text:
User talk:Stern~enwiki

Because I didn't know you could do that. Thanks for letting me know. -Branddobbe 18:55, Feb 22, 2004 (UTC)

— You have removed accent signs (U+0301 or &#769;) from Russian text in the Joseph Stalin page. Please don't do that, accent signs are important! — Monedula 18:35, 26 Feb 2004 (UTC)

Valparaíso
Stern,

It's my opinion that german and english version (also spanish one) of Valparaíso) could "benefit" each other. They haver absolutely complementary information.

I asked for someone to do this job on the german 'pedia cause i don't feel secure enough to write in a reasonable period of time and relative grammar-errors-free article. Instead i compromise myself to port the info in english wikipedia (although i'm not too fluent in english too :-) ).

I've read the Francis Discussion Site: (auf deutsch). The songs you and Francis are talking about are two different ones.

The song Valparaíso, by Osvalo Rodríguez, is a melancholic one, and tells the love of a person who has left valparaíso, the poor city where he grewn up.

The peruvian waltz La Joye del pacifico is a totally different song.

But the two songs are the most popular among the porteños.

Baloo rch 21:04, 20 Jun 2004 (UTC)

A cathedral in St. Petersburg
I'd like to dispute the name you gave to the image of what you call the image:Saint Petersburg Ressurrection Church. First, it's a cathedral, not a church; second, its true name is 'of the Savior on Blood' (Spas[itel'a] na krovi). --Smack 21:16, 3 Aug 2004 (UTC)

 * You may be right. I had to google for the name and found various names. Stern 13:38, 16 Aug 2004 (UTC)

Language Map
Thanks for your message. I would love for us to work together on this map. I have been searching the Internet for a really good world language map but I have been unable to find one. It is great that through Wikipedia we can create our own.

I made some minor changes to your map. I removed Cornish (southwestern England) because it is a dead language. I changed the color of southern Sri Lanka to "Indo-Iranian" because Sinhala is an Indo-Iranian language. Also I made most of New Guinea grey because they speak Papuan, not Austronesian there.

I would like your opinion on what I did in New Guinea. For the areas in New Guinea where they speak Austronesian (the western, northern, and eastern coasts), should those be in solid color or horizontal lines?

I will go along with making Mongolian grey, beacuse as you pointed out, it is very small. --Industrius 03:45, 15 Feb 2005 (UTC)

Image of Charles Bradlaugh MP
I got this image from page 510 of "Parliament Past and Present" by Arnold Wright and Philip Smith, published 1902. The image is credited to the London Stereoscopic Co., Ltd. This company folded in 1908, and so its copyright has expired under British law. Dbiv 19:44, 11 Mar 2005 (UTC)

 * Thank you! Stern 20:23, 11 Mar 2005 (UTC)

Image:Death Penalty World Map.png
Oh dear, I switched them. I've corrected the error, and I really appreciate you pointing it out. Thanks! Demi T/C 23:36, 2005 May 3 (UTC)

My goodness--we'll see if I can make any more mistakes on this map! Thanks for alerting me--I've uploaded the corrected version to commons and marked the en: version as a speedy-delete due to error. Demi T/C 00:39, 2005 May 4 (UTC)

Homework
Hi. You moved ElGamal encryption to Elgamal encryption. Well, I have a bit of homework for you. :) Would you mind fixing the double redirects? For that, you go to Elgamal encryption, check the "what links here" feature, and make sure no redirect point to another redirect. That's grunt work, but it is part of the process of moving a page. Cheers, Oleg Alexandrov 03:39, 8 August 2005 (UTC)

Edit summary
When editing an article on Wikipedia there is a small field labelled "Edit summary" under the main edit-box. It looks like this: The text written here will appear on the Recent changes page, in the page revision history, on the diff page, and in the watchlists of users who are watching that article. See m:Help:Edit summary for full information on this feature. When you leave the edit summary blank, some of your edits could be mistaken for vandalism and may be reverted, so please always briefly summarize your edits, especially when you are making subtle but important changes, like changing dates or numbers. Thank you. Oleg Alexandrov (talk) 02:16, 15 October 2005 (UTC)

White's photo
I have uploaded it to commons. .

 * Thank you! Stern 09:37, 12 January 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Stern. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Stern~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:52, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 19:13, 22 April 2015 (UTC)

title: User talk:Stern~enwiki


text:
Blériot-SPAD S.510

The Blériot SPAD S.510 was a French single-seat, single-engined biplane fighter aircraft. First flying in 1933, 60 were built for the Armée de l'Air (French Air Force), entering service in 1936. The type remained in service as a fighter-trainer at the start of the Second World War. It was the last French biplane fighter to enter production.

Development
The Blériot-SPAD S.510 was designed by André Herbemont to meet a 1930 French requirement for a single seat fighter. The new fighter was required to have a speed of 325 km/h at an altitude of 3500 m (later increased to 350 km/h at the same height), with an armament of either four machine guns, one 20 mm cannon and two machine guns, or two cannon. Herbemont's design was based on his earlier S.91, and of the 11 designs submitted to meet the requirement, was the only biplane.

The SPAD 510 was of all-metal construction, with fabric-covered wings and tail, and a monocoque rear fuselage. The aircraft had a fixed conventional landing gear, which had a reputation for being fragile in service, with faired mainwheels and a tailskid. The aircraft was powered by a Hispano-Suiza 12Xbrs liquid-cooled V12 engine rated at 690 hp driving a two-bladed wooden propeller. Armament consisted of four 7.5 mm MAC 1934 machine guns mounted under the lower wing (the prototype carried the same armament, but with two guns in the fuselage). The last two production SPAD 510s were fitted with a Hispano-Suiza 12Xcrs engine, allowing a Hispano-Suiza 20 mm cannon to be mounted between the engine's cylinder banks, and firing through the propeller.

The sole prototype first flew on 6 January 1933. Flight testing revealed handling problems which resulted in the aircraft's centre fuselage being lengthened by 40 cm and its vertical tail surfaces being enlarged. During evaluation in 1935 against the already in production Dewoitine D.500 at the Centre d'expériences aériennes militaires (CEAM), the French military aviation research centre at Reims, the SPAD 510 demonstrated superior manoeuvrability and climb rate. As a result, an order for 60 aircraft was placed on 30 August 1935. Performance was similar to the British Gloster Gladiator. The S.510's armament generally consisted of 4 machine guns (installed as either a combination of 2 fuselage-mounted guns, plus 2 in under-wing gondolas or with all 4 in under-wing gondolas). This gave it a much heavier attack capability than most earlier biplane fighters and equalled that of the final biplanes used by the British and Italians, the Gladiator and Fiat CR.42 Falco. The S.510 was doomed to obsolescence before it even flew, although when it was designed many pilots and experts strongly believed that biplanes would prove better fighters than monoplanes because of their tighter turning circles. Despite its strengths, the S.510 only enjoyed about a year of usefulness. An adequate fighter for 1936, it was quickly outclassed by the new more modern monoplanes developed by Germany, Britain, and France. It had fixed landing gear as well as a weak fuel system and undercarriage.

In response to a 1934 French competition for a more modern single-seat fighter, Herbemont designed the Blériot-SPAD S.710, based on the 510. The SPAD 710, while still a biplane, had a retractable undercarriage and an enclosed cockpit and was fitted with a V-tail. It was powered by a 860 hp Hispano-Suiza 12Ycrs engine, which was estimated to give a speed of 470 km/h. A prototype flew for the first time in April 1937, but crashed on 15 June that year due to tail flutter, killing the pilot. This caused further development to be abandoned.

Operational history
Deliveries of the SPAD 510 to the Armée de l'Air (i.e. the French Air Force) began in early 1936, with the new fighters replacing the Morane-Saulnier M.S.225s of Groupe de Chasse 1/7 (GC 1/7) from May 1937, and the Nieuport-Delage NiD 62s and NiD 629s of Groupe de Chasse II/7 (GC II/7) from July 1937. In 1937, SPAD 510s were used to equip the Weiser circus aerobatic team, named after the commander of 7e Escadre (7th Wing, the parent unit of the two Groupes), which displayed around France that year. In 1938, with increasing tensions between France and Germany, the two Groupe's SPADs were fitted with radios, allowing them to be declared as fit for combat, with some aircraft being fitted with revised exhausts to aid night flying. From January 1939, GC I/7 began to re-equip with modern Morane-Saulnier M.S.406 fighter monoplanes, with the last SPAD 510 discarded in February, while GC II/7 replaced its SPAD 510s by M.S.406s later that year, completing its re-equipment just before its mobilisation at the start of the Second World War.

On August 1939, obsolete fighters held in storage in France after being replaced in the front line units were used to equip Escadrilles Régionales de Chasse (ERC - regional fighter flights) to train reservists, with two flights formed in mainland France with a mixture of SPAD 510s and older NiD-622s, ERC 3/561 at Saint-Inglevert Airfield and ERC 4/561 at Villacoublay. In October, the two ERCs joined together to form Groupe Aėrien Régional de Chasse II/561 (GARC II/561) based at Havre-Oteville. On 18 January 1940 GARC II/561 was redesignated as GC III/10, which received Bloch MB.151s over the next few weeks to allow the unit to transition to a front-line fighter role. The displaced S.510s returned to their training role where they served until the Armistice of 22 June 1940. Approximately ten S.510s were sent to French North Africa in 1939 to join ERCs at Oran and Rabat. In May 1940, the ERCs based in French North Africa were combined to form a new fighter group, GC III/5, with equipment including SPAD 510s, but these were replaced by Morane-Saulnier M.S.406s by the end of May.

Reports that it may have served in the Spanish Republican Air Force during the Spanish Civil War are doubtful. There is no evidence that S.510 were ever actually sent and they may have been confused with the Blériot-SPAD S.91 or with the Dewoitine D.510 that were delivered to the Escuadrilla Internacional.

Variants

 * S.510.01
 * First prototype aircraft.

 * S.510
 * Production aircraft powered by 690 hp Hispano-Suiza 12Xbrs engines, armed with 4 x 7.5 mm MAC 1934 machine-guns, (60 built).

 * S.710
 * One prototype only with a butterfly tail, powered by a single 860 hp Hispano-Suiza 12Ycrs V-12 engine.

Operators

 * Armée de l'Air
 * Armée de l'Air

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

title: Blériot-SPAD S.510


text:
Baron Ker

Baron Ker may refer to:
 * Baron (Lord) Ker of Cessford and Cavertoun (in the Peerage of Scotland) is from 1616 one of the subsidiary titles for Duke of Roxburghe
 * Baron (Lord) Ker of Cessford and Overton (in the Peerage of Scotland too) is from 1707 another of the subsidiary titles for Duke of Roxburghe
 * Baron Ker of Kersehugh (in the Peerage of the United Kingdom) is from 1821 one of the subsidiary titles for Marquess of Lothian
 * Baron Ker of Wakefield (in the Peerage of Great Britain) was from 1741 to 1805 one of the subsidiary titles for Duke of Roxburghe

title: Baron Ker


text:
Talk:Telecommunications towers in the United Kingdom

 To do: private point-to-point microwave links, CCTV, wireless Internet access

 -- User:Docu

Article issues
A supremely uninformative cleanup tag, but never mind. This article is pretty useless. The bit in the History section is covered by British Telecom microwave network and the rest of it - not that there is much - could be merged into Telecommunications in the United Kingdom, IMHO. --Harumphy 14:23, 19 October 2007 (UTC)

External links modified
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text:
1781 in music

Events

 * March – Wolfgang Amadeus Mozart moves to Vienna to pursue his career. Although he is passed over in favour of Antonio Salieri as music teacher of Princess of Württemberg, he never returns permanently to Salzburg.
 * June 27 – Mozart writes of his new pupil and admirer, Josepha Barbara Auernhammer: "I am almost every day after dinner at H: v: Auernhammer – The freulle is a monster!".
 * July 29 – Mozart receives the original libretto of his next opera, Die Entführung aus dem Serail from the director of the Nationalsingspiel, Gottlieb Stephanie.
 * October 12 – First bagpipes competition in the Masonic Arms, Falkirk, Scotland.
 * Étienne Méhul makes his first, unsuccessful attempts at orchestral composition.
 * Approximate date – Christian Gottlob Neefe, court organist in Bonn, takes on the young Ludwig van Beethoven as a pupil.

Classical music

 * Samuel Arnold – 6 Overtures in Eight Parts, Op. 8
 * Carl Philipp Emanuel Bach
 * 6 Fugues, Wq.119/2-7
 * Geistliche Gesänge, Book 2 Wq. 198, H. 752
 * Johann Christian Bach – Sonata for Keyboard Duet, W.A 19 (Op. 18, No. 5)
 * William Billings – The Psalm-Singer's Amusement
 * Luigi Boccherini
 * 6 String Quartets, G.201–206 (Op. 32)
 * Stabat Mater, G.532
 * Carl Ditters von Dittersdorf – Symphonies after Ovid's Metamorphoses, Kr.73–84
 * Joseph Haydn
 * Symphony No.75 in D major, Hob.I:75
 * String Quartet in C major, Hob.III:39
 * Horn Concerto No.2 in D major, Hob.VIId:4 (could be by Michael Haydn)
 * 24 Lieder, Hob.XXVIa:1–24
 * Six String Quartets, Op. 33
 * Leopold Kozeluch – Sonata for Keyboard in F, "La chasse", Op. 5
 * Wolfgang Amadeus Mozart
 * 6 Variations on "Hélas, j'ai perdu mon amant", K.360/374b
 * Serenade in B-flat major, Gran Partita (or possibly 1782), K. 361
 * Misera, dove son!, K.369
 * Rondo in E-flat major, K.371
 * Serenade in E-flat major, K.375
 * Violin Sonata in F major, K.376/374d
 * Violin Sonata in F major, K.377/374e
 * Violin Sonata in G major, K.379/373a
 * Violin Sonata in E-flat major, K.380/374f
 * Sonata for 2 Pianos in D major, K.448/375a
 * Giovanni Paisiello – Concerto for Keyboard No. 1 in C major
 * John Parry – British harmony, being a collection of antient Welsh airs ... carefully compiled and now first published with some additional variations (Ruabon, London: John Parry & Peter Hodgson)
 * Antonio Rosetti – 6 Flute Concerti
 * Charlotte Amelie Sachsen-Gotha-Altenburg – Canzonette fürs Klavier mit Veränderungen
 * Samuel Wesley – Concerto for Violin No. 2 in D major
 * Paul Wranitzky – Sinfonie Périodique No.2 in C minor (op. 11)

Opera

 * Miles Peter Andrews & Samuel Arnold – The Baron Kinkvervankotsdorsprakingatchdern
 * Antonio Calegari – Deucalione e Pirra
 * Domenico Cimarosa
 * Alessandro nell'Indie
 * L'amante combattuto dalle donne di punto
 * Giannina e Bernardone
 * Giunio Bruto
 * Il pittore parigino
 * Elizabeth Craven et al. – The Silver Tankard
 * Nicolas Dalayrac – Le Chevalier à la mode
 * Marc-Antoine Désaugiers – Les Deux sylphes
 * Joseph Haydn – La fedeltà premiata
 * Wolfgang Amadeus Mozart – Idomeneo
 * Niccolò Piccinni – Iphigenie en Tauride
 * Antonio Salieri – Der Rauchfangkehrer
 * Giuseppe Sarti – Giulio Sabino
 * Niccolò Antonio Zingarelli – Montesuma

Methods and theory writings

 * Marmaduke Overend – A Brief Account of, and an Introduction to, 8 Lectures in the Science of Music
 * Christoph Benjamin Schmidtchen – Kurzgefaßte Anfangsgründe auf das Clavier für Anfänger

Births

 * January 22 – François Antoine Habeneck, violinist and conductor (died 1849)
 * March 11 – Anthony Philip Heinrich, composer (died 1861)
 * March 18 – Gustave Vogt, composer and oboist (died 1870)
 * May 24 – Louis-François Dauprat, French composer (died 1868)
 * July 20 – Sophie Lebrun, pianist and composer, daughter of Ludwig August Lebrun (died 1863)
 * July 27 – Mauro Giuliani, guitarist, cellist and composer (died 1829)
 * September 1 – Antoine Romagnesi (composer and publisher (died 1850)
 * September 5 – Anton Diabelli, music publisher, editor and composer (died 1858)
 * September 6 – Vincent Novello, organist and conductor (died 1861)
 * November 9 – Carl Borromäus von Miltitz, composer (died 1845)
 * November 18 – Felice Blangini, organist and composer (died 1841)
 * December 1 – Charles Philippe Lafont, violinist and composer (died 1839)

Deaths

 * January 22 – Johann Siebenkas, composer
 * February 4 – Josef Mysliveček, composer (b. 1737)
 * March 17 – Johannes Ewald, librettist and dramatist (born 1743)
 * May 22 – Garret Wesley Mornington, composer
 * July 11 – Adolph Carl Kunzen, composer
 * July 30 – Augustin Ullinger, composer
 * August 16 – Johanna Carolina Bach, daughter of JS Bach (born 1737)
 * October 9 – Thomas Erskine, 6th Earl of Kellie, musician and composer (b. 1732)
 * October 27 – Herman-François Delange
 * October – Anton Zimmermann, composer
 * November 4 – Faustina Bordoni, operatic mezzo-soprano (b. 1697)
 * date unknown – William Paxton, cellist (b. 1737)

title: 1781 in music


text:
Flotta

Flotta is a small island in Orkney, Scotland, lying in Scapa Flow. The island is known for its large oil terminal and is linked by Orkney Ferries to Houton on the Orkney Mainland, Lyness on Hoy and Longhope on South Walls. The island has a population of 80.

History
At the turn of the 20th century, the island was a quiet rural community like many other small islands of Orkney, but its sheltered location led to three major upheavals in the island in the century.

Until 1914, Flotta was a quiet farming community. In 1910, a population of 431 included two blacksmiths, four carpenters and three dressmakers.

World Wars

Everything changed with the arrival of the Royal Navy in Scapa Flow at the start of the First World War. There is a photograph held by the Imperial War Museum in London that shows a boxing match taking place on Flotta in front of a wartime audience of 10,000 people.

During the First World War, the island was home to a naval base. The dreadnought HMS Vanguard sank nearby in 1917, reputedly the worst maritime disaster in UK waters. In the Second World War, the island was again used as a military base.

1918 saw the mass exodus of Navy personnel, and 1939 saw their return. After the Second World War the island had good piers and facilities, but a slowly declining population. It took until 1970 for fresh water to be piped to the island from Hoy.

North Sea oil
In 1974, Occidental Petroleum started construction of the island's oil terminal. This became the second largest major oil terminal serving the UK North Sea, the largest being Sullom Voe in Shetland.

It took only two years from the start of construction until the first of the crude oil was pumped into the terminal, during which thousands of workers were posted at the "camp" in Flotta to complete the facility as Britain's thirst for oil was growing by the day. The Flotta oil terminal was opened by the energy minister, Tony Benn MP, on 11 January 1977.

The oil terminal provides the landing for the Piper and Claymore fields pipeline system. In addition, it provides a safe facility for the receipt and transshipment of oil produced from the UK Atlantic margins.

Geography and environment
Flotta lies at the southern end of Scapa Flow, with Calf of Flotta being at the north-east corner of the island. The island of Fara is 300 m across Weddel Sound, to the north-west. Meanwhile, Switha, South Walls and Hoy are each approximately 1 km from Flotta, to the south, south-west and west, respectively. Nevi Skerry is situated 1 km east of Flotta in the Sound of Hoxa. South Ronaldsay is approximately 2.5 km east of Flotta, also across the sound of Hoxa. The highest point on Flotta is West Hill at 58 m, adjacent to the wind turbine. The main population centre is at Whome, which is situated in the centre of the southern half of the island. To the north, Whome is separated from the Golta Peninsula by Pan Hope, a tidal bay.

Flora and fauna
Flotta has a seal colony at Stanger Head, at the south-east corner of the island. The Royal Navy planted 1000 spruce trees during the Second World War, which are situated between Sutherland Pier and the oil terminal, in the vicinity of the Naval Cinema. About 10% of the spruce trees survive. The oil company has also planted 40,000 trees and shrubs. Much of the western side of the island is heath, as is the Golta Peninsula to the north-east of the island.

Community

The island has a usually resident population of 80 people in 48 households. The main centre of population is in the settlement of Whome. The community primary school is mothballed due to there being no children of that age left on the island.

Healthcare services are provided by the Stromness Surgery, with a nurse practitioner based on Flotta. Flotta Fire Station, which is situated next to the school, formally closed on 25 October 2012. The service provided by the fire station was transferred to the Scottish Fire and Rescue Service on 1 April 2013.

The 2.3MW wind turbine, which was installed in 2010, will provide the community with a cash contribution of £100,000 over the lifetime of the turbine.

People from Flotta

 * Prof Sutherland Simpson FRSE (1863-1926) physiologist

Economy
The main industry on the island is energy production and distribution. Repsol Sinopec Energy UK Limited's Flotta oil terminal, processes oil from the North Sea for onward transfer. The oil terminal has been operational for 36 years. Opus Plus Ltd., an environmental research company, is also based within the oil terminal complex. Supplied by German manufacturer Enercon, the 2.3MW Flotta wind turbine was brought online in June 2010 at a cost of £3 million. The turbine, which is connected to the National Grid, has a hub height of 64 m and a rotor diameter of 71 m.

The Orkney Island Council provides employment to several people on Flotta. Farming remains an important source of revenue for the island economy, along with handicraft. A small number of residents are also employed on the Orkney Mainland.

The island is served by one shop, which operates as a general store, a post office and a petrol station. The nearest supermarkets are situated in Kirkwall, on the Orkney Mainland, which has branches of Tesco and Lidl.

The island has a mains water supply, and boreholes are also used. Flotta didn't have a mains electricity supply until 1977, although most households had had their own electricity generators for many years beforehand. Mains electricity is supplied by Scottish Hydro Electric. The island is connected to the BT telephone network. Mobile phone connections can be an issue. Broadband internet connection is possible on the island. There is no mains gas supply on Flotta, although coal and heating oil are delivered regularly, and Calor Gas is stored at the shop.

In 2005, Flotta was considered to have the potential of expanding the island economy with heritage tourism, and with a particular regard for the Second World War-era structures which are spread across the island. The possible development of a marina was also considered, at that time.

Marine
The island is served by Orkney Ferries with ferry links to Houton on the Orkney Mainland, Lyness on Hoy, and Longhope on South Walls. The ferries berth at Gibraltar Pier, also known as Heyspan Pier, which is to the north-west of the island in Weddel Sound. Orkney Ferries' South Isles service is usually provided by MV Hoy Head, whilst MV Thorsvoe serves as a relief vessel. Flotta is situated a few miles from St Margaret's Hope on South Ronaldsay, which has a direct ferry service to mainland Scotland. However, there is no direct public ferry service between Flotta and South Ronaldsay, across the Sound of Hoxa. For a transport connection to the Scottish mainland, one must instead travel by ferry to Houton, and then by road to either Stromness or to St. Margaret's Hope, via a much more circuitous route.

A couple of hundred metres to the south-west of Gibraltar Pier is Sutherland Pier, also in Weddel Sound. Sutherland Pier is used by local vessels of similar size to the ferries. A third public pier, Pan Pier, is situated at the southern side of Pan Hope, the island's central bay. Pan Pier is used by smaller private boats. The oil terminal has its own jetty on the northern side of the island, which has the capability to accommodate oil tankers.

Airport

Flotta Isle Airport is located on the south side of the island. It opened in 1976 as an inter-island airport, and changed hands to Elf Exploration UK in 2001. Today, the airport is used only for emergency landings, and air ambulances.

Road
The main roads on Flotta are the B9045 and the B9046, which connect the ferry terminal with the settlement of Whome. Flotta has no causeways similar to the Churchill Barriers, which could allow vehicles to be driven to the nearby islands. All road vehicles are reliant on using the ferry to the Orkney Mainland, and to Hoy.

title: Flotta


text:
Murrey

In heraldry, murrey is a "stain", i. e. a non-standard tincture, that is a dark reddish purple colour. It is most proximate in appearance to the heraldic tincture of purpure, but is distinct therefrom.

Overview
According to dictionaries, "murrey" is the colour of mulberries, being somewhere between the heraldic tinctures of gules (red) and purpure (purple), and almost maroon; but examples registered in Canada and Scotland display it as a reddish brown.

Poetic meanings
Centuries ago, arms were often described poetically and the tinctures were associated with different gemstones, flowers and heavenly bodies. Murrey usually corresponded to the following:
 * Of jewels, the sardonyx
 * Of heavenly bodies, the Dragon's Tail

Examples
The livery colours of the House of York in England in the fifteenth century were azure and murrey, as depicted on the shields of the Falcon of the Plantagenets and the White Lion of Mortimer, which are 2 of the Queen's Beasts.

title: Murrey


text:
Talk:The Best of Both Worlds (Star Trek: The Next Generation)

Clean up required
This article could do with a cleanup and re-write. The plot synopsis is far too reliant on quotes and, in my opinion, does not read well.--Crais459 12:04, 17 July 2006 (UTC)

Deflector Dish Beam
Why is it the ships in First Contact can damage the Borg Cube, but not the deflector dish beam, I know they upgraded thier weapons since then, but the beam channels almost all the energy in the Enterprise-D! That should be way more powerful. One explanation I've heard proposed is the beam isn't really that powerful, as in Night Terrors a hydrogen explosion in space liberates the Enterprise-D, "proving" whereas when they use the beam it doesn't, but again the beam channels all the energy in the ship, which uses dilithium crystals and anti-matter as fuel, much more powerful than a chemical explosion. I just don't understand. 66.189.90.207 15:48, 9 July 2006 (UTC)
 * It's not a case of the dish not being powerful enough: it is explained in the episode that the deflector dish does no damage because Picard had prior knowledge of the modifications. When he was assimilated, it allowed the Borg to adapt their shields ahead of time. In the ST:TNG novel Vendetta, another ship uses the same trick and, because they use a different method and frequency, the cube is not able to adapt its shielding ahead of time. The resulting beam blows a hole straight through the Borg ship--160.9.41.113 12:01, 17 July 2006 (UTC)

Well, first of all, novels aren't canon in Star Trek. And besides frequency what about the pure raw power of the beam. It should be a case that they simply can't make a shield strong enough to resist it. It hits it way too hard. I'm not exactly sure how adjusting the frequency blocks something like this. Of course, I think I'd need more information about how a frequency stops phasers. but borg shield could adapt to photon torpedo's too, an M/AM explosion which is pure energy.

What is it the frequency of? Does the shield refresh itself so many times per second. Like how your monitor screen has a rate of how many times it redraws your screen? If so then perhaps the phaser is faster than the shield, and gets through in the split second intervals when the shield isn't up.

Some fans have extended that the Borg can adapt to anything, which is ludicrous, like being able to shrug off a death star superlaser hit, no matter how they adjusted thier shields, again they simply couldn't make a shield strong enough. The snare 05:04, 21 January 2007 (UTC)

"so that Shelby could replace Riker"
I've pulled this:

 * It should be noted that the episode was originally written so that Shelby could replace Riker, because Johnathan Frakes, who played Riker, was planning to leave the show. However, after viewing the episode, Frakes was so impressed by the episode, he stayed with the show; thus, the plan to write him out was cancelled.

Anyone have a source to back this up? I don't think this is true. AlistairMcMillan 05:49, 15 November 2005 (UTC)

 * Not a source, but my understanding is that Picard Patrick Stewart was supposed to be the one to leave the show, in a contract/money dispute. That's why he was the one captured. Shelby was probably supposed to replace Riker so that Riker could replace Picard. --Hires an editor 22:06, 4 July 2006 (UTC)
 * Which in itself is odd, considering Data was third in command. Technically, he would have automatically become first officer.--KrossTalk 20:58, 13 October 2006 (UTC)
 * It's the same logic used in the episode as aired--Shelby, being established in the Command division of Starfleet (as noted by her uniform) and having focused her career on the study of the Borg, was a more suitable candidate for first officer at that point in time. - Pennyforth 03:40, 28 March 2007 (UTC)

"Technically, he would have automatically become first officer" why is that? there is no rule that says guarenteed promotion if your superior leaves/dies, Star fleet command can put whoever they want into any position they want. Also data was not command he was operations officer (yellow uniform) he could assume command but not permanently Smitty1337 (talk) 16:03, 13 February 2010 (UTC)

Fair use rationale for Image:Cube.jpg
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BetacommandBot 05:27, 16 September 2007 (UTC)

"I put the Borg to sleep."
As far as the final sequence of the borg, They were are at 100% power. They were put into "sleep sequence" What does everyone do at sleep sequence? they build up energy and power. If the Borg were at 100% power, and built up power? Why shouldn't the article state they overloaded and exploaded? Griffiths1900 03:40, 12 October 2007 (UTC)griffiths1900

"Locutus of Borg"?
Does Picard/Locutus call himself "Locutus of Borg" or "Locutus, a Borg"? It sounded to me more like the latter. 84.71.43.87 (talk) 21:22, 1 March 2008 (UTC)

 * It's unquestionably "Locutus of Borg" in the script. Logical, since you cannot have "a" Borg in a culture that uses no mechanism to identify an individual instead of group (i.e. always "we," never "I"). Personally, I was always bothered by the idea of the Borg giving Picard a designation, since it suggests individuality. When I recently came back to this episode, several years of study later, it clicked. "Locutus" is a Latin word meaning "speaker" or "speech-giver." Therefore it is a relational definition, not an individual one. That extensional is the speaker of the Borg, sort of its ambassador, no different from an extensional identified as third of five or seven of nine or 6535 of 26590. 67.172.247.155 (talk) 06:53, 24 July 2011 (UTC)

It was "locutus, a borg" originally. Just listen to it in best of both worlds. Later it was retconned. I always hated the idea of sth. like borg gentry/royalty. Borg Queen was a good villian but absolutely incompatible with the original borg concept. Thanks a lot voyager;) KhlavKhalash (talk) 22:50, 31 May 2020 (UTC)
 * What's your source for this claim? I've always heard it as "of", and I've never heard anyone claim that it was "a". DonIago (talk) 23:14, 31 May 2020 (UTC)

Slow down the scene, you will be able to hear it. KhlavKhalash (talk) 16:39, 13 October 2021 (UTC)
 * It wouldn't matter whether I think I hear it. We would need a reliable source. DonIago (talk) 03:41, 14 October 2021 (UTC)

comment on musical score
As mentioned in the article, Ron Jones' score for this episode is widely regarded as one of the best in all of Star Trek, and I agree. I'm by no means an expert in music theory so I'd like one to comment on whether the following observation is significant enough to be in the article.

During the Picard capture sequence, Jones uses what to me is a very interesting leitmotif for each Borg that materializes on the bridge. It is a march in 3/4 time - waltz time -- instead of the universally standard 2/4 military march time.

I think this was a very effective way to combine the Borg's extremely aggressive, conquering behavior with their utterly alien nature; human armies simply don't waltz into battle, so to speak. It also suggests the stilted robotic movements of individual Borg drones. Any comments? Karn (talk) 01:56, 25 August 2008 (UTC)

 * Creepy. Very very creepy, and hard to identify why without (as you have done) strict musical analysis. As technically interesting as the use of the minor key in the Imperial March to induce fear. I'd like to add that the Borg are made up asymmetrically, a neat trick. The human brain likes to see symmetry. Asymmetry can trigger a response ranging from "unusual" to "frightening," dependent on context, because in the external human body distinct asymmetry usually indicates an injury or disability. This contrasts with the shape of the ship, which is not aerodynamic (no need for it in interstellar travel) but which looks "wrong" to us because all our vehicles, ships, and aircraft are of necessity aerodynamically or hydrodynamically designed. I think some of both the music and the makeup design theories probably appear in interviews with Jones and Westmore in the official magazine, if anyone wants to pull back issues. In any case, the things are scary enough to convince a ten-year-old girl to spend another ten years finding out why and lecturing about it twenty years later. They still creep me out.67.172.247.155 (talk) 07:17, 24 July 2011 (UTC)

Contingency Error
In a shot at the end of the episode, you see picard look at the earth. Then you see the moon. In "Star Trek: First Contact", William Riker comments that their are living 50 miljon people on the moon. In this shot you just see the how it looks today. Not with the cities new Berlin, etc. Should this somehow be included in the main article? —Preceding unsigned comment added by 82.197.194.125 (talk) 04:00, 17 November 2009 (UTC)
 * Doesn't seem worth it in my opinion. Star Trek loves its screw ups. Why do you think it's called The Dread Canon? -- Thejadefalcon Sing your song The bird's seeds 18:53, 28 December 2009 (UTC)

Apparent contradiction in airdate needs to be fixed
The article text lists the week of June 18, 1990, for when Part I first aired. The infobox says Part I first aired on July 1, 1990. Neither statement is cited. postdlf (talk) 01:09, 31 May 2010 (UTC)

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4-30-2020: Display of both TNG Season 3 and 4 Episode Templates
Message to Any Editors

On April 30 2020, I was reading the "Best of Both Worlds" article page and noticed that while the Next Generation (I.E, TNG) Season-3 episode template was shown at page bottom, the Season-4 template was not being shown. Of course, most should know that "Best" was a 2-part episode spread over two Star Trek-TNG seasons, Part-I airing as the last TNG season-3 show, and Part-II airing as the first TNG season-4 show.

In researching previous incarnations of the article page, I discovered that the Season-4 template had been edited out sometime during 2019. In restoring the season-4 template today (4-30-2020), I realized the possible reason for its being previously edited out. The first line of all seven Star Trek:TNG season templates (excluding V-T-E and show/hide) reads "Star Trek: The Next Generation episodes" -- and that's it. There's no further text on that particular line to indicate the specific season in question. In the "hide" (or collapsed) state, one would see both the season-3 and season-4 templates in their unexpanded state, but with nothing to show that these are two distinctly separate templates. Unless otherwise, I believe that may be why the season-4 template got edited out. Thru no fault of their own, that particular editor may have been confused by the appearance of both templates.

In addition to restoring the season-4 episode template, I set the display state of both the season 3 & 4 templates to "expanded", hoping it would in some way clarify that "Best of Both World" spans two seasons.

Regarding the seven TNG season episode templates themselves, I have made -NO- attempt to apply distinguishing labels to each -- for example "Star Trek: The Next Generation episodes (Season 3)" -- on the aforementioned first line of each template. But I personally feel that such a modification to the templates should be at the least taken under consideration.

Thanx-A-Lot. Stay Safe and Well. Fgf2007 (talk) 16:54, 30 April 2020 (UTC)

 * Nothing of value was lost. The underlying problem is that Navboxes are great big tables full of irrelevant links, that are almost always hidden anyway. We don't tolerate See also sections full of irrelevant junk but for some reason we still allow it from Navboxes. At the moment, the article includes both Navboxes with their contents shown and fully expanded, that's one way to handle it, for now. The thing is Navboxes are never shown to mobile users, nearly half of all users. Navboxes are redundant and cannot be depended on. In the long run, editors must remember that for most users that Navbox is not there and to make sure that anything actually important is included directly in the article. -- 109.79.164.242 (talk) 17:37, 17 September 2021 (UTC)

Big delete
There was a big delete a while back decimating the "best of" lists. I can understand the motivation and also dislike the result. The "best of" lists could be regrouped condensed and summarized without needing to discard any sources. Some of the sources could be reused to provide actual commentary and insight instead of a mere bullet point on a list. The boiler plate repeated text specifying "best of series" "best of franchise" and number rankings or unnecessary specifying of years could all be condensed. I don't immediately recall which article it was but User:Ajd has done exactly this kind of summary before (I'll try to add a link later if I remember). Anyone interested in improving this article would do well to restore all those references that were deleted and then rewrite the article. I might even get around to doing it myself eventually. -- 109.79.164.242 (talk) 17:27, 17 September 2021 (UTC)

Poor references, unsupported peacock claims
The text that the anonymous editor keeps reinserting is problematic in a few ways, most of which derive from its bad sourcing: 1) A brief article on a fan blog in which he talks mostly about about himself and explains that he wasn't even watching the show at the time. This is a terrible source: self-published and second-(third?)-hand. 2) Reader comments on a company blog by Keith DeCandido, who writes for the franchise. Even if a Trek freelancer was an objective source for Trek commentary (he is not, and quoting his review later is equally iffy), and his quips at the end of this particular episode summary were anything other than one person's thoughts (they are not), the article isn't even citing him. The "many watchers note the frustration...." bit is based on the comments posted on the article. That's WP:OR at best, and further assumes that the blog's readers are somehow representative of a much larger population. This is a textbook example of how not to source facts on Wikipedia. As I alluded to in my original edit summary taking out that text: the Reception section already talks about the storytelling impact of the cliffhanger, and does it better than this, by citing credible, independent critics in real publications. This adds nothing to the article except to make it look like a fan gushing awkwardly about a favorite episode. -Jason A. Quest (talk) 16:57, 13 March 2022 (UTC)

For anyone else trying to make sense of the above comment (which I didn't happen to notice at the time) Jason made a delete complaining that some text in the Broadcast section was "embarrassingly written" I try to WP:PRESERVE the good faith edits of others, so I restored it. If something is poorly written I try to rephrase and make it slightly less badly written. The text said the season finale cliffhanger was "noted in television history" which is not the best phrasing but I don't think the sentiment was wrong. (It wasn't as significant a TV event as Who shot J.R.? but what is!) A cliffhanger ending for a season of television was a big deal back then, and not something Star Trek had done before. I didn't think it was unreasonable to mention it in the context of the Broadcast. I would like better references for sure but since it was a slight generalization I thought it was better to keep both references. (Tor.com is the website of Tor Books a well known publisher of science fiction books, part Macmillan Publishers. Keith DeCandido has been used as a reference throughout WikiProject_Star_Trek. I think he is very objective source, not afraid to criticize Star Trek, but even if he was WP:BIASED he could still be a reliable source. CNN is biased but nonetheless reliable. The specific parts from his review that seemed most relevant to the Broadcast section were "It’s only the second two-parter in Trek history" and "also the first [...] season-ending cliffhanger".)

Jason did rephrase the text in a later edit, and it was an improvement. I just didn't think we needed to remove quite as much as he deleted in his earlier edit. I hope the matter is resolved for now, but it may well be rewritten into something better in future. -- 109.79.176.100 (talk) 06:15, 27 March 2022 (UTC)

Reference to Patrick Stewart as "Patrick".
In the fourth par of the Production section. "Patrick Stewart" or "Stewart" would be more appropriate. 2A02:C7C:BCA0:CA00:206B:572E:6988:3BEF (talk) 13:12, 11 March 2023 (UTC)

 * . DonIago (talk) 04:32, 12 March 2023 (UTC)


text:
Volhynian Voivodeship (1569–1795)

Volhynian Voivodeship (Województwo wołyńskie, Palatinatus Volhynensis, Волинське воєводство, Volynske voievodstvo) was a unit of administrative division and local government in the Grand Duchy of Lithuania from 1566 until 1569 and of the Polish Crown within the Polish–Lithuanian Commonwealth from the 1569 Union of Lublin until the Third Partition of Poland in 1795. It was part of the Ruthenian lands in the Lesser Poland Province.

Description
The voivodeship was established based on the Łuck Eldership (starostvo) in 1566 with the Grand Duchy of Lithuania. Following the 1569 union of Lublin, it was ceded to the Crown of Poland as part of the Lesser Poland (Malopolska) Province.

The capital of the voivodeship was in Łuck (presentday Lutsk), and it had three senators in the Senate of the Commonwealth. These were the Bishop of Luck, the Voivode of Volhynia and the Castellan of Volhynia. Volhynian Voivodeship was divided into three counties: Luck, Wlodzimierz and Krzemieniec. Local starostas resided in the three capitals of the counties, while sejmiks took place at Luck. The voivodeship had two deputies in the Polish Sejm, and one deputy in the Lesser Poland Tribunal in Lublin.

Zygmunt Gloger in his monumental book Historical Geography of the Lands of Old Poland provides this description of Volhynian Voivodeship: "After Liubartas seized northern Volhynia, the Kingdom of Poland captured Red Ruthenia. A conflict between Poland and Lithuania began, complicated by the fact that in Ruthenian lands there were no well-defined boundaries of duchies and provinces. In 1366, King Casimir the Great confirmed his rule over the upper Bug river, capturing Wlodzimierz Wolynski. The conflict with Lithuania continued, as both sides wanted to control whole Volhynia, together with Luck [...] After the death of Svitrigaila, the vast Volhynian land became direct property of the Jagiellonian dynasty. King Casimir IV Jagiellon decided that Volhynia should become part of the Grand Duchy of Lithuania, but the Polish-Lithuanian conflict continued until the 1569 Union of Lublin, when Volhynia was transferred to Poland, and became a voivodeship. Its first voivode was Prince Aleksander Czartoryski [...]

Upon the decision of the Sejm, Volhynia was part of the Province of Lesser Poland. Its legal system was based on the Statutes of Lithuania, with local residents allowed to make changes to the statutes. Legal position of Ruthenian ruling class (knyaz) was equal to the Polish nobility, and in 1578, Polish government offices were established in Volhynia, followed by an infux of Polish settlers [...]

In the 16th century, Volhynian Voivodeship had the area of 750 sq. miles, half of which was made by the Luck County. It had 68 towns, and in 1583, the number of villages was as follows: 777 in Luck County, 294 in Wlodzimierz County, and 562 in Krzemieniec County. During the reign of Stefan Batory, there were 65 castles and forts [...] Boundaries of Volhynian Voivodeship did not include whole historic Volhynia, as Zytomierz and Owrucz, commonly regarded as Volhynian towns, belonged to Kiev Voivodeship. Historic Volhynia reached deep into Kiev, Braclaw and Podolian Voivodeships, but its boundaries were never precise. Volhynian Voivodeship was sparsely populated, reduced by frequent wars and raids'."

Administration
Seat of Voivodeship Governor and regional sejmik:
 * Łuck

Regional council (sejmik generalny) for all Ruthenian lands
 * Sądowa Wisznia

Counties (powiats)

 * Luck County (Powiat Łucki), Łuck
 * Wlodzimierz County (Powiat Włodzimirski), Włodzimierz
 * Krzemieniec County (Powiat Krzemieniecki), Krzemieniec

Free royal cities

 * Kowel
 * Krzemieniec
 * Łuck
 * Milanowicze
 * Ratno
 * Świniuchy
 * Włodzimierz
 * Wyszniwka

Selected voivodes

 * Janusz Ostrogski (since 1558)
 * Aleksander Ostrogski (since 1593)
 * Adam Aleksander Sanguszko (1630–1653)
 * Mikołaj Hieronim Sieniawski (since 1679)
 * Franciszek Salezy Potocki (in 1755 only)
 * Józef Kanty Ossoliński (1757–1775; resigned)

title: Volhynian Voivodeship (1569–1795)


text:
1780 in music

Events

 * Wolfgang Amadeus Mozart composes his opera Idomeneo at Munich.
 * The Danish royal anthem, "Kong Christian", is first sung.
 * Carl Philipp Emanuel Bach's Versuch über die wahre Art das Clavier zu spielen goes into its third edition.
 * 1780–1782 Emanuel Bach revises his Magnificat Wq 215 (H 772) (Hamburg version).

Classical music

 * Carl Friedrich Abel – 6 String Trios, Op. 16
 * Carl Philipp Emanuel Bach
 * Keyboard Sonata in F major, H.269
 * Keyboard Sonata in A major, H.270
 * Rondo in G major, H.271
 * Geistliche Gesänge, Book 1 H.749
 * Johann Christian Bach
 * 6 Sonatas for Keyboard and Violin or Flute, Op.16 (W.B 10-15a)
 * 6 Keyboard Sonatas, Op. 17
 * 2 Keyboard Quintets, Op. 22
 * Jean-Jacques Beauvarlet-Charpentier – 12 Noëls avec un Carillon des morts
 * Franz Benda – Violin Sonata in C minor, L3.9
 * Friedrich Wilhelm Heinrich Benda
 * Viola Concerto in F major, LorB 314
 * 3 Sonatas, Op. 3
 * Georg Benda – Sammlung Vermischter Stücke
 * Luigi Boccherini
 * 6 String Sextets, G.454-459 (Op. 23)
 * Musica notturna delle strade di Madrid (Op. 30)
 * 6 String Quintets, G.325-330 (Op.31)
 * 6 String Quartets, G.201-206 (Op.32)
 * Giuseppe Maria Cambini – 6 Trios for 2 Violins and Cello, Op. 15
 * Luigi Cherubini – 6 Harpsichord Sonatas
 * Muzio Clementi – 5 Piano Sonatas and a Duet, Op.1a
 * Carl Ditters von Dittersdorf – Job (oratorio)
 * Fedele Fenaroli – 9 Harpsichord Sonatas
 * Joseph Haydn
 * Symphony No.62 in D major, Hob.I:62
 * Symphony No.74 in E-flat major, Hob.I:74
 * Keyboard Sonata in C major, Hob.XVI:35
 * Keyboard Sonata in D major, Hob.XVI:37
 * Keyboard Sonata in E-flat major, Hob.XVI:38
 * Keyboard Sonata in G major, Hob.XVI:39
 * Leopold Kozeluch
 * 3 Keyboard Sonatas, Opp. 1-2
 * 3 Sonatas for Keyboard and Violin, Op. 17
 * Franziska Lebrun – 6 Violin Sonatas, Opp. 1-2
 * Wolfgang Amadeus Mozart
 * Symphony No. 34 in C major, K.338
 * 3 Minuets, K. 363
 * Josef Myslivecek – 6 Divertimenti
 * Antonio Rosetti
 * Symphony in D major, M.A12
 * Oboe Concerto in C major, M.C30
 * Friedrich Schwindl – 6 Quintets or Trios, Op. 10
 * Carl Stamitz
 * Flute Concerto in G major, Op. 29
 * Clarinet Concerto No. 4 in B-flat major
 * Johann Franz Xaver Sterkel – Sonata for Violin and Keyboard in B-flat major, StWV 194
 * Luigi Tomasini – 3 String Quartets, Op. 8
 * Johann Baptist Wanhal – 6 String Trios, Op. 17

Opera

 * Domenico Cimarosa
 * Caio Mario
 * Le donne rivali
 * Il falegname
 * I finti nobili
 * Franz Danzi – Cleopatra
 * André Grétry – Aucassin et Nicolette
 * Franz Joseph Haydn – La Fedeltà premiata, Hob.XXVIII:10
 * Wolfgang Amadeus Mozart – Zaide (unfinished)
 * Josef Myslivecek – Antigono
 * Giovanni Paisiello – Il Barbiere di Siviglia
 * Niccolò Piccinni – Atys
 * Bernardo Porta – La Principessa d'Amalfi
 * Joseph Bologne Saint-Georges – L'Amant anonime (premiered March 8)

Methods and theory writings

 * Anonymous – ABCDario Musico (Bath: printed for the Authors, and sold at the Rooms, 1780.)
 * Salvatore Bertezen – Principi della musica
 * Fedele Fenaroli – Regole musicali per i principianti di cembalo
 * Johann Adam Hiller – Anweisung zum musikalisch-zierlichen Gesange (Leipzig: Johann Friedrich Junius, 1780)
 * Georg Caspar Hodermann – Kurzer Unterricht für Musik-Anfänger
 * Louis-Francois Henri Lefebure – Nouveau solfége

Births

 * January 14 – François-Joseph Dizi, harpist
 * February 2 – Ananias Davisson, shape-note advocate (died 1857)
 * February 8
 * Walenty Karol Kratzer, composer
 * Franz Anton Morgenroth, composer (died 1847)
 * March 10 – Juan José Landaeta, composer
 * May 22 – Jan Emmanuel Dulezalek, composer
 * May 28 – Joseph Frohlich, composer
 * June 18 – Michael Henkel, composer (died 1851)
 * July 25 – Christian Theodor Weinlig, composer
 * November 2 – Alexandrine-Caroline Branchu, soprano
 * November 3 – Victor Dourlen, composer
 * November 16 – Robert Archibald Smith, composer
 * November 17 – Franz Clement, composer (died 1842)
 * November 22 – Conradin Kreutzer, composer and conductor (died 1849)
 * December 18 – Johann Martin Friedrich Nisle, composer (died c. 1861)
 * date unknown
 * Ferdinand Gasse, French composer (died 1840)
 * Franciszek Lessel, Polish composer (died 1838)

Deaths

 * January 1 – Johann Ludwig Krebs, German composer (born 1713)
 * January 4 – Hedvig Wigert, opera singer (b. 1748)
 * January 10 – Francesco Antonio Vallotti, organist, composer and music theorist (b. 1697)
 * February 1 – Johann Ludwig Krebs, composer (b. 1713)
 * April 21 – Ferdinand Zellbell, composer
 * May 9 – Francisco Hernández Illana, Spanish composer (c.1700)
 * May 14 – Pierre Montan Berton, Father of Henri-Montan Berton and composer (born 1727)
 * August 19 – Bernhard Haltenberger, composer
 * September 6 – George Alexander Stevens, songwriter (b. 1710)
 * December 14 – Ignatius Sancho, composer and actor (b. c. 1729)
 * date unknown – Martin Nürenbach, dancer

title: 1780 in music


text:
Mashed potato

Mashed potato or mashed potatoes (American, Canadian and Australian English), colloquially known as mash (British English), is a dish made by mashing boiled or steamed potatoes, usually with added milk, butter, salt and pepper. It is generally served as a side dish to meat or vegetables. Roughly mashed potatoes are sometimes called smashed potatoes. Dehydrated instant mashed potatoes and frozen mashed potatoes are available. Mashed potatoes are an ingredient in other dishes, such as dumplings and gnocchi.

History
An early recipe is found in Hannah Glasse's The Art of Cookery, published in 1747. Her recipe mashed them in a saucepan with milk, salt, and butter.

Ingredients
Most authors recommend the use of "floury" potatoes with a high ratio of amylose in their starch to achieve a fluffy, creamy consistency and appearance. The best-known floury varieties are King Edward, Golden Wonder, and Red Rascal in Britain and the Russet in North America. However, some recipes use "waxy" potatoes containing more amylopectin in their starch for a different texture or look; for instance, one pounded mashed potato dish from Yunnan cuisine (in southwestern China), uses waxy potatoes to achieve a chewy, sticky texture.

Butter, milk or cream, salt, and pepper are usually added. Many other seasonings may also be used, including herbs (notably parsley and chives), spices (notably nutmeg), garlic, cheese, bacon, sour cream, crisp onion or spring onion, caramelized onion, and mustard.

One French variation adds egg yolk for pommes duchesse, or Duchess potatoes, piped through a carrot tube into wavy ribbons and rosettes, brushed with butter, and lightly browned. Some French recipes for pomme purée (potato puree) use up to one part butter for every two parts potato. In low-calorie or non-dairy variations, milk, cream, and butter may be replaced by soup stock or broth.

Aloo bharta, an Indian sub-continent variation, uses chopped onions, mustard (oil, paste, or seeds), chili pepper, coriander leaves, and other spices. Alu pitika (আলু পিটিকা) is a popular variation of aloo bharta in Assam, that may occasionally omit mustard and other spices. Alu pitika, made with roasted and smoked potatoes, is especially consumed in the winter.

Culinary uses

Mashed potato can be served as a side dish. In the British Isles, sausages served with mashed potatoes are known as bangers and mash. Mashed potato can be an ingredient of various other dishes, including shepherd's and cottage pie, Orkney clapshot, pierogi, colcannon, dumplings, potato pancakes, potato croquettes and gnocchi. Particularly runny mashed potatoes are called mousseline potatoes.

In the United Kingdom, cold mashed potato can be mixed with fresh eggs and then fried until crisp to produce a potato cake. This dish is thought to have originated in Cornwall and is a popular breakfast item. When instead combined with meat and other leftover vegetables, the fried dish is known as bubble and squeak.

Mashed potatoes may be eaten with gravy, typically meat gravy, though vegetable gravy is becoming more common as the vegetarian and vegan trends see a rise in popularity.

A potato masher can be used to mash the potatoes. A potato ricer produces a uniform, lump-free, mash.

In India, mashed potatoes made with spices, fried or not, are called chaukha. Chaukha is used in samosas in India and with littee specially in Bihar.

In Turkey, mashed potatoes made with milk, salt, black pepper and butter are called patates puresi.

title: Mashed potato


text:
Pietro da Cortona

Pietro da Cortona (1 November 1596 or 1597 – 16 May 1669 ) was an Italian Baroque painter and architect. Along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, he was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.

He was born Pietro Berrettini, but is primarily known by the name of his native town of Cortona in Tuscany. He worked mainly in Rome and Florence. He is best known for his frescoed ceilings such as the vault of the salone or main salon of the Palazzo Barberini in Rome and carried out extensive painting and decorative schemes for the Medici family in Florence and for the Oratorian fathers at the church of Santa Maria in Vallicella in Rome. He also painted numerous canvases. Only a limited number of his architectural projects were built but nonetheless they are as distinctive and as inventive as those of his rivals.

Early career
Berrettini was born into a family of artisans and masons, in Cortona, then a town in the Grand Duchy of Tuscany. He trained in painting in Florence under Andrea Commodi, but soon he departed for Rome at around 1612/3, where he joined the studio of Baccio Ciarpi. He was involved in fresco decorations at the Palazzo Mattei in 1622-3 under the direction of Agostino Ciampelli and Cardinal Orsini had commissioned from him an Adoration of the Shepherds (c. 1626) for San Salvatore in Lauro.

In Rome, he had encouragement from many prominent patrons. According to Cortona's biographers his gifted copy of Raphael's Galatea fresco brought him to the attention of, papal treasurer during the papacy of Pope Urban VIII. Such contacts helped him gain an early major commission in Rome (1624–1626), a fresco decoration in the church of Santa Bibiana that was being renovated under the direction of Bernini. In 1626, the Sacchetti family engaged Cortona to paint three large canvases of The Sacrifice of Polyxena, The Triumph of Bacchus, and The Rape of the Sabines (the latter, c. 1629), and to paint a series of frescoes in the Villa Sacchetti at Castelfusano, near Ostia, using a team that included the young Andrea Sacchi. In the Sacchetti orbit, he met Pope Urban VIII and Cardinal Francesco Barberini, the papal nephew, and their patronage of Cortona provided him with ample scope to demonstrate his abilities as a painter of frescoes and canvases.

Grand Salon of Palazzo Barberini

Fresco cycles were numerous in Cortona's Rome; many represented "quadri riportati" or painted framed episodes imitating canvases as found in the Sistine Chapel ceiling or in Annibale Carracci's The Loves of the Gods in the Palazzo Farnese gallery (completed 1601). In 1633, Pope Urban VIII (Maffeo Barberini) commissioned from Cortona a large fresco painting for the main salon ceiling of the Barberini family palace; the Palazzo Barberini. It was completed six years later, following Cortona's influential visit to northern Italy where he would have seen at first hand perspectival works by Paolo Veronese and the colour palette of Titian.

Cortona's huge Allegory of Divine Providence and Barberini Power marks a watershed in Baroque painting. Following the architecture of the room, he created the painted illusion of an open airy architectural framework against which figures are situated, usually seen 'al di sotto in su' apparently coming into the room itself or floating far above it. The ornamented architectural framework essentially forms five compartments. The central and most significant part celebrates the glorification of the reign of Urban VIII in a light filled scene populated with allegorical figures and Barberini family emblems.

The illusion of spatial extension through paint, the grandiose theme and the skill of execution could only astonish and impress the visitor. However, Cortona's panegyric trompe-l'œil extravaganzas may be less popular in a world familiar with minimalism and such like, yet they are precursors of the sunny figures and cherubim infested with rococo excesses. They contrast markedly with the darker naturalism prominent in Caravaggisti works and with the classicising compositions by painters such as Domenichino and Andrea Sacchi, and remind us that Baroque painting could be grand in an epic manner and exuberant in spirit.

Frescoes in Palazzo Pitti
Cortona had been patronized by the Tuscan community in Rome, hence it was not surprising when he was passing through Florence in 1637, that he should be asked by Ferdinando II de' Medici, Grand Duke of Tuscany to paint a series of frescoes intended to represent Ovid's Four Ages of Man in the small Sala della Stufa, a room in the Palazzo Pitti. The first two frescoes represented the "ages" of gold and silver. In 1641, he was recalled to paint the 'Bronze Age' and 'Iron Age' frescoes. It is said he was guided in the formulation of the allegorical designs by Michelangelo Buonarroti the Younger.

He thus began work on the decoration of the grand-ducal reception rooms on the first floor of the Palazzo Pitti, now part of the Palatine Gallery. In these five Planetary Rooms, the hierarchical sequence of the deities is based on Ptolomeic cosmology; Venus, Apollo, Mars, Jupiter (the Medici Throne room) and Saturn, but minus Mercury and the Moon which should have come before Venus. The program for the Planetary Rooms was prepared by Francesco Rondinelli, a member of the circle of Michelangelo Buonarroti the Younger. These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage and the bestowal of virtuous leadership. Pietro left Florence in 1647 to return to Rome, and his pupil and collaborator, Ciro Ferri, was left to complete the cycle by the 1660s.

Late works
For a number of years, Cortona was involved for decades in the decoration of the ceiling frescoes in the Oratorian Chiesa Nuova (Santa Maria in Vallicella) in Rome, a work not finished until 1665. Other frescoes are in Palazzo Pamphilj in Piazza Navona (1651–4).

In 1660, he executed The Stoning of Saint Stephen for the church of Sant'Ambrogio della Massima in Rome. The work currently hangs in the Hermitage Museum.

Towards the end of his life he devoted much of his time to architecture, but he published a treatise on painting in 1652 under a pseudonym and in collaboration. He refused invitations to both France and Spain.

Debate with Andrea Sacchi
He was elected as director of the Academy of St Luke the painter's guild in Rome, in 1634. It was at the Academy in 1636 that Cortona and Andrea Sacchi were involved in theoretical controversies regarding the number of figures that were appropriate in a painted work.

Sacchi argued for few figures, since he felt it was not possible to grant meaningful individuality, a distinct role, to more than a few figures per scene. Cortona, on the other hand, lobbied for an art that could accommodate many subplots to a central concept. He also likely viewed the possibility of using many human figures in decorative detail or to represent a general concept. Within the context of this debate, the french painter Nicolas Poussin is known to have laughed at this discussion around fixed numbers. Others have seen in this dichotomy, the long-standing debate whether visual art is about theoretical principles and meant to narrate a full story, or a painterly decorative endeavor, meant to delight the senses. Cortona was a director of the Accademia from 1634 to 1638.

Cortona also contributed to a treatise in Florence along with the theologian and Jesuit Giandomenico Ottonelli titled: Trattato della pittura e scultura, uso et abuso loro: composto da un theologo ed da un pittore (Stamperia, Giovanni Antonio Bonardi, Florence, 1652). Authorship in subsequent editions is attributed to Cortona.

Pupils
Cortona employed or trained many prominent artists, who then disseminated his grand manner style. Apart from Ciro Ferri, others that worked in his studio included:

Romanelli and Camassei also trained under Domenichino. Giovanni Maria Bottala was one of his assistants on the Barberini Ceiling. Sources for (W); while sources for (H). Source for MB is Dictionary of Painters and Engravers, Biographical and Critical (Volume II L-Z).

Architectural projects
Among Cortona's more important architectural projects are the church of Santi Luca e Martina (completed in 1664), and the church of the Accademia di San Luca, located in the Roman Forum. While Cortona was principe or director of the Accademia from 1634–38, he obtained permission to dig in the crypt of the church, which led the likely mistaken finding of remains attributed to the first century Roman martyr and Saint Martina. This discovery led to further patronage for construction of the church. The layout is almost a Greek cross, with four nearly identical wings extending from the striking central dome. Much of the ground structure is undecorated, above intricately decorated. The overwhelmingly vertical decoration of the façade is granted liveliness by horizontal convexity. In his will, this bachelor called this church his beloved daughter.

He also renovated the exterior renewal of the ancient Santa Maria della Pace (1656–1667), and the façade (with an unusual loggia) of Santa Maria in Via Lata (appr. 1660).

Another influential work for its day was the design and decoration of the Villa Pigneto commissioned by the Marchese Sacchetti. This garden palace or casino gathered a variety of features in a novel fashion, including a garden facade with convex arms, and highly decorated niches, and elaborate tiered staircases surrounding a fountain.

Anatomical plates
Prior to becoming famous as an architect, Pietro drew anatomical plates that would not be engraved and published until a hundred years after his death. The plates in Tabulae anatomicae are now thought to have been started around 1618. The dramatic and highly studied poses effected by the figures are in keeping with the style of other Renaissance Baroque anatomical artists, although nowhere does such an approach find any fuller expression than in these plates.

title: Pietro da Cortona


text:
Mosaic (disambiguation)

A mosaic is decorative art involving small pieces of glass, stone, or other material.

Mosaic may also refer to:

Literature

 * Mosaic Magazine, an American Jewish magazine established in 2013
 * Green Lantern: Mosaic, a 1992 DC Comics series
 * Mosaic, a magazine published by the National Science Foundation from 1970 to 1992
 * Mosaic a magazine published by the Wellcome Trust from 2014 to 2019
 * Mosaic (Star Trek), a 1996 Star Trek: Voyager novel by Jeri Taylor

Film and television

 * Mosaic (film), a 2007 animated film
 * Mosaic (murder mystery), a 2018 television series (and a 2017 mobile app)
 * Mosaic: World News from the Middle East, a program on LinkTV

Music

 * "Mosaic", a 2012 song by Jolin Tsai from Muse
 * Mosaic (vocal band), a band from the United States
 * Mosaic: A Celebration of Blue Note Records, a 2009 album by the Blue Note 7
 * Mosaic (311 album), 2017
 * Mosaic (Art Blakey album), 1962
 * Mosaic (Love of Diagrams album), 2007
 * Mosaic (Wang Chung album), 1986
 * Mosaic (Woven Hand album), 2006
 * Mosaics (Graham Collier album), 1971
 * Mosaics (Mark Heard album), 1985
 * Mosaic, a 2006 album by Lenny Breau
 * Mosaic a 2010 album by Ricky Skaggs

Video games

 * Mosaic (video game), a 2019 video game

Science

 * MOSAiC Expedition, an international scientific expedition due to drift across the Arctic Ocean
 * Mosaic (genetics) or mosaicism, the presence of two populations of cells with different genotypes in one individual
 * Mosaic evolution, a theory of evolutionary change
 * Mosaic virus, a virus which attacks ornamental and crop plants
 * Ludwigia sedioides, a tropical water plant known as the mosaic flower
 * Colobura dirce or mosaic, a species of butterfly

Software

 * Mosaic (murder mystery), a mobile app (2017) and television series (2018)
 * Mosaic (geodemography), classification software
 * Mosaic (web browser), a web browser produced by the NCSA
 * VMS Mosaic, a GUI web browser for use on the OpenVMS operating system
 * Mosaic notation program, a music composition and notation program
 * Pixelization

Companies

 * Mosaic Records, a jazz record label
 * The Mosaic Company, a Fortune 500 chemical company
 * Mosaic Inc., a solar finance company

Other uses

 * American Mosaic Journalism Prize, an award presented to freelance journalists
 * Mosaic (church), a church in Los Angeles, California, U.S.
 * Mosaic (Fabergé egg), a jewelled enameled Easter egg made under the supervision of Peter Carl Fabergé in 1914
 * Photographic mosaic, a picture created from tiled other pictures or photographs
 * Mosaic Score, business rating system used by investment analytics firm CB Insights
 * adjectival form of Moses, Biblical Hebrew leader and prophet; see Mosaic authorship

title: Mosaic (disambiguation)


text:
.nfo

.nfo (also written .NFO or NFO, a contraction of "info", or "information") is a filename extension for text files that accompany warez scene releases of pirated software or media.

NFO files contain information about the release, such as the digital media title, authorship, year, or license information. This information is delivered for publishing through digital media to make it searchable on the web as well as within local catalogues and libraries.

Content
NFO files usually contain release information about the media. The information may include authorship and license information. If the NFO file is for software, product installation notes can also be found. NFO files are also often found in demoscene productions, where the respective groups include them for credits, contact details, and the software requirements.

Unlike README files, NFO files often contain elaborate ANSI art.

History
NFO files were first introduced by "Fabulous Furlough" of the elite PC warez organization called The Humble Guys, or THG. The THG group would first upload their package to their world headquarters, "Candyland BBS" or later "The P.I.T.S. BBS", to establish distribution immediately. Such organizations are also known as warez groups or crack groups. The first use came in 1990 on the THG release of the PC game Knights of Legend. This file was used in lieu of the more common README.TXT or README.1ST file names. The perpetuation of this file extension legacy was carried on by warez groups which followed after THG and is still in use to this day. Hence its strong presence on Usenet newsgroups that carry binaries and on P2P file trading networks.

The Humble Guys later became a demogroup, thus bringing the .nfo file tradition into the demoscene. More than forty thousand demoscene productions have an NFO file next to the program file.

Before Windows 95 was introduced, NFO files also sometimes used ANSI-escape sequences to generate animated ASCII art (ANSI art). These animations, however, required ANSI.SYS to be loaded by the DOS shell. If the user's computer wasn't already configured to load the ANSI.SYS driver, viewing ANSI art required reconfiguring and rebooting. Because of this, ANSI art was much less common, and getting ANSI art to display correctly on a Windows 95 PC often proved more difficult, leading to a decline of such art in NFO files.

The ASCII (American Standard Code for Information Interchange) code page 437 character set was originally designed by IBM for the earliest DOS PCs so many years ago. Therefore, it was not destined to become standardized throughout the non-English world. Recently to aid internationalization, instead of using the old code page 437 extended ASCII characters, modern ASCII art uses the current de facto web standard ISO-8859-1/ISO-8859-15 or Unicode UTF-8 characters.

Usage of NFO files in publishing of warez
The files have been explained as essentially being the press releases of the warez scene. They are commonly associated with warez groups who include them to declare credit of said release. NFO files were ubiquitous, and sometimes required, during the era of the BBS. The file was a stamp of authenticity, explicitly explaining what group released the software and described what modifications (or cracks) were applied if any. Once a software was "packaged" with an NFO and then released, it was then officially owned by that group and no other group could ethically re-release that particular package. A typical warez NFO file was elaborate and highly decorated, and usually included a large ASCII art logo along with software release and extended warez group information. The most important information is which group, which cracker and which member actually tested and packaged. The designers of these NFO files, who worked closely or within the warez groups, frequently incorporated extended ASCII characters from the character set code page 437 in the file.

As of 2019, NFO files can still be found in many ZIP archives. In modern-day warez NFO files, a large ASCII art logo is frequently shown at the top, followed by textual information below.

Software
The home theater software Kodi uses NFO files for its library. Plex Media Server uses NFO files for match movie library. Filebot app fetch artwork and create NFO files for TV shows or movies. NFO files are also used by media managers ViMediaManager, tinyMediaManager, Ember Media Manager, CouchPotato - a usenet and torrents client, MediaElch, TV show organiser Media Companion, digital media library manager Media Center Master. An NFO plug-in is also available for Opus, an open access repositories software.

NFO files are plain text files. The simplest method to view is using a text editor and selecting a monospace font and set "US Latin" or "extended ASCII". On Windows 95 using Microsoft Notepad the Terminal font set to 11pt usually produced a good rendering of ascii art on common CRTs of the time and could be set as the default viewer NFO files. However, web browsers use an incompatible alternative encoding scheme resulting in incorrect rendering of NFO files. Also, many modern text editors often use proportional fonts whereas the ASCII art included in both old and new NFO files is heavily dependent on the file being viewed with a fixed-width font. For this reason dedicated NFO viewers are available which are text editors with appropriate fonts (Terminus ) and encoding settings, automatic window size and clickable hyperlinks. Additionally, online NFO viewers are also available to browse public NFO databases.

Microsoft Windows
On Microsoft Windows, the NFO filename extension is associated with a Microsoft software tool called System Information (msinfo32.exe). System Information provides a general overview of a computer's system specifications as well as detailed information on the system's hardware components and information about the Windows environment. NFO files that are meant for System Information contain all of the information that System Information displays saved in an XML format.

title: .nfo