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Buena Vista Social Club

Buena Vista Social Club was a musical ensemble primarily made up of Cuban musicians, formed in 1996. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González. They named the group after the members' club of the same name in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzón, they recruited a dozen veteran musicians, some of whom had been retired for many years.

The group's eponymous studio album was recorded in March 1996 and released in September 1997, quickly becoming an international success, which prompted the ensemble to perform with a full line-up in Amsterdam and New York in 1998. German director Wim Wenders captured the performance on film for a documentary—also called Buena Vista Social Club—that included interviews with the musicians conducted in Havana. Wenders' film was released in June 1999 to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards. This was followed up by a second documentary Buena Vista Social Club: Adios in 2017.

The success of both the album and film sparked a revival of interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with stars from different musical genres. The "Buena Vista Social Club" name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba's "musical golden age" between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died aged 95, 84, and 78 respectively; Compay Segundo and González in 2003, then Ferrer in 2005.

Several surviving members of the Buena Vista Social Club, such as tresero Eliades Ochoa, veteran singer Omara Portuondo, trumpeter Manuel "Guajiro" Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesús "Aguaje" Ramos currently tour worldwide, with new members such as singer Carlos Calunga and pianist Rolando Luna, as part of a 13-member band called Orquesta Buena Vista Social Club.

The original Buenavista Social Club
The Buenavista Social Club was a members-only club originally located in Buenavista (literally good view), a quarter in the current neighbourhood of Playa (before 1976 part of Marianao), one of the 15 municipalities in Cuba's capital, Havana. The original club was founded in 1932 in a small wooden venue at calle Consulado y pasaje "A" (currently calle 29, n. 6007). In 1939, due to lack of space the club relocated to number 4610 on Avenue 31, between calles 46 and 48, in Almendares, Marianao. This location is recalled by Juan Cruz, former director of the Marianao Social Club and master of ceremonies at the Salón Rosado de la Tropical (other nightclubs in Havana). As seen in the Buena Vista Social Club documentary, when musicians Ry Cooder, Compay Segundo and a film crew attempted to identify the location of the club in the 1990s, local people could not agree on where it had stood.

At the time, clubs in Cuba were segregated; there were sociedades de blancos (white societies), sociedades de negros (black societies), etc. The Buenavista Social Club operated as a black society, which was rooted in a cabildo. Cabildos were fraternities organized during the 19th century by African slaves. The existence of many other black societies such as Marianao Social Club, Unión Fraternal, Club Atenas (whose members included doctors and engineers), and Buenavista Social Club, exemplified the remnants of institutionalized racial discrimination against Afro-Cubans. These societies operated as recreational centers where workers went to drink, play games, dance and listen to music. In the words of Ry Cooder,

As a music venue, the Buenavista Social Club experienced the peak of Havana's nightclub life, when charangas and conjuntos played several sets every night, going from club to club over the course of a week. Often, bands would dedicate songs to the clubs where they played. In the case of the Buenavista Social Club, an eponymous danzón was composed by Israel López "Cachao" in 1938, and performed with Arcaño y sus Maravillas. In addition, Arsenio Rodríguez dedicated "Buenavista en guaguancó" to the same place. Together with Orquesta Melodías del 40, the Maravillas and Arsenio's conjunto were known as Los Tres Grandes (The Big Three), drawing the largest audiences wherever they played. These vibrant times in Havana were described by pianist Rubén González, who played in Arsenio's conjunto, as "an era of real musical life in Cuba, when there was very little money to earn, but everyone played because they really wanted to".

After the Revolution
Shortly after the Cuban Revolution of 1959, newly elected Cuban President Manuel Urrutia Lleó, a devout Christian, began a program of closing gambling outlets, nightclubs, and other establishments associated with Havana's hedonistic lifestyle. This had an immediate impact on the livelihoods of local entertainers. As the Cuban government rapidly shifted towards the left in an effort to build a "classless and colourblind society", it struggled to define policy toward forms of cultural expression in the black community; expressions which had implicitly emphasized cultural differences. Consequently, the cultural and social centers were abolished, including the Afro-Cuban mutual aid Sociedades de Color in 1962, to make way for racially integrated societies. Private festivities were limited to weekend parties and organizers' funds were confiscated. The measures meant the closure of the Buena Vista Social Club. Although the Cuban government continued to support traditional music after the revolution, certain favor was given to the politically charged nueva trova, and poetic singer-songwriters such as Silvio Rodríguez and Pablo Milanés. The emergence of pop music and salsa, a style derived from Cuban music but developed in the United States, meant that son music became even less common.

Cuban music experienced quite a radical change in the 1960s, as National Geographic notes:

"Cuban dance music also witnessed dramatic change beginning in the late 1960s, as groups explored the fusion of Cuban son with American rock, jazz and funk styles. Groups such as Los Van Van and Irakere established modern forms of Cuban music, paving the way for new rhythms and dances to emerge as well as fresh concepts in instrumentation. ... Cuba's dance music had already inspired a change from the older son-style dances, as younger Cubans broke free of step-oriented dances..."

The occurrence of these closures and the change in traditions is the simplest explanation of why many musicians were out of work, and why their style of music had declined before the Buena Vista Social Club made it popular again.

Album
In 1996, American guitarist Ry Cooder had been invited to Havana by British world music producer Nick Gold of World Circuit Records to record a session in which African musicians from Mali were to collaborate with Cuban musicians. On Cooder's arrival (via Mexico to avoid the ongoing U.S. trade and travel embargo against Cuba), it transpired that the musicians from Mali had not received their visas and were unable to travel to Havana. Cooder and Gold changed their plans and decided to record an album of Cuban son music with local musicians.

Already on board the African collaboration project were Cuban musicians including bassist Orlando "Cachaíto" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.

Within three days of the project's birth, Cooder, Gold and de Marcos had organized a large group of performers and arranged for recording sessions to commence at Havana's EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s. Communication between the Spanish and English speakers at the studio was conducted via an interpreter, although Cooder reflected that "musicians understand each other through means other than speaking".

The album was recorded in just six days and contained fourteen tracks; opening with "Chan Chan" written by Compay Segundo, a four chord son that was to become what Cooder described as "the Buena Vista's calling card"; and ending with a rendition of "La Bayamesa", a romantic criolla composed by Sindo Garay (not to be confused with the Cuban national anthem of the same name). The sessions also produced material for the subsequent release, Introducing...Rubén González, which showcased the work of the Cuban pianist.

One of the songs that featured on the album was "Buena Vista Social Club", a danzón written by Orestes López, the father of bass player "Cachaíto". The song spotlighted the piano work of Rubén González and it was recorded after Cooder heard González improvising around the tune's musical theme before a day's recording session. After playing the piece, González explained to Cooder the history of the social club and that the song was the club's "mascot tune". When searching for a name for the overall project, manager Nick Gold chose the song's title. According to Cooder,

Upon release on 17 September 1997, the CD became a huge "word of mouth hit", far beyond that of most world music releases. It sold more than one million copies and won a Grammy award in 1998. In 2003 it was listed by the New York-based Rolling Stone magazine as #260 in The 500 Greatest Albums of All Time.

Musicians
A total of twenty musicians contributed to the recording including Ry Cooder's son Joachim Cooder, who at the time was a 19-year-old scholar of Latin percussion and provided drums for the band. Ry Cooder himself played slide guitar on several songs and helped produce and mix the album, afterwards describing the sessions as "the greatest musical experience of my life". Ry Cooder had been a successful American guitarist since the 1960s, recording with Captain Beefheart and the Rolling Stones. Known for his slide guitar work, his interest in roots music led him to record music from diverse genres including Tex-Mex, Hawaiian and Tuvan throat singing. He was later prosecuted and fined $25,000 by U.S. authorities for his work on the Buena Vista Social Club, having broken the Trading with the Enemy Act, a clause that forms part of the ongoing United States embargo.

Many of the Cuban musicians who featured on the album were at their musical prime in the 1940s and 1950s. After the success of the 1997 record they became known in Cuba as "Los Superabuelos" (the Super-Grandfathers). Juan de Marcos González, a Cuban folk revivalist who was younger than the bulk of performers introduced Cooder to veteran singer Ibrahim Ferrer. Ferrer (1927–2005) had been lead vocalist for bandleader Pacho Alonso, and also sang for Beny Moré, Cuba's most prominent performer in the 1940s, before his soft singing style fell out of fashion. Having found the semi-retired seventy-year-old Ferrer taking his daily stroll on the streets of Havana and shining shoes for extra money, González signed him up for the project. Cooder later described the discovery as something that happens "perhaps once in your life", and Ferrer as "the Cuban Nat King Cole". Ferrer became a prominent member of the group, and the success of the record was attributed in part to the popularity of his vocal performances. The singer went on to record a number of successful solo albums and performed with contemporary acts such as the Gorillaz before his death in 2005 at the age of 78.

Virtuoso pianist Rubén González (1919–2003) also had further success releasing two solo albums after working on the initial project. González was a pianist for bandleader Arsenio Rodríguez in the 1940s, and is attributed with helping establish Cuban piano styles that were to dominate Latin music for the remainder of the century. Despite suffering from arthritis and not even owning a piano at the time of recording with Cooder, (due to an infestation of termites whilst living in South America) the American guitarist described him as "the greatest piano soloist I have ever heard". After the success of the 1997 record, González recorded and toured with bassist Orlando "Cachaíto" López, who was the only musician to play on all of the songs on the Buena Vista Social Club album. "Cachaito" (1933–2009) was the son of multi-instrumentalist Orestes López and the nephew of fellow bassist Israel "Cachao" López, the brothers often attributed with inventing the mambo. Named after his prestigious uncle, "Cachaito" (little Cachao) was a leading Descarga musician in the 1950s and 1960s, a musical form that takes its influence from modern jazz, and he became the ever-present bassist at Buena Vista Social Club performances and recordings.

One of the first to come on board the project was Compay Segundo (born Máximo Francisco Repilado Muñoz) (1907–2003), who at 89 years old was the oldest of the performers. During a discussion about politics, the veteran Segundo said: "Politics? This new guy [Fidel Castro] is good. The 1930s were rough. That's when we had the really bad times." Segundo was an accomplished guitarist and tres player who started his career playing with established bands of the 1920s and 1930s. In the 1940s, he gained fame as one half of the Los Compadres duo, and then formed Los Muchachos, a band that he led until his death in 2003. For the Buena Vista Social Club recording and performances, Segundo played a unique seven-stringed instrument, a hybrid between a guitar and a tres, which he devised himself and called an armónico. He also sang, mostly doing background vocals, in a number of songs in his baritone voice, including the self-penned opening track, Chan Chan, with Eliades Ochoa as the leading voice. Cowboy hat wearing Eliades Ochoa (b. 1946), who had collaborated previously with Segundo and was a well established traditional Cuban folk performer, played guitar and sang for the group. Omara Portuondo (b. 1930), a bolero singer and the only female in the collective, sang "Veinte Años" on the record and duets with Segundo and Ibrahim Ferrer during live performances.

Other performers included singer Pío Leyva (1917–2006) who had been working with Segundo since the early 1950s, and fellow and singer Manuel "Puntillita" Licea (1927–2000), who had performed with Celia Cruz and Benny Moré. Additional improvised percussion was provided by Amadito Valdés and Carlos González. The youngest established member of the group was Barbarito Torres, (b. 1956) a virtuoso player of the laúd, a Cuban offshoot of the lute. Trumpet was provided by Manuel "Guajiro" Mirabal, (b. 1933) who went on to release solo records under the Buena Vista presents... title.

Film

Shortly after returning from Havana to record the Buena Vista Social Club album, Ry Cooder began working with German film director Wim Wenders on the soundtrack to Wenders' film The End of Violence, the third such collaboration between the two artists. According to Wenders, it was an effort to force Cooder to focus on the project, "He always sort of looked in the distance and smiled, and I knew he was back in Havana." Although Wenders knew nothing about Cuban music at the time, he became enthused by tapes of the Havana sessions provided by Cooder, and agreed to travel to the island to film the recording of Buena Vista Social Club Presents: Ibrahim Ferrer, the singer's first solo album, in 1998.

Wenders filmed the recording sessions on the recently enhanced format Digital Video with the help of cinematographer Robert Müller, and then shot interviews with each "Buena Vista" ensemble member in different Havana locations. Wenders was also present to film the group's first performance with a full line-up in Amsterdam in April 1998 (two nights) and a second time in Carnegie Hall, New York City on 1 July 1998. The completed documentary was released on 17 September 1999, and included scenes in New York of the Cubans, some of whom had never left the island, window shopping and visiting tourist sites. According to Sight & Sound magazine, these scenes of "innocents abroad" were the film's most moving moments, as the contrasts between societies of Havana and New York become evident on the faces of the performers. Ferrer, from an impoverished background and staunchly anti consumerist, was shown describing the city as "beautiful" and finding the experience overwhelming. Upon completion of filming, Wenders felt that the film "didn't feel really like it was a documentary anymore. It felt like it was a true character piece".

The film became a box office success, grossing $23,002,182 worldwide. Critics were generally enthusiastic about the story and especially the music, although leading U.S. film critic Roger Ebert and the British Film Institute's Peter Curran felt that Wenders had lingered too long on Cooder during the performances; and the editing, which interspersed interviews with music, had disrupted the continuity of the songs. The film was nominated for an Academy Award for best documentary feature in 1999. It won best documentary at the European Film Awards and received seventeen other major accolades internationally.

Live performances
The first performances by the full line up of Buena Vista Social Club, including Cooder, were those filmed by Wenders in Amsterdam and New York. Other international shows and television appearances soon followed with varying line ups. Ibrahim Ferrer and Rubén González performed together in Los Angeles in 1998 to an audience that included Alanis Morissette, Sean Combs, and Jennifer Lopez, Ferrer dedicating the song Mami Me Gusto to the Hispanic Lopez.

Performances in Florida, which has a large Cuban exile and Cuban American community, were rare after the release of the film due to the political climate. In the late 1990s, a concert by Cuban jazz pianist Gonzalo Rubalcaba turned into a near riot when concert goers were attacked and spat at by protesters opposed to the Cuban government. When "Buena Vista" musicians played for a music industry conference at Miami Beach in 1998, hundreds of protesters chanted outside and the convention center hall was cleared briefly because of a bomb threat. In 1999, Ferrer and Ruben González were forced to cancel Miami shows citing fears for their safety after fellow-Cubans Los Van Van drew 4,000 protesters at a previous show, and Compay Segundo was forced to cut short a 1999 Miami performance due to another bomb threat. When touring the U.S., the Cubans are only entitled to their per diem (transportation and lodging) and are not permitted performance fees due to the U.S. embargo. In 2001 a Buena Vista Social Club (with Ibrahim Ferrer) performance was recorded in Austin for PBS and broadcast on Austin City Limits in 2002.

Buena Vista Social Club continue to tour throughout the world as Orquesta Buena Vista Social Club, and despite the deaths of six of the original members, the collective performs with many of the remaining ensemble members including Barbarito Torres and "Guajiro" Mirabal. Ry Cooder's guitar parts are handled by Manuel Galbán, a former member of Cuban vocal group Los Zafiros, who played on Ibrahim Ferrer's first solo record with Cooder and appeared in Wim Wenders' film. Following a 2007 performance in London, a reviewer at The Independent described the ensemble as "something of an anomaly in music business terms, due to their changing line-up and the fact that they've never really had one defining front person", adding, "It's hard to know what to expect from what is more of a brand than a band."

Cultural impact
The international success of the Buena Vista Social Club generated a revival of interest in traditional Cuban music and Latin American music as a whole. Musical director Juan de Marcos felt that the recordings serve "as a symbol of the power of Cuban music, and which to a certain degree have contributed to Cuban music regaining the status it always had in Latin American and world music."

Cuba's burgeoning tourist industry of the late 1990s benefited from this rebirth of interest. According to The Economist, "In the tourist quarters of Old Havana it can seem at times as if every Cuban with a guitar has come out to sing the songs that Buena Vista made famous. It's as if you were to go to Liverpool and find bands singing Beatles songs on every street corner." The songs Buena Vista sings are often not their own compositions. Some songs they sing have long been popular in Cuba and people have always performed them in the street. Despite the appeal of the "Buena Vista" ambience to tourists, Cubans themselves were less aware of the "Buena Vista Social Club" than international music listeners. This was due to the foreign nature of the production, and the dominance of modern Timba, Songo and other musical forms on the island. Some explain that Buena Vista did not impact the Cuban audience, as they were not creating anything new; they were just playing the same songs that Cubans know and have been playing for many years.

Mari Marques, a Cuban American who leads cultural tours to Cuba, contests that the preponderance of traditional musicians was not solely a consequence of the "Buena Vista Social Club". Marques believes the notion that some music had been completely neglected in Cuba is "a romantic exaggeration that was propagated by U.S. media coverage", and the reality is that son trios have existed "everywhere in cities such as Santiago de Cuba in the east of the island." British world music record label Tumi Music, who had worked with de Marcos and many of the ensemble musicians prior to Cooder, asserted that Cuba has over 50,000 musicians, all as good as, and some as old as the "Buena Vista" participants, "but these people hardly ever have the opportunity to share their talents with the outside world." The label lamented that, "for the West to pay any real attention and consume the product, you needed someone like Ry Cooder to give it a stamp of approval first."

British Socialist Workers Party member and Marxist writer Mike Gonzalez believes the ensemble provoked a backward glance to "timeless, sensual places where dreams and desire merged in a comfortable, evocative music". Gonzalez asserts that the aura evoked did not represent "the real Cuba" before the revolution of 1959, nor Cuba in the modern era, but that the Cuban government were happy for the tourist industry to "enjoy the fruits of this confusion". The American Historical Review suggested that the Buena Vista Social Club's mise en scène fueled nostalgic, idealistic feelings not only of many Americans and Cubans in the United States who remember the Havana of the 1950s, but also of Cubans in Cuba. The result was a reminiscence about the pre-revolutionary era—dominated by the politics of Gerardo Machado in the 1920s–30s and then General Fulgencio Batista until 1959—which "no longer seems so bad".

A stage musical adaptation with the same name as the album and focusing on the history and performers of the group was staged Off-Broadway in 2023.

Buena Vista Social Club albums

 * Buena Vista Social Club (World Circuit/Nonesuch Records,16 September 1997)
 * Buena Vista Social Club at Carnegie Hall (World Circuit/Nonesuch Records, 14 October 2008) (live album)
 * Lost and Found (World Circuit/Nonesuch Records, 23 March 2015 ) (collection of previously unreleased tracks)
 * ''Buena Vista Social Club (25th Anniversary Edition)

Solo albums
The below discography includes solo albums released since the first Buena Vista Social Club album that feature the musicians in the ensemble, and that are considered to be under the "Buena Vista Social Club" aegis.

 * Rubén González
 * Introducing... Rubén González (World Circuit/Nonesuch Records, 17 September 1997) – with Orlando "Cachaito" Lopez, Manuel "El Guajiro" Mirabal, Ry Cooder and Manuel Galbán
 * Chanchullo (World Circuit/Nonesuch Records, 17 September 2000) – with Ibrahim Ferrer, Eliades Ochoa, Cheikh Lô, Amadito Valdés and Joachim Cooder
 * Barbarito Torres
 * Havana Cafe (Atlantic Records, 6 April 1999) – with Manuel "El Guajiro" Mirabal, Ibrahim Ferrer, Pío Leyva and Omara Portuondo
 * Ibrahim Ferrer
 * Buena Vista Social Club Presents Ibrahim Ferrer (World Circuit/Nonesuch Records, 8 June 1999) – with Rubén González, Orlando "Cachaito" Lopez, Ry Cooder, Manuel Galbán
 * Buenos Hermanos (World Circuit/Nonesuch Records, 18 March 2003) – with Orlando "Cachaito" Lopez, Ry Cooder and Manuel Galbán
 * Mi Sueño (World Circuit/Nonesuch Records, 26 March 2007) – with Orlando "Cachaíto" López, Manuel Galbán, Rubén González, Manuel "Guajiro" Mirabal, Omara Portuondo, Amadito Valdés
 * Eliades Ochoa
 * Sublime Illusion (Higher Octave, 29 June 1999) – with Ry Cooder
 * Omara Portuondo
 * Buena Vista Social Club Presents: Omara Portuondo (World Circuit/Nonesuch Records, 25 April 2000) – with Pío Leyva, Rubén González, Orlando "Cachaito" Lopez, Eliades Ochoa, Compay Segundo and Amadito Valdés
 * Flor de Amor (World Circuit/Nonesuch Records, 25 May 2004) – with Barbarito Torres, Orlando "Cachaito" Lopez and Manuel Galbán
 * Orlando "Cachaíto" López
 * Cachaito (World Circuit/Nonesuch Records, 22 May 2001) – with Juan de Marcos González, Amadito Valdés and Ibrahim Ferrer
 * Amadito Valdés
 * Bajando Gervasio (Primienta Records, 10 December 2002) – with Barbarito Torres
 * Manuel "Guajiro" Mirabal
 * Buena Vista Social Club Presents: Manuel "Guajiro" Mirabal (World Circuit/Nonesuch Records, 4 January 2005) – with Ibrahim Ferrer, Pío Leyva, Orlando "Cachaito" Lopez, Omara Portuondo, Juan de Marcos González and Manuel Galbán

Various artists

 * Rhythms del Mundo: Cuba (Universal Music, 14 November 2006) – with Ibrahim Ferrer, Orlando "Cachaito" Lopez, Barbarito Torres, Amadito Valdés, Omara Portuondo [sic] performing alongside Coldplay, Arctic Monkeys, Dido, Quincy Jones, Kaiser Chiefs, Radiohead, U2 and Jack Johnson

title: Buena Vista Social Club


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title: User:Secretlondon/Photo Gallery Traffic


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Baron Colgrain

Baron Colgrain, of Everlands in the County of Kent, is a title in the Peerage of the United Kingdom. It was created in 1946 for the Scottish banker Colin Campbell. He was President of the British Bankers' Association from 1938 to 1946. the title is held by his great-grandson, the fourth Baron, who succeeded his father in 2008. Since 2017 he has been one of the 92 hereditary peers chosen to remain in the House of Lords under the House of Lords Act 1999.

The family seat is Bushes Farm, near Sevenoaks, Kent.

Barons Colgrain (1946)

 * Colin Frederick Campbell, 1st Baron Colgrain (1866–1954)
 * Donald Swinton Campbell, 2nd Baron Colgrain (1891–1973)
 * David Colin Campbell, 3rd Baron Colgrain (1920–2008)
 * Alastair Colin Leckie Campbell, 4th Baron Colgrain (b. 1951)

The heir apparent is the present holder's son, the Hon. Thomas Colin Donald Campbell (b. 1984).

title: Baron Colgrain


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Baron Citrine

Baron Citrine, of Wembley in the County of Middlesex, was a title in the Peerage of the United Kingdom. It was created in 1946 for the prominent trade unionist Sir Walter Citrine. He was General Secretary of the TUC from 1925 to 1946. The title became extinct on the death of his younger son, the third Baron (who had succeeded his elder brother in 1997), in 2006.

Barons Citrine (1946)

 * Walter McLennan Citrine, 1st Baron Citrine (1887–1983)
 * Norman Arthur Citrine, 2nd Baron Citrine (1914–1997)
 * Ronald Eric Citrine, 3rd Baron Citrine (1919–2006)

title: Baron Citrine


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Tides Foundation

Tides Foundation is a left-leaning donor advised fund based in the United States. It was founded in San Francisco in 1976 by Drummond Pike. Tides distributes money from anonymous donors to other organizations, which are often politically progressive. An affiliated group, Tides Advocacy, is a "massive progressive incubator." Tides has received substantial funding from George Soros.

History
Tides was founded in 1976 by Drummond Pike, who worked with Jane Bagley Lehman, heir to the R. J. Reynolds Tobacco Company fortune. In the chapter entitled "The Givers" in his 2017 publication by the same name, The Givers: Wealth, Power, and Philanthropy in a New Gilded Age, which is a more recent edition of his 2010 book, Fortunes of Change: The Rise of the Liberal Rich and the Remaking of America, David Callahan wrote that Pike was an "entrepreneurial activist" and that Pike and his "wealthy friends" teamed up" to create Tides which "used donor-advised funds to direct resources to progressive causes." Callahan, who is the  co-founder of the think tank Demos, contrasted this with a similar approach taken by Donors Trust, an American non-profit donor-advised fund that was founded in 1999 to safeguard the "intent of libertarian and conservative donors".

Lehman served as the chair of the organization from its founding to her death in 1988. Tides was conceived as a nationally oriented community foundation, and founded out of Pike's frustration with established philanthropy's perceived neglect of progressive issues. He envisioned using fiscal sponsorship for progressive political activism. Fiscal sponsorship uses a tax-exempt charity to provide financial support to a non-exempt project or organization, therefore lending it tax exemption as long as the charity retains control of the way its funds are spent. He served as its CEO until he was replaced by Melissa L. Bradley in 2010.

Pike founded a Canadian version of the organization, Tides Canada, in 2000. Tides Canada, which is based in Vancouver, makes grants through its foundation and has a charity that supports environmental and social justice projects. It consists of the Tides Canada Foundation and the Tides Canada Initiatives Society.

By 2009, Tides allocated $75 million per year in donor money, most of which went to fund progressive political causes. In 2011, Tides received about $90 million in funding, and awarded about $96 million to various individuals and organizations.

In 2021, Democratic Senator Sheldon Whitehouse described the Tides Foundation as an instance of "Democratic dark money", which he said mirrored – and had caught up with – similar organizations exercising covert influence on the Republican side.

Donations
Organizations that began as projects of Tides include Campaign to Defend the Constitution, Higher Education Recruitment Consortium, People for the American Way, Pew Internet and American Life Project, Rockridge Institute, Social Venture Network, Urgent Action Fund, and V-Day. The Tides website lists 130 current grantees. As Tides is a public charity, it allows sponsors to donate money to different organizations—including for-profit as well as nonprofit entities—through donor-advised funds. Donor-advised funds are funds held in accounts by nonprofit organizations, like Tides, that then make grants to third-party entities on the donor's behalf. Organizations that have partnered with Tides to set up these funds include Girl Rising and the Humble Bundle.

In 2000, Tides launched a program called "Bridging the Economic Divide." It focused on funding living wage campaigns and economic justice coalitions. Tides also launched the Tides Death Penalty Mobilization Fund, which supports the anti-death penalty movement. The Michigan Partnership to Prevent Gun Violence was founded with support from Tides.

Tides has received at least $3.5 million from liberal financier and political activist George Soros.

From 2003 to 2012, Tides gave around $4.4 million to media advocacy organization Media Matters for America. It has stated that it supports the Occupy Wall Street movement. The CEO of Tides, Melissa L. Bradley, stated in a blog post in October 2011 that the movement "represents the best of American ideals and ingenuity."

In 2023, the Washington Examiner, a U.S. conservative news outlet, reported that the Tides Foundation and its affiliate, the Tides Center, had donated over $1 million to anti-Israel groups behind demonstrations pushing for an Israel-Gaza conflict ceasefire and downplaying Palestinian terror in the Middle East.

Advocacy Fund
Tides is affiliated with the Tides Advocacy Fund (also known as Tides Advocacy), a liberal lobbying group. In the 2012 election cycle, the Advocacy Fund gave $11.5 million to 501(c)(4) organizations, including $2 million to the League of Conservation Voters, $1.8 million to America Votes and $1.3 million to the Center for Community Change. The Advocacy Fund has also supported the environmentally-focused groups Bold Nebraska, National Wildlife Federation Action Fund, NRDC Action Fund, and the Sierra Club.

In 2008, the Advocacy Fund contributed to campaigns opposing Colorado Amendment 46, Colorado Amendment 47, Colorado Amendment 49 and Colorado Amendment 54. The Advocacy Fund distributed $11.8 million in grants in 2013 to groups promoting mass amnesty for illegal immigrants, increased worker protections, chemical safety legal reform, and increased investment in the solar energy industry.

Wikimedia Foundation
The Wikimedia Foundation, the non-profit organization which manages Wikipedia, has worked with the Tides Foundation since 2016. The multimillion-dollar Wikimedia Endowment was created in 2016 to support the Wikimedia projects, and is managed by Tides. In 2019, Wikimedia's incoming general counsel, Amanda Keton, had previously served as the general counsel of the Tides Network, the head of Tides Foundation, and the CEO of Tides Advocacy. In 2020, Wikimedia established a $4.5M donor-advised fund, the Wikimedia Foundation Knowledge Equity Fund, at Tides Advocacy.

title: Tides Foundation


text: User:Secretlondon/Photo Gallery Bankside


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Baron Crook

Baron Crook, of Carshalton in the County of Surrey, is a title in the Peerage of the United Kingdom. It was created on 3 July 1947 for Reginald Crook, later Chairman of the National Dock Labour Board. the title is held by his grandson, the third Baron, who succeeded his father in 2001.

Barons Crook (1947)

 * Reginald Douglas Crook, 1st Baron Crook (1901–1989)
 * Douglas Edwin Crook, 2nd Baron Crook (1926–2001)
 * Robert Douglas Edwin Crook, 3rd Baron Crook (b. 1955)

The heir apparent is the present holder's son Hon. Matthew Robert Crook (b. 1990)

title: Baron Crook


text:
Goldsboro

Goldsboro may refer to:

Places in the United States

 * Goldsboro, Florida
 * Goldsboro, Maryland
 * Goldsboro, North Carolina
 * Goldsboro High School
 * Goldsboro, Ohio
 * Goldsboro, Pennsylvania
 * Goldsboro, Texas

Other uses

 * Goldsboro (band), a rock music group featuring musician Kevin Roentgen

People with the surname

 * Bobby Goldsboro, singer
 * William Goldsboro, Canadian marathon runner

title: Goldsboro


text:
Institute for Global Communications

The Institute for Global Communications or IGC Internet was founded in 1987 and is an institution that provided web hosting service to environmental, peace, and social justice organizations. IGC is a project of the Tides Center. During the very early days of the Internet, IGC was responsible for training thousands of small progressive groups as to how to use email, mailing lists, discussion groups, gopher sites, and later web sites and other web services to further their mission.

IGC formed an international link when it started working with GreenNet in the United Kingdom.

In 1990, in partnership with six international organizations, IGC co-founded the Association for Progressive Communications (APC).

At its peak in 1998, IGC had over 35 full-time staff members with offices in San Francisco, California, USA.

IGC ceased operations on 30 June 2017.

title: Institute for Global Communications


text: User:Secretlondon/Photo Gallery Elephant and Castle


text:
Baron Clydesmuir

Baron Clydesmuir, of Braidwood in the County of Lanark, Scotland, is a title in the Peerage of the United Kingdom. It was created in 1948 for the Unionist politician John Colville. He served as Secretary of State for Scotland from 1938 to 1940. His son, the second Baron, was Governor of the Bank of Scotland and Lord Lieutenant of Lanarkshire. the title is held by the latter's son, the third Baron, who succeeded in 1996.

John Colville, father of the first Baron, represented North East Lanarkshire in the House of Commons as a Liberal.

Barons Clydesmuir (1948)

 * (David) John Colville, 1st Baron Clydesmuir (1894–1954)
 * Ronald John Bilsland Colville, 2nd Baron Clydesmuir (1917–1996)
 * David Ronald Colville, 3rd Baron Clydesmuir (born 1949)

The heir apparent is the present holder's son, the Hon. Richard David Ronald Colville (born 1980).

Line of succession

 * Coronet of a British Baron.svg David John Colville, 1st Baron Clydesmuir (1894–1954)
 * Coronet of a British Baron.svg Lt.-Col. Ronald John Bilsland Colville, 2nd Baron Clydesmuir (1917–1996)
 * Coronet of a British Baron.svg David Ronald Colville, 3rd Baron Clydesmuir (born 1949)
 * (1) Hon. Richard David Ronald Colville (born 1980)
 * (2) Hon. Hamish Colville (born 1989)
 * (3) Hon. Andrew John Colville (born 1953)
 * (4) Patrick Edwin Ronald Colville (born 1988)

title: Baron Clydesmuir


text:
Attu

Attu may refer to:
 * Attu Island in Alaska, the westernmost island of the Aleutian Islands chain
 * The Battle of Attu, the primary land battle in the Aleutian Islands campaign of World War II, which took place on Attu Island in May 1943.
 * Attu Station, Alaska, a LORAN station on Attu Island
 * Attu (Greenland), a settlement in western Greenland
 * Attu (film), a 2017 Indian gangster film
 * An extinct dialect of the Aleut language
 * An island in Pargas, Väståboland, Finland
 * A breakfast dish in Andhra Pradesh, India; see List of Indian dishes

title: Attu


text:
Talk:Drill (EP)

March 2004
This was erroneously linked as Drill (album) althoug hit is very clearly not al album. I moved it to Drill (EP), where it belongs. Crackshoe 21:28, 8 Mar 2004 (UTC)
 * Good job. allixpeeke (talk) 23:52, 16 April 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Drill (EP). Please take a moment to review my edit. You may add after the link to keep me from modifying it, if I keep adding bad data, but formatting bugs should be reported instead. Alternatively, you can add to keep me off the page altogether, but should be used as a last resort. I made the following changes:
 * Attempted to fix sourcing for http://www.theguardian.com/music/gallery/2007/oct/09/radiohead

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 05:04, 30 March 2016 (UTC)

title: Talk:Drill (EP)


text:
Viticulture

Viticulture (vitis cultura, "vine-growing"), viniculture (vinis cultura, "wine-growing"), or winegrowing is the cultivation and harvesting of grapes. It is a branch of the science of horticulture. While the native territory of Vitis vinifera, the common grape vine, ranges from Western Europe to the Persian shores of the Caspian Sea, the vine has demonstrated high levels of adaptability to new environments, hence viticulture can be found on every continent except Antarctica.

The duties of a viticulturist include monitoring and controlling pests and diseases, fertilizing, irrigation, canopy management, monitoring fruit development and characteristics, deciding when to harvest, and vine pruning during the winter months. Viticulturists are often intimately involved with winemakers, because vineyard management and the resulting grape characteristics provide the basis from which winemaking can begin. A great number of varieties are now approved in the European Union as true grapes for winegrowing and viticulture.

History
The earliest evidence of grape vine cultivation and winemaking dates back 8,000 years. The history of viticulture is closely related to the history of wine, with evidence that humans cultivated wild grapes to make wine as far back as the Neolithic period. Evidence suggests that some of the earliest domestication of Vitis vinifera occurred in the area of the modern countries Georgia and Armenia. The oldest-known winery was discovered in the "Areni-1" cave in Vayots Dzor, Armenia. Dated to c. 4100 BC, the site contained a wine press, fermentation vats, jars, and cups. Archaeologists also found V. vinifera seeds and vines. Commenting on the importance of the find, McGovern said, "The fact that winemaking was already so well developed in 4000 BC suggests that the technology probably goes back much earlier." There is also evidence of grape domestication in the Near East in the early Bronze Age, around 3200 BC.

Evidence of ancient viticulture is provided by cuneiform sources (ancient writing on clay tablets), plant remains, historical geography, and archaeological excavations. The remnants of ancient wine jars have been used to determine the culture of wine consumption and cultivated grape species. In addition to winemaking, grapes have been grown for the production of raisins.

The earliest act of cultivation appears to have been the favoring of hermaphroditic members of the Vitis vinifera species over the barren male vines and the female vines, which were dependent on a nearby male for pollination. With the ability to pollinate itself, over time the hermaphroditic vines were able to sire offspring that were consistently hermaphroditic.

At the end of the 5th century BC, the Greek historian Thucydides wrote: The people of the Mediterranean began to emerge from barbarism when they learnt to cultivate the olive and the vine. Thucydides was most likely referencing the time between 3000 BC and 2000 BC, when viticulture emerged in force in Asia Minor, Greece, and the Cyclades Islands of the Aegean Sea. During this period, grape cultivation developed from an aspect of local consumption to an important component of international economies and trade.

Roman
From 1200 BC to 900 BC, the Phoenicians developed viticulture practices that were later used in Carthage. Around 500 BC, the Carthaginian writer Mago recorded such practices in a two-volume work that was one of the few artifacts to survive the Roman destruction of Carthage during the Third Punic War. The Roman statesman Cato the Elder was influenced by these texts, and around 160 BC he wrote De Agricultura, which expounded on Roman viticulture and agriculture. Around 65 AD, the Roman writer Columella produced the most detailed work on Roman viticulture in his twelve-volume text De Re Rustica. Columella's work is one of the earliest to detail trellis systems for raising vines off the ground. Columella advocated the use of stakes versus the previously accepted practice of training vines to grow up along tree trunks. The benefits of using stakes over trees was largely to minimize the dangers associated with climbing trees, which was necessary to prune the dense foliage in order to give the vines sunlight, and later to harvest them.

Roman expansion across Western Europe brought Roman viticulture to the areas that would become some of the world's best-known winegrowing regions: the Spanish Rioja, the German Mosel, and the French Bordeaux, Burgundy and Rhône. Roman viticulturists were among the first to identify steep hillsides as one of the better locations to plant vines, because cool air runs downhill and gathers at the bottom of valleys. While some cool air is beneficial, too much can rob the vine of the heat it needs for photosynthesis, and in winter it increases the risk of frost.

Medieval
Catholic monks (particularly the Cistercians) were the most prominent viticulturists of the Middle Ages. Around this time, an early system of Metayage emerged in France with laborers (Prendeur) working the vineyards under contractual agreements with the landowners (Bailleur). In most cases, the prendeurs were given flexibility in selecting their crop and developing their own vineyard practice. In northern Europe, the weather and climate posed difficulties for grape cultivation, so certain species were selected that better suited the environment. Most vineyards grew white varieties of grape, which are more resistant to the damp and cold climates. A few species of red grape, such as the Pinot Noir, were also introduced.

Les Très Riches Heures du duc de Berry dates back to 1416 and depicts horticulture and viticulture in France. The images illustrate peasants bending down to prune grapes from vines behind castle walls. Additional illustrations depict grape vines being harvested, with each vine being cut to three spurs around knee height.

Many of the viticultural practices developed in this time period would become staples of European viticulture until the 18th century. Varietals were studied more intently to see which vines were the most suitable for a particular area. Around this time, an early concept of terroir emerged as wines from particular places began to develop a reputation for uniqueness. The concept of pruning for quality over quantity emerged, mainly through Cistercian labors, though it would create conflict between the rich landowners who wanted higher quality wines and the peasant laborers whose livelihood depended on the quantity of wine they could sell. The Riesling is the famous example for higher quality of wine. In 1435 Count John IV. of Katzenelnbogen started this successful tradition.

In Burgundy, the Cistercian monks developed the concept of cru vineyards as homogeneous pieces of land that consistently produce wines each vintage that are similar. In areas like the Côte-d'Or, the monks divided the land into separate vineyards, many of which still exist today, like Montrachet and La Romanée.

In mythology and religion
In Greek mythology, the demigod Dionysus (Bacchus in Roman mythology), son of Zeus, invented the grapevine and the winepress. When his closest satyr friend died trying to bring him a vine Dionysus deemed important, Dionysus forced the vine to bear fruit. His fame spread, and he finally became a god.

The Bible makes numerous references to wine, and grapevines, both symbolically and literally. Grapes are first mentioned when Noah grows them on his farm (Genesis 9:20–21). References to wine are made in the book of Proverbs (20:1) and the book of Isaiah (5:1–25). Deuteronomy (18:3–5, 14:22–27, 16:13–15) reports the use of wine during Jewish festivals. In Christianity wine is the symbol of the Last Supper, representing the blood of Christ. It is mentioned several times in the New Testament. We have the parable of the kingdom of heaven likened to the father starting to engage laborers for his vineyard. The vine is used as symbol of Jesus Christ based on his own statement, "I am the true vine (John 15:1)." In that sense, a vine is placed as sole symbol on the tomb of Constantine the Great.

The grape vine
The vast majority of the world's wine-producing regions are found between the temperate latitudes of 30° and 50° in each hemisphere. Within these bands, the annual mean temperatures are between 10 and 20 C. The presence of large bodies of water and mountain ranges can have positive effects on the climate and vines. Nearby lakes and rivers can serve as protection for drastic temperature drops at night by releasing the heat that the water has stored during the day to warm the vines.

Structure of the grape vine

There are many different important parts of the grape vine. Starting from the bottom and moving up there are the Fender roots, then above that are the roots. These help with anchorage, absorption and food storage. Then there is the trunk which branches out into arms. These help support conduction. Higher up are the node, inter node, leaves, cluster (of grapes) and the tendril. The tendril helps with support of the plant.

The grape
The grape is classified as a berry. On the vine, grapes are organized through systems known as clusters. Grape clusters can vary in compactness which can result in long clusters (resulting in the grapes spreading out) or short clusters (resulting in grapes packed together). In some grape species, clusters ripen collectively, which allows them to be harvested together. For others, grapes may ripen individually within a cluster. Each grape berry contains a pedicel which attaches to the rachis. The main function of the rachis is to allow the grapes to receive their water and nutrients. The pollination and fertilization of grapes results in one to four seeds within each berry. When fertilization does not occur, seedless grapes are formed, which are sought after for the production of raisins. Regardless of pollination and fertilization, most plants will produce around 100 to 200 grapes.

The skin of the grape accounts for 5 to 20% of the total weight of a grape depending on the variety. When grape skin ripens, it contains the majority of the aromatic substances and tannin. These factors become important in winemaking for methods including color extraction or aroma dissolution. Although the skin contains the majority of the tannin, small percentages can be found throughout the grape and during all of its developmental stages. However, the tannin's most important role is during the grape's ripening stage as its function is to formulate color and body shape.

Growing vines
Although many factors can affect the overall quality of a grape vine, the three most important are climate, slope, and soil, often collectively referred to as the terroir.

Climate
Climate is the most significant external factor in determining a grape's inherent qualities. Each grape variety has a uniquely preferred environment for ideal growing. Because climates vary from region to region, selecting the best strain is an important decision in grape cultivation. Additionally, because climatic factors such as temperature and rain can be unpredictable and uncontrollable, each year will produce unique qualities and yields of grapes. Wine grapes are also especially susceptible to climate change and temperature variation.

Grape vines need approximately 1300–1500 hours of sunshine during the growing season and around 690 mm of rainfall throughout the year in order to produce grapes suitable for winemaking. In ideal circumstances, the vine will receive most of the rainfall during the winter and spring months: rain at harvesttime can create many hazards, such as fungal diseases and berry splitting. The optimum weather during the growing season is a long, warm summer that allows the grapes the opportunity to ripen fully and to develop a balance between the levels of acids and sugars in the grape. Hot and sunny climates have a frost-free growing season of 200 days or more. These climates allow grapes to ripen faster with higher sugar levels and lower acidity. Cooler climates have a frost-free growing season of around 150–160 days. Cooler seasons force the grapes to ripen earlier, which produces a fresher and more acidic harvest. In general, the average yearly temperature for most crops should average around 15 °C in order to achieve the highest quality in each grape.

Summer: Ideal temperatures in summer average around 22 °C. Ideal summer temperatures enable fruits to ripen. Temperature and sunshine are the most important factors in ripening.

Winter: Ideal temperatures in winter average around 3 °C. Ideal winter temperatures are necessary to allow grape vines to enter their resting phase. If temperatures fall too low, the crops can be injured.

Spring and Fall: Spring and fall are critical seasons for grape development, because the plants are susceptible to frost damage, which can injure the fruiting buds. Wet weather in spring can increase the odds of mildew formation. To prevent mildew, some farms introduce devices such as heaters or large fans in vineyards. However, such solutions can be costly.

Slope
Hillsides and slopes are preferred over flatter terrain: vines growing on a slope can receive a greater intensity of the sun's rays, with sunshine falling on an angle perpendicular to the hillside. In flatter terrain, the intensity of the sunlight is diluted as it spreads out across a wider surface area. Small slopes that are elevated above surrounding ground are the best and safest places for crops, because these small elevations are less prone to frost. Additionally, a slope affords better drainage, obviating the possibility that the vine might sit in overly moist soil. In cooler regions of the northern hemisphere, south-facing slopes receive more hours of sunlight and are preferred; in warmer climes, north-facing slopes are preferred. In the southern hemisphere, these orientations are reversed.

Soil
Quality soil is important to allow plants to have better root systems. The growth and health of a vine can be affected if the soil quality is poor. Different grape species prefer various soil conditions, although there are general quality factors. Favorable soil conditions include: aeration, loose texture, good drainage and moderate fertility. Drainage factors are cited as the most important soil characteristic to affect grape vine growth. When root growth is restricted due to bad soil, vine growth and fruit yields lessen and plant survival rates can dip to only a few years.

Hazards
A viticulturist faces many hazards that can have an adverse effect on the wine produced from the grape or kill the vine itself.

 * When the vine is flowering, it is very susceptible to strong winds and hail. Cold temperatures during this period can lead to the onset of millerandage, which produces clusters with no seeds and varying sizes. Hot conditions can produce coulure that causes grape clusters to either drop to the ground or not fully develop.
 * Oidium is a powdery mildew that can attack all green parts of the vine. If left untreated, oidium can be terminal for the plant. It thrives in cooler temperatures and in the shade. Some North American vine species have evolved to show resistance to the mildew (3:37).
 * Downy mildew (Peronospora) thrives in high temperatures and humidity and produces stains on leaves. It can be treated by spraying plants with copper sulphate. Most American vines are resistant, excluding Vitis vinifera.
 * Fanleaf virus is spread by nematodes that breed in the vine stem. It can lead to deformity, yellowing of leaves, and smaller crop yields. There is no cure for the plant; the best course of action is to remove infected plants and leave the remaining roots to rot.
 * Frost
 * Phylloxera
 * Plant virus
 * Pests

Green harvest
A green harvest is the removal of immature grape bunches, typically for the purpose of decreasing yield. The removal of the bunches while they are still green induces the vine to put all its energy into developing the remaining grapes. In theory this results in better ripening and the development of more numerous and mature flavour compounds. In the absence of a green harvest, a healthy, vigorous vine can produce dilute, unripe grapes.

In Europe, many appellations restrict the yield permitted from a given area, so there is even more incentive to perform green harvesting when presented with excess crop. Often, the excess must be sold for a pittance and used for industrial alcohol production rather than wine.

While the concept of thinning or sacrificing part of the grape crop, i.e. green harvesting, with the aim of improving the quality of the remaining grapes, predates modern critics, the practice has increased in recent times in vineyards found in California and areas where the grapes grow easily. (McCoy)

Field blend
A field blend is a wine that is produced from two or more different grape varieties interplanted in the same vineyard. In the days before precise varietal identification, let alone rigorous clonal selection, a vineyard might be planted by taking cuttings from another vineyard and therefore approximately copying its genetic makeup. This meant that one vine could be Zinfandel and the next Carignan. When making wine with little equipment to spare for separate vinification of different varieties, field blends allowed effortless, though inflexible, blending.

Fermentation tanks are now cheap enough that the field blend is an anachronism, and almost all wines are assembled by blending from smaller, individual lots. However, in California some of the oldest (and lowest-yielding) Zinfandel comes from vineyards that are field-blended. Ridge Vineyards owns the Lytton Springs vineyards in Sonoma County, which were planted from 1900 to 1905 in what Ridge calls "a traditional field blend of about seventy percent Zinfandel, twenty percent Petite Sirah, and ten percent Grenache and Carignan."

Gemischter Satz (Mixed set) is a wine term in German equivalent to a field blend, which means that grapes of different varieties are planted, harvested and vinified together. In older times, this was common, but the practice has almost stopped. It is, however, a specialty of Vienna.

Other traditional field blends include Alsace wine, notably edelzwicker and gentil blends, and Douro wine.

title: Viticulture


text:
Talk:Halva

Proposed merge of Dalia seera into Halva
I wasn't able to find any sources for a notable article under this itle but the Census of India says seera is a "liquid form of halva" Spudlace (talk) 22:12, 3 September 2020 (UTC)
 * I'd oppose until Dalia seera meets the notability guidelines and its other issues. That article doesn't even have any corresponding images on Wikimedia Commons. Knightoften (talk) 10:07, 23 February 2021 (UTC)
 * Maybe PROD would be better. Spudlace (talk) 10:27, 23 February 2021 (UTC)

De-prodding by Andrew Davidson
This was de-prodded by User:Andrew Davidson. , please explain why you deprodded without following any of the recommendations at WP:DEPROD to improve the article. There was objection to merge because of lack of reliable sources in the article. A WP:BEFORE check was done before nomination. Why do we have a proposed deletion function if one editor can unilaterally deprod community proposals without explanation? Spudlace (talk) 00:38, 1 March 2021 (UTC)

AfD nomination
Andrew Davidson has not explained the reason for deprodding, and my own WP:BEFORE check revealed that "Dalia Seera" is a composite of two languages, Marathi (Sheera) and Hindi (Dalia), with no evidence of notability, so I have nominated the article for deletion here: Articles for deletion/Dalia seera. Spudlace (talk) 02:11, 1 March 2021 (UTC)

 * Resolved: Dalia seera was deleted, per consensus at Articles for deletion/Dalia seera. Knightoften (talk) 06:46, 31 March 2021 (UTC)

Split
Is there objection to a split for this article? The article covers two unrelated topics that share the name halvah. One is the toasted flour/starch version found in different forms throughout many world cuisines and the other is the sesame seed based candy. We usually prefer to have one article per topic when it's not redundant. Spudlace (talk) 06:12, 21 April 2021 (UTC)

Commons files used on this page or its Wikidata item have been nominated for deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 13:23, 1 November 2022 (UTC)
 * Iranianhalva2.jpg
 * Iranianhalvaa.jpg
 * Photo 2018-05-18 12-38-30-Copy-1.jpg

title: Talk:Halva


text:
Treaty on Basic Relations Between Japan and the Republic of Korea

The Treaty on Basic Relations Between Japan and the Republic of Korea (Japanese: 日韓基本条約 (Nikkan Kihon Jōyaku); ) was signed on June 22, 1965. It established basic diplomatic relations between Japan and South Korea.

Background
As Korea was not a signatory state of the Treaty of San Francisco, it was not entitled to the benefits of Article 14, which stipulated the reparations by Japan. However, by the provisions of Article 21 of that treaty, Korea was entitled to be an authority applied to Article 4, which stated the arrangement of property and claims.

The Treaty was the fruit of the "Korea–Japan Talks," a series of bilateral talks held between South Korea and Japan from October 1951 to June 1965 to normalize diplomatic relations. Over that period of 14 years, a total of seven talks were held.

In his 1974 Nobel Peace Prize lecture, Eisaku Satō explicitly mentioned the Treaty on Basic Relations between Japan and South Korea. He described "the guiding spirit of equality and mutual advantage and the realistic approach of seeking to establish friendship with close neighbors" as significant aspects of the extended negotiations which produced the bilateral agreement.

In October 2018, the Supreme Court of Korea issued a ruling which ordered Mitsubishi Heavy to compensate the victims of forced labor. The company has not done so, with Japan arguing the matter was settled under the 1965 treaty. The Japanese Government has maintained that this ruling, along with the one made on Japan's position in relations to the Korean comfort women ('forced sexual slavery') in January 2021, is a breach of the 1965 treaty.

Terms
The treaty established "normal" diplomatic relations between the East Asian neighbors. The original documents of this agreement are kept respectively by Japan and Korea. The treaty is drafted using English, Japanese, and Korean, each of which is considered authentic. In case of a "divergence of interpretation," the English-language version is deemed to be authoritative and prevailing.

The 1965 Treaty also declared: It is confirmed that all treaties or agreements concluded between the Empire of Japan and the Empire of Korea on or before August 22, 1910 are already null and void.

Settlements
With the Treaty, the agreements between Japan and Korea concerning the settlement of problems in regard to property and claims and economic cooperation was also signed.

In accordance to the treaty, Japan supplied South Korea with $300 million grant paid over 10 years, $30 million per year and $200 million in low-interest loans as a 'reparation fee' The official policy of Japanese governments has been that, in regard to war-time property issues and individual claims for compensation, such issues were settled completely and finally by this agreement.

The 1965 Treaty Article I: 1. To the Republic of Korea Japan shall : (a) Supply the products of Japan and the services of the Japanese people, the total value of which will be so much in yen as shall be equivalent to three hundred million United States dollars ($300,000,000) at present computed at one hundred and eight billion yen (¥108,000,000,000), in grants [on a non-repayable basis] within the period of ten years from the date of the entry into force of the present Agreement. The supply of such products and services in each year shall be limited to [shall be such] such amount in yen as shall be equivalent to thirty million United States dollars ($30,000,000) at present computed at ten billion eight hundred million yen (¥10,800,000,000) ; in case the supply of any one year falls short of the said amount, the remainder shall be added to the amounts of the supplies for the next and subse quent years. However, the ceiling on the amount of the supply for any one year can be raised [increased] by agreement between the Governments of the Contract ing Parties.

(b) Extend long-term and low-interest loans up to such amount in yen as shall be equivalent to two hundred million United States dollars ($200,000,000) at present computed at seventy-two billion yen (¥72,000,000,000), which the Government of the Republic of Korea may request and which shall be used for the procurement by the Republic of Korea of the products of Japan and the services of the Japanese people necessary in implementing the projects to be determined in accordance with arrangements to be concluded under the provisions of paragraph 3 of the present Article, within the period of ten years from the date of the entry into force of the present Agreement. Such loans shall be extended by the Overseas Economic Co-operation Fund of Japan, and the Government of Japan shall take necessary measures in order that the said Fund will be able to secure the necessary funds for implementing the loans evenly each year. The above-mentioned supply and loans should be such that will be conducive to the economic development of the Republic of Korea.

The 1965 Treaty Article II: "1 The High Contracting Parties confirm that the problems concerning property, rights, and interests of the two High Contracting Parties and their peoples (including juridical persons) and the claims between the High Contracting Parties and between their peoples, including those stipulated in Article IV(a) of the Peace Treaty with Japan signed at the city of San Francisco on September 8, 1951, have been settled completely and finally."

Use of loans and grants
The loans and grants provided to South Korea were used for the following projects. Pohang Iron and Steel Company used $88.68 million loan and $30.8 million grant, a total of $119.48 million, 44.3% of the $200 million loan.

Reparations
There has been a constant call from the South Korean public that Japan should compensate Korean individuals who suffered from Japanese colonial rule. The Japanese government has refused to do so, arguing that it settled issues on a government-to-government basis under the 1965 agreement. The South Korean government has argued that the 1965 agreement was not intended to settle individual claims against Japan for war crime or crimes against humanity as shown by documents presented during the negotiations specifically excluding claims for personal injuries incurred by Japan's violations of international laws. The U.N. Commission on Human Rights has advocated the South Korean government's perspective by defining that the comfort women issue is a matter of human rights; the 1965 treaty only regulated property claims and not personal damages.

In January 2005, the South Korean government disclosed 1,200 pages of diplomatic documents that recorded the proceeding of the treaty. The documents, kept secret for 40 years, recorded that the Japanese government actually proposed to the South Korean government to directly compensate individual victims but it was the South Korean government which insisted that it would handle individual compensation to its citizens and then received the whole amount of grants on behalf of the victims.

South Korean government demanded a total of 364 million dollars in compensation for the 1.03 million Koreans conscripted into the workforce and the military during the colonial period, at a rate of 200 dollars per survivor, 1,650 dollars per death and 2,000 dollars per injured person. South Korea agreed to demand no further compensation, either at the government or individual level, after receiving $800 million in grants and soft loans from Japan as compensation for its 1910–45 colonial rule in the treaty.

Most of the funds from grants and loan were used for economic development, particularly on establishing social infrastructures, founding POSCO, building Gyeongbu Expressway and the Soyang Dam with the technology transfer from Japanese companies. Records also show 300,000 won per death was used to compensate victims of forced labor between 1975 and 1977.

General and cited references

 * Hook, Glenn D. (2001). Japan's International Relations: Politics, Economics, and Security. London: Routledge. ISBN 9780415240970; ISBN 9780415240987;.
 * Lundqvist, Stig, et al. (1997). Nobel Lectures, including Presentation Speeches and Laureates' Biographies. 1971-1980. Singapore: World Scientific. ISBN 9789810207267; ISBN 978-981-02-0727-4;.


text:
GZ

GZ or gz may refer to:

 * .gz, the file extension for gzip files (GNU zip, an open source file compression program)
 * GZ, an HCPCS Level II modifier meaning an item or service is expected to be denied as not reasonable or necessary
 * GZ, the "righting moment" or "righting arm" acting to restore a tilting ship to vertical; see metacentric height
 * Galaxy Zoo, a crowdsourced astronomy project
 * Gaza Strip (FIPS PUB 10-4 territory code)
 * Gestrichener Zellstoffkarton (German; DIN 19303 Code), a grade of paperboard also known as solid bleached board
 * Ground Zero, in military parlance
 * Guangzhou, capital and largest city of Guangdong Province in southeastern China
 * Guizhou, a province of China (Guobiao abbreviation GZ)
 * Air Rarotonga (IATA airline designator)
 * Metal Gear Solid V: Ground Zeroes, a 2014 video game

title: GZ


text: User:Secretlondon/Photo Gallery Tube stations


text:
Decree on Peace

The Decree on Peace, written by Vladimir Lenin, was passed by the Second All-Russian Congress of Soviets of Workers' and Soldiers' Deputies on the 8 November 1917, following the October Revolution. It was published in the Izvestiya newspaper, #208, 9 November 1917. Proposing an immediate withdrawal of Russia from World War I, the decree was ultimately implemented through the Treaty of Brest-Litovsk. Woodrow Wilson's famous "Fourteen Points" of January 1918 were largely a response to this decree.

Significance
The Decree on Peace was an appeal to the governments of all the warring states and to their peoples to conclude an immediate truce. It is common among historians to assert that from September 1917 the Russian army was already in the process of complete disintegration. Marc Ferro, however, claims that only after the October Revolution the great exodus of soldiers from the front began, to enjoy the promised gains of peace and land.

The Peace Decree had two audiences: the war-weary Russia and international. The new People’s Commissar for External Affairs, Leon Trotsky published secret treaties between Nicholas II and the Allies in order to provoke international popular outrage. However, the likelihood of European insurrections was overestimated and instead of triggering a universal proletarian peace, the new regime became embroiled in negotiations with Germany, resulting in the Treaty of Brest-Litovsk on 3 March 1918 under which Russia lost 34% of its population, 54% of its industrial land, 89% of its coalfields, and 26% of its railways.

Extracts
"The Workers' and Peasants' Government, created by the revolution of 24–25 October, and drawing its strength from the Soviets of Workers', Soldiers', and Peasants' Deputies, proposes to all warring peoples and their governments to begin at once negotiations leading to a just democratic peace".

"A just and democratic peace for which the great majority of wearied, tormented and war-exhausted toilers and labouring classes of all belligerent countries are thirsting, a peace which the Russian workers and peasants have so loudly and insistently demanded since the overthrow of the Tsar's monarchy, such a peace the government considers to be an immediate peace without annexations (i.e., without the seizure of foreign territory and the forcible annexation of foreign nationalities) and without reparations".

"The Russian Government proposes to all warring peoples that this kind of peace be concluded at once; it also expresses its readiness to take immediately, without the least delay, all decisive steps pending the final confirmation of all the terms of such a peace by the plenipotentiary assemblies of all countries and all nations".

Invited "All belligerents to open negotiation without delay for a just and democratic peace [...] a peace without annexations and reparations".

Music
The East German composer Tilo Medek set parts of the text to music for speaking voice and four percussionists.

title: Decree on Peace


text:
Baron Cranworth

Baron Cranworth is a title that has been created twice, both times in the Peerage of the United Kingdom. The first creation came in 1850 when the lawyer and Liberal politician Sir Robert Rolfe was made Baron Cranworth, of Cranworth in the County of Norfolk. He later served as Lord High Chancellor of Great Britain. This creation became extinct on his death in 1868.

The second creation came in 1899 when Robert Gurdon was created Baron Cranworth, of Letton and Cranworth in the County of Norfolk. He had earlier represented South Norfolk and Mid Norfolk in the House of Commons. the title is held by his great-grandson, the third Baron, who succeeded his grandfather in 1964. He is the son of the Hon. Robert Brampton Gurdon, who was killed in action in Libya in July 1942.

The family seat is Grundisburgh Hall, near Woodbridge, Suffolk.

Barons Cranworth, First creation (1850)

 * Robert Monsey Rolfe, 1st Baron Cranworth (1790–1868)

Barons Cranworth, Second creation (1899)

 * Robert Thornhagh Gurdon, 1st Baron Cranworth (1829–1902)
 * Bertram Francis Gurdon, 2nd Baron Cranworth (1877–1964)
 * Philip Bertram Gurdon, 3rd Baron Cranworth (b. 1940)

The heir apparent is the present holder's son the Hon. Sacha William Robin Gurdon (b. 1970).

The heir apparent's heir apparent is his son Alec Martin Philip Gurdon (b. 2006)

title: Baron Cranworth


text:
VfL Bochum

Verein für Leibesübungen Bochum 1848 Fußballgemeinschaft, commonly referred to as VfL Bochum, is a German professional association football club based in the city of Bochum, North Rhine-Westphalia. They currently play in the Bundesliga, top-flight of German club football.

Founding to World War II
VfL Bochum is one of the oldest sports organizations in the world, claiming an origin date of 26 July 1848 when an article in the Märkischer Sprecher – a local newspaper – called for the creation of a gymnastics club. The Turnverein zu Bochum was then formally established on 18 February 1849. On December 1851, however, the club was forcibly dissolved and banned by the Prussian provincial administration then reestablished on 19 June 1860 as the bochum gymnastics club. The club was reorganized in May 1904 as Turnverein zu Bochum, gegründet 1848 and formed a football department on 31 January 1911. On 1 April 1919, the club merged with Spiel und Sport 08 Bochum to form Turn- und Sportverein Bochum 1848. On 1 February 1924, the two clubs from the earlier merger split into the Bochumer Turnverein 1848 (gymnastics department) and Turn- und Sportverein Bochum 1908 (football, track and field, handball, hockey and tennis departments).

The Nazi regime forced Bochumer Turnverein 1848 to merge with Turn- und Sport Bochum 1908 and Sportverein Germania Vorwärts Bochum 1906 into the current-day club VfL Bochum on 14 April 1938. After the merger, VfL Bochum continued to compete in the top flight as part of the Gauliga Westfalen.

As World War II progressed, play throughout Germany became increasingly difficult due to player shortages, travel problems and damage to football fields from Allied bombing raids. VfL became part of the wartime side Kriegsspielgemeinschaft VfL 1848/Preußen Bochum alongside Preußen 07 Bochum, before re-emerging as a separate side again after the war. Although they fielded competitive sides, they had the misfortune of playing in the same division as Schalke 04, which was the dominant team of the era. VfL's best result was therefore a distant second place in 1938–39.

Postwar and entry to Bundesliga play
Following World War II, the football section resumed play as the independent VfL Bochum 1848 and played its first season in the second division 2. Oberliga West in 1949, while Preußen Bochum went on to lower tier amateur level play. VfL won the division title in 1953 to advance to the Oberliga West for a single season. They repeated their divisional win in 1956 and returned to the top-flight until again being relegated after the 1960–61 season.

With the formation of the Bundesliga, Germany's new professional league, in 1963 VfL found itself in the third tier Amateurliga Westfalen. A first-place result there in 1965 raised them to the Regionalliga West (II), from which they began a steady climb up the league table to the Bundesliga in 1971. During this rise, Bochum also played its way to the final of the 1967–68 DFB-Pokal, where they lost 1–4 to 1. FC Köln.

In spite of being a perennial lower table side, Bochum developed a reputation for tenaciousness on the field in a run of 20 seasons in the top flight. The club made a repeat appearance in the DFB-Pokal final in 1988, losing 0–1 to Eintracht Frankfurt. Relegated after a 16th-place finish in the 1992–93 season, the team has become a classic "yo-yo club", bouncing up and down between the Bundesliga and 2. Bundesliga. The club finished in 5th place in the Bundesliga in 1996–97 and 2003–04, which earned them appearances in the UEFA Cup. In 1997, they advanced to the third round, where they were eliminated by Ajax, and in 2004, they were eliminated early through away goals (0–0 and 1–1) by Standard Liège.

In the 2020–21 season, the club won the 2. Bundesliga, earning promotion to the Bundesliga.

In the 2023–24 season, the club was in a relegation playoff with Fortuna Düsseldorf, however won 6–5 on penalties, after initially being 3–0 down in the first leg.

Current
Today's sports club has 5,000 members, with the football department accounting for over 2,200 of these. Other sections now part of the association include athletics, badminton, basketball, dance, fencing, gymnastics, handball, field hockey, swimming, table tennis, tennis, and volleyball.

Domestic

 * 2. Bundesliga (II): 1993–94, 1995–96, 2005–06, 2020–21
 * Regionalliga West (II): 1969–70, 1970–71
 * 2. Oberliga West (II): 1952–53, 1955–56
 * Verbandsliga Westfalen (III): 1964–65

Cup

 * '''DFB-Pokal
 * Runners-up: 1967–68, 1987–88

Regional

 * Western German Cup (II): 1967–68

Youth

 * German Under 19 championship: 1969
 * German Under 17 championship: 1985
 * Under 19 Bundesliga West: 2004, 2005

Individual

 * Bundesliga top goal scorer: 1985–86 (Stefan Kuntz, 22 goals), 2002–03 (Thomas Christiansen, 21 goals (w/Giovane Élber)), 2006–07 (Theofanis Gekas, 20 goals)
 * 2. Bundesliga top goal scorer: 1993–94 (Uwe Wegmann, 22 goals), 2015–16 (Simon Terodde, 25 goals)

Stadium
Ruhrstadion (also known as the Vonovia Ruhrstadion under a sponsorship deal) was one of the first modern football-only stadiums in Germany. It was built in the 1970s on the traditional ground of TuS Bochum 08 at the Castroper Straße, north of the city centre.

The fully roofed venue's capacity is 27,599, including standing room for 12,025.

title: VfL Bochum