on this page have been nominated for deletion: Participate in the deletion discussions at the nomination pages linked above. —Community Tech bot (talk) 22:55, 9 June 2019 (UTC)
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== Is generalized pentagonal numbers * n + 1 can be primes for all positive integers n other than 24 and 25? Also, if there a formula of the sum of reciprocals for (generalized pentagonal numbers * n + 1) for positive integers n? ==

Generalized pentagonal numbers * n + 1 can be primes, for all positive integers n, except 24 and 25, since generalized pentagonal numbers * 24 + 1 are squares, and generalized pentagonal numbers * 25 + 1 are also generalized pentagonal numbers, this is like that triangular numbers * n + 1 (centered n-gonal numbers) can be primes, for all positive integers n, except 8 and 9, since triangular numbers * 8 + 1 are squares, and triangular numbers * 9 + 1 are also triangular numbers.

In base 25, all repunits are generalized pentagonal numbers, and in base 9, all repunits are triangular numbers, and since no generalized pentagonal numbers > 7 are primes, and no triangular numbers > 3 are primes, in these two bases there are no generalized repunit primes, also, there is a formula of the sum of reciprocals for the centered n-gonal numbers, i.e. the sum of reciprocals for (triangular numbers * n + 1) for positive integers n, but is there a formula of the sum of reciprocals for (generalized pentagonal numbers * n + 1) for positive integers n? ——220.132.54.182 (talk) 09:00, 29 December 2021 (UTC) — Preceding unsigned comment added by 220.135.64.212 (talk)

title: Talk:Pentagonal number


text:
Talk:Asherah

Israelites
Why does the article make it sound like it was the norm and accepted thing to serve more that one G-d? It wasn’t the norm, it was looked down upon. And they didn’t start believing in one G-d only after the Babylonian exile. Whoever wrote this must check the sources again. As a Jewish historian I say this is completely false. Jake pres (talk) 14:06, 9 January 2022 (UTC)

What kind of historian ignores that Jewish monotheism is a relatively late phenomenon? Dimadick (talk) 16:59, 10 January 2022 (UTC)

 * G-d is the correct Jewish spelling of God. 2607:FB91:C6A:DC33:F537:8A0E:387A:CAA5 (talk) 15:02, 25 September 2023 (UTC)

Original research
We don't care about what you say, we care about WP:V: not printed anywhere, so it is you who drew such conclusion, textbook case of WP:OR.

Besides, "sacred prostitution" nowhere and "never took place". Source: Meaning: it was always just a rumor, and always spread by foreigners.

Page at Google Books:. tgeorgescu (talk) 03:33, 11 January 2023 (UTC)

 * The names and traditions of prominent Canaanite deities are consistently misrepresented in Hebrew scripture to denigrate the traditional rivals to Yahweh. This is a common phenomenon. Another example is Baalzebul, which means something like "Lord of the high place", but which in Hebrew scripture is bastardized into 'Beelzebub' or "Lord of the Flies". Iskandar323 (talk) 06:43, 11 January 2023 (UTC)

 * Coogan does not deny that there were prostitutes seeking clients around temples, he denies that the prostitutes were working for the temples. tgeorgescu (talk) 10:07, 23 February 2023 (UTC)

Elijah
Shouldn't Elijah be mentioned in the "Worship and suppression" section of this article? 173.88.246.138 (talk) 06:23, 19 June 2023 (UTC)

 * WP:CITE your WP:SOURCES. Anyway, I don't believe that it was a one man show. tgeorgescu (talk) 15:04, 19 June 2023 (UTC)
 * Probably not, but the anonymous is referring to the biblical narrative of Elijah supposedly defeating "450 prophets of Baal, and 400 prophets of Asherah" at Mount Carmel. It is typical biblical propaganda, but it is a surviving depiction of the cult of Asherah. Dimadick (talk) 10:12, 21 June 2023 (UTC)

Fringe
Mount Ebal curse tablet is the WP:FRINGE of the WP:FRINGE. E.g. Christopher Rollston wrote: “This article is basically a text-book case of the Rorschach Test, and the authors of this article have projected upon a piece of lead the things they want it to say.” (copy/pasted from Mount Ebal curse tablet).

See also. Or.

There are WP:FRINGE claims that are apparently cogent, and WP:FRINGE claims which are WP:CB. Mount Ebal curse tablet is WP:CB. tgeorgescu (talk) 02:39, 5 September 2023 (UTC)
 * That the claims are fringe is probably true, but what does this have to do with the Jewish goddess? Dimadick (talk) 18:23, 5 September 2023 (UTC)
 * See this edit. —  Trilletrollet  [ Talk | Contribs ] 18:31, 5 September 2023 (UTC)
 * I don't get it. Even if the claims about the Mount Ebal curse tablet were true that would only mean that the Tetragrammaton is older than previously known. What does that have to do with the question of when Judaism became monotheistic? -- Random person no 362478479 (talk) 19:42, 5 September 2023 (UTC)

Asherah is found 40 times in the Hebrew Bible
I added... "The term 'Asherah' appears 40 times in the Old Testament, with 33 of these occurrences referring to the sacred Asherah poles used in pagan and heretical Israelite worship. Only seven instances of 'Asherah' are references to the goddess herself."<ref] https://www.learnreligions.com/asherah-in-the-bible-6824125 </ref] 2607:FB91:C6A:DC33:F537:8A0E:387A:CAA5 (talk) 15:06, 25 September 2023 (UTC)

Photos of the pots
Of top importance to Asherah and Kuntillet Ajrud inscriptions pages are good clear illustrations and photos of all sides of the pithoi, plaster, and context. All the art. From the good sources available, which are few. Anybody'd like to help? Temerarius (talk) 00:48, 12 December 2023 (UTC)

Tag / request resolution
I added the requested citation in the top for the Amorite spelling. Temerarius (talk) 19:32, 13 December 2023 (UTC)

What a bizarre article
It's written like a narrative. No "according to", no "he/she found", but a narrative as if this is gender theory, which it isn't.

"Episodes in the Tanakh show a gender imbalance in the Hebrew religion: the texts state their patriarchal nature. Asherah was patronized by female royals such as the Queen Mother Maacah (1 Kings 15:13). But Asherah was tremendously popular and was worshiped within the household and her offerings were performed by family matriarchs."

this is simply a lot of uncredited presuppositions which have no relevance to the article of Asherah.

Gender imbalance in the religion? Okay, says who? More importantly, what does it have to do with Asherah? There were dozens of female goddesses, if that's the raison d'etre for this paragraph at all.

"as yām (Hebrew: יָם) is a common western Semitic root that literally means "sea"."

this could have been "literally" summed up as "Yam, "sea" in Hebrew".

then there's even a picture of gold items, reading -

"Gold items are good to seek examples of continuity between middle and late bronze ages. A lesser example of the "plaque" goddess and fine examples of the Ω yoni, a general-purpose fertility charm. Pic"

you can't make this up. Absolute zero continuity between paragraphs.

Some of its references are of a biologist named Amzalleg which was critically panned (that is to say, everyone and their sister think they can be experts on biblical theory, while in reality it's very much based on actual diggings, historical linguistics and a some interpretation, at its core it's not a social studies subject) At this stage, this seems like a stream of consciousness original work, bordering on a hoax, not an actual article. 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 04:52, 20 December 2023 (UTC)

 * Gérard Nissim Amzallag holds a PhD in biblical studies. So, regardless of his knowledge of biology, he is an expert in Bible scholarship. tgeorgescu (talk) 17:14, 20 December 2023 (UTC)
 * As you can read in his entry, he's highly contested. For a reason - there are capitalist, gay, Christian, feminist, you name it, readings of the Bible, because it's a very influential book.
 * This is great, but it cannot come at the expense of the dry facts.
 * A lone scholar reading into the Bible that Moses was actually feminist, is very interesting work, but it cannot be the core of the entry about him, without proper references and due credits. 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:26, 22 December 2023 (UTC)
 * True in general, false in particular. Why?
 * Our article modestly calls his thesis.
 * That specific claim is not particularly revolutionary, I could WP:CITE Baruch Halpern, who stated that monotheism wasn't "invention of tradition", but an obstinate refusal of tradition. tgeorgescu (talk) 06:33, 23 December 2023 (UTC)
 * That's a similar view to Doug Rushkoff. Andre🚐 06:35, 23 December 2023 (UTC)
 * "Proposal" is a good start, as it isn't particularly mainstream with regards to Asherah.
 * But enlighten me on this paragraph -
 * "posits that when the proto-Jews had a national god without a nation, there was a theological mismatch and a cultural trauma."
 * What does that even mean?
 * It's like the paragraph about "gender imbalance in the Tanakh" - it's a lot of hot air words with no explanation.
 * Like a sparknotes summary without the actual content -
 * What's theological mismatch?
 * Cultural trauma from what?
 * If it's included, it ought to be
 * A. Explained
 * B. Related in some way to Asherah.
 * Now, again, this isn't a very philosophical article.
 * It should talk about an actual object in the world - Asherah figurines, Asherah trees, and the deity they embodied.
 * So in the first place this isn't an article about Bible feminist theory (gender imbalance) or Bible minimalism (cultural trauma?).
 * But if it's in, it should be presented later on and at least explained. 2A02:6680:1107:7BB6:CCA7:ACD8:A8F3:9402 (talk) 01:06, 26 December 2023 (UTC)
 * Ok, yeah, you're kind of right IP. It has to be Asherah-related to be on the article, we're getting a little into the weeds or clouds and it's a bit off-topic to talk about the origins of monotheism altogether. Here's my attempt to summarize where it is: 1) Jews and proto-Jews, or the denizens of ancient Israel and Judah and the surrounding environs who were Edomites or whatnot in a tribal polity or whatnot, at some point had a pantheon or at least a ritual practice involving Asherah worship, 2) the cultic aspects include the trees/poles, figurines, 3) we have a number of inscriptions and Biblical archeologists theorizing about their possible meanings and what it means for the extant texts, 4) there's reason to believe through the redactions of the Deuteronomists or others, the existence of a possible Yahweh consort or polytheistic/monolatristic existence of a female dualism or traditional fertility goddess in ancient Judaism or proto-Judaism was redacted and replaced with a patriarchal system theoretically, 5) as far as weight this all should not be considered the only part of Asherah since Asherah was an ancient pan-Babylonian deity with syncretic aspects and cognates in other Sumerian/Akkadian/etc material and possible connections to other Semitic and Mesopotamian groups. Is that all about right and did I miss anything? Andre🚐 01:19, 26 December 2023 (UTC)
 * "obstinate refusal of tradition" A curious way to describe either an innovation or a heresy. Monotheists were a lot different than traditional Israelites. Dimadick (talk) 12:27, 23 December 2023 (UTC)

 * Yeah, the ancient history of Jewish polytheism and Asherah worship in ancient Israel is not a hoax. Andre🚐 17:52, 20 December 2023 (UTC)
 * Don't twist my words. I said this article looks like a hoax - Asherah is very much an important Neareastern deity, and so this article is more noise than actual facts.
 * You seem to be having no knowledge on the subject, so picture this -
 * The article about historical Jesus, instead of talking Jesus, talking about gender theory of the Saducees, then changing halfway to be about Joshua instead, since their names are similar (what does Hathor have to do with Eve with Asherah? That all are feminine?) 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:20, 22 December 2023 (UTC)
 * OK, I get your point, but "hoax" is a bit much. The article is unfocused and rambling, and it needs a tighter scope to be about Asherah. Most of the discussion about ancient Semitic worship of Asherah is speculative, even in the reliable sources. Andre🚐 01:26, 22 December 2023 (UTC)
 * There's lots of speculation, but what we do know is fairly certain -
 * A. It's very much present in the Bible, likely the most described deity
 * B. It's attested in at least one 6th-9th century Hebrew inscription, at Kuntillet Ajrud, alongside Yahweh, which itself is no small feat (Yahweh should not have a consort. Is it a tree to worship Yahweh with, or it's an actual dual worship duo - Yahweh-Asherah)
 * C. There's a bunch of attested parallels in other languages, not like Baal but a lot more than Dagon
 * D. It might have played a big part in Josiah's reforms, meaning worship of Asherah might have been acceptable before, we do know for sure it was prevalent, as "the just kings" destroyed the altars and rooted out the Asherot (trees themselves)
 * E. Figurines of it seem to exist
 * So that's a lot. Much more than most Semitic deities.
 * No need to start with "Yoni symbol" and Patriarchy in the Bible as represented in Asherah worship.
 * It might be a good addition, but thoroughly credited, only AFTER the dry facts. 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:35, 22 December 2023 (UTC)

 * OP, you're right it's not 1.0 quality, and now (or soon for yours truly) might be a good time to get rid of some of that, hopefully along with that "undue weight" notice. A general smoothing of the tone and transitions is desired, but the... well, it's a moving target. I've been working on the article for two months, and I haven't felt yet it was mature enough to do "final editing" on. When I got here, the problem was far too little information about an important figure. Might be enough to prune now. Temerarius (talk) 21:07, 20 December 2023 (UTC)
 * It's more that it's an invented narrative, I'm not sure who introduced these parts but the problems are it's -
 * A. An invented narrative - nowhere in articles like Baal, Astrate, Hathor, do you see musings like "Episodes in the Tanakh show a gender imbalance in the Hebrew religion: the texts state their patriarchal nature." - this is pure speculation, and can, and should appear, but with due references, and with due "according to"s.
 * It can't be the core of the article, these original pieces.
 * It should be who Asherah was, how was she attested, how was she worshipped.
 * B. Absolutely zero connection between many segments. Good Wikipedia articles don't have "see gold picture later", rather incorporate them or have them in a gallery - this is how journals work, not scientific articles.
 * C. A lot of absolute rubbish.
 * There's a piece about Eve, Hawa in Aramaic, then it being linked to Hathor - because of Hwt-ur? These are different words, unrelated. You can't link just about any deity based on phonetic resemblance.
 * And what's this stuff about gold amulets providing good continuity between ages? Yoni symbol? This is Neareastern mythology, it's based on stones, steles, tablets, a note about gold amulets is as relevant to Asherah as saying "trees have long lifespans in Turkey".
 * I understand a more thorough article is preferred, but not at the expense of wrong stuff, or purely speculative stuff.
 * Other deity articles look nothing like it. 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:12, 22 December 2023 (UTC)
 * I'm guessing that someone got all of that from somewhere. If it's original, it can be deleted. But I have seen that sources exist for some of the above stuff. Andre🚐 01:27, 22 December 2023 (UTC)
 * Some of it, yeah. Some is just ramblings like the "gold amulet" part.
 * Even so, as I said there's literally any reading in the Bible you just desire - some of it far from reality, being pseudoscience.
 * So of course, it's a matter of scope - dry facts about Abraham first, only then you can read communist undertones into his familial structure in Egypt. 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:38, 22 December 2023 (UTC)
 * That the Hebrew Bible is thoroughly patriarchal: this is not disputed in the mainstream academia. Perhaps there are some footnotes to it rendering dissenting views, but no more. tgeorgescu (talk) 06:39, 23 December 2023 (UTC)
 * Yes, absolutely. Andre🚐 06:44, 23 December 2023 (UTC)
 * The authors of the Bible can no longer be asked why they sided with Patriarchy, so in that sense we will never know for sure. But scholars like to attribute them intentions/motivations/purposes/agendas. tgeorgescu (talk) 07:00, 23 December 2023 (UTC)
 * As for fixing this, perhaps doing the according to's and proper references would be a star, I really don't think 80% of it should be there, but so long as it's presented as speculation (which it is), that's better 2A02:6680:1108:F608:62D6:ADD:8C3F:2815 (talk) 01:28, 22 December 2023 (UTC)
 * What you don't get: in Ancient history/archaeology there are very few hard facts, most of what we know about Antiquity are probability judgments about "what probably happened". tgeorgescu (talk) 06:43, 23 December 2023 (UTC)
 * Agreed as well. Andre🚐 06:44, 23 December 2023 (UTC)
 * Not at all.
 * You fail to make the very obvious distinction, that should be clear to any Bible scholar, archaeologist or historian of the ancient near east -
 * there are -
 * A. Historical writing (cuneiform, hieroglyphics...)
 * B. Archaeological evidence (figurines, altars)
 * C. Non primary sources (the Bible, Herodotus)
 * D. Hypotheses.
 * Hypotheses cannot come before the actual findings.
 * We have lots of those regarding Asherah, as I've mentioned here already (figurines, writings, primary inscriptions in Hebrew AND Ugaritic for God's sake).
 * So Ashera isn't some obscure Neareastern concept like Walastin. There's a lot to work with.
 * You claiming "we don't know jack so we ought to go for the gender theories" is nothing but muddying the waters.
 * I suggest you hop on other languages to see that you can write a lot, based on mainstream theories without resorting to half baked hypotheses about societal pressures in Amorite society. 188.64.207.4 (talk) 01:17, 26 December 2023 (UTC)
 * Easy easy, you can both be right and both coexist happily. We need all A B C and D, not necessarily segregated in separate sections and in that order, but interleaved, that's how Wikipedia articles typically do it. Andre🚐 01:21, 26 December 2023 (UTC)
 * that's generally true, but you run the risk of including absolute speculation as equal to actual, hard evidenced material. Or even instead of.
 * You wouldn't include a big section on feminism on the WWII article, even though women did serve in the war.
 * It's just too specific for a broader subject, a dedicated article could work.
 * So for ancient Neareastern archaeology, you have both HARD SCIENCE - writings, figurines, evidence in the ground.
 * And you have the hypothese to complement them.
 * Muddying the waters is when you say "well there's not enough evidence so let's have 80% of it speculative hypotheses",
 * When in fact you have massive amount of hard evidence regarding Asherah in writing.
 * So the actual science of real objects should always come before the speculation - even the speculation itself is based on the hard evidence.
 * Focusing on the speculation is like learning about WWII not from primary sources, basically, but from stuff written years after the fact.
 * Which you wouldn't do for WWII. 2A02:6680:1100:EDA6:E5D9:845C:E367:349D (talk) 01:33, 26 December 2023 (UTC)
 * The basics of Wikipedia: we parrot mainstream WP:SCHOLARSHIP. If a claim is considered relevant by mainstream Bible scholars, we render it, regardless of it being type A, B, C, or D. E.g. while this article isn't an article in feminist Bible scholarship, feminist Bible scholarship does make a valid point about Asherah, and Wikipedia isn't censored. tgeorgescu (talk) 01:51, 26 December 2023 (UTC)
 * That was a good call on the "gender imbalance in the religion" blah blah blah, which I cut I think yesterday. I had originally written it to ameliorate an editorial problem that's long since solved. As I said before, I'm working on this article on an ongoing basis and will continue to make small edits before embarking on a more comprehensive draft with improved flow. The current disjointedness is a hopefully temporary product of the process and if I can spread blame, perhaps the fracturedness of the scholarship. If you'd like to help, please send me papers I may not have read yet, for example a collection of all of Meshel's work would be very handy, I have not read all of it - and suggest open license images that could be of great demonstrative value: specifically, if anyone can get us complete images of all the art and inscriptions  at Kuntillet Ajrud that we can use in the article, I'd love that. Those are the  number-one top importance  artifact for this article. (Though most of them would end up on the Kuntillet Ajrud Inscriptions article.) I'll also be posting another note here about some consolidation of references like the Tanakh references which are useful but currently quite messy. Temerarius (talk) 04:45, 24 December 2023 (UTC)
 * that's great to hear this is a work in progress. I think most of it could work if presented in the right context, with sufficient references, after the hard facts are described.
 * I agree with you that Kuntillet Ajrud, but perhaps more importantly Ugaritic mentions are the most important PRIMARY sources on the matter (something you cannot underestimate when talking about ancient deities - most are very poorly attested) 2A02:6680:1100:EDA6:E5D9:845C:E367:349D (talk) 01:24, 26 December 2023 (UTC)
 * "My photo could be used as evidence, for example, to determine if 1) the water was higher than last week or 2) the winter ice was gone 3) the boat race was on some other lake or 4) if aliens were waterskiing that day. But, until you advance some relevant theoretical claim a photo is just a photo—it is not “evidence.”"

- Karl W. Giberson

 * Quoted by tgeorgescu (talk) 21:31, 26 December 2023 (UTC)

Park 2010
I removed an UNDUEWEIGHT mention of Park in the head. Etymology is not a solved problem that should go in the intro. It seems Park's idea is popular among editors, can I ask why? Scholarship on the etymology is mostly a jumble of opinions without trajectory or progress. If there's something superceding about that paper, I don't see it. The only conclusion on etymology is uncertainty, I think. Temerarius (talk) 16:01, 4 January 2024 (UTC)

 * @Temerarius: Sorry, I didn't receive any notification on this post before. I agree that the topic of Asherah's etymology remains debated. That said, Park's paper is one of the most recent studies on the topic. And the Etymology section is not a part of the intro of this article. So, I think we could present Park's theory while noting that it is only an hypothesis and citing it following WP:ATTRIBUTEPOV rules. Potatín5 (talk) 21:37, 4 January 2024 (UTC)
 * Thank you yes Park's hypothesis has been adequately mentioned on the page, even in inappropriate sections, like in Arabic section and again the intro. Recency is important on topics like DNA tests, but doesn't hold much weight in philology if scholarship isn't moving forward at a good speed, making progression toward consensus-es. Or even schools of thought with coherent borders and positions. I put that detail in its proper context a while ago, as a self-described extension of Margalit's theory, precisely because it breaks so little ground. When I read the paper I put it in that context and removed the UNDUEWEIGHT references. Removing your addition to the intro was the same operation. Can I ask you again why you find Park moving?
 * Temerarius (talk) 21:48, 4 January 2024 (UTC)
 * If I wasn't clear, I thought that the Ugarit section was the right place for Park 2010. Thank you for your points. Temerarius (talk) 02:46, 6 January 2024 (UTC)

Spelling table
I've not yet checked this table for accuracy.
 * Deuteronomist's spelling references table, after Anthonioz 2014

Temerarius (talk) 02:38, 6 January 2024 (UTC)

"Title" section: cannot be trusted
AFTER me copy-editing what I could, now we have:
 * Title

Her titles often include qdš "holy", or elat, ba'alat, or rabat, all meaning Lady or goddess,  and consort of El, the qnyt ỉlm, "creator of the gods."

 * 1) Locatell et al. is behind paywall.
 * 2) "Auth" reference means nothing. It was initially set at the end, together with the Ahituv ref, but Ahituv only covers qnyt ỉlm, so this anonymous "Auth" must necessarily be the source for the translation of the titles ("meaning Lady or goddess"), although how can it give the translations w/o also mentioning the original Semitic terms?! But those are left to Locatell. Nonsensical.
 * 3) I found the text like this: "all meaning Lady or goddess, and qnyt ỉlm, "creator of the gods." Total bullshit, grave misteading of the source, which speaks about her being the CONSORT OF El, qnyt ỉlm = "creator of the gods."

All this said, I'm now afraid to believe anything from this so terribly edited section and would like to remove it and place it here on the talk-page until it's been reworked and checked.

What I've been always saying: we cannot go on trust, period. Either ref is to a source that's available online, or the editor MUST make the effort and quote the exact passage they think to be referencing, so that others can check and convince themselves the source was comprehended & quoted correctly. Arminden (talk) 01:08, 17 March 2024 (UTC)

 * Going back to 2014, one finds:
 * "Her other main divine epithet was "qaniyatu ʾilhm" (Ugaritic: 𐎖𐎐𐎊𐎚 𐎛𐎍𐎎 : qnyt ʾlm) which may be translated as "the creatrix of the Gods (Elohim)". "
 * But no page indicated, only snippet view on Google Books, and the search for "creatrix" comes out empty. So again,
 * Hard to trust, and
 * contradicts Ahituv, who allocates the attribute qnyt ʾlm, which he translates in the masculin, not feminine (!), to El, not to Asherah.
 * Arminden (talk) 01:20, 17 March 2024 (UTC)
 * If we're being honest, the entire page is a jumbled mess of incomplete citations, combined with widespread violations of TONE, OR, and SYNTH. As much effort has been put into expanding the page, the amount of work it would take to fix it would require the sustained effort of multiple individuals. Sinclairian (talk) 13:10, 21 March 2024 (UTC)

problems early in the article
1) The last sentence of the lead says that whether Asherah and Yahweh were consorts is disputed, but the infobox lists it as a fact.

2) I am not sure the dispute is being presented terribly well here; there is a big difference between "some people in ancient Israel and/or Judah saw them as consorts" and "this was the mainstream/orthodox position in Israel/Judah before X reform".

3) The first paragraph after the lead, under "Name", is almost incomprehensible. Vultur~enwiki (talk) 19:15, 17 July 2024 (UTC)

title: Talk:Asherah