text:
Talk:Christian music

Periods missing from the article

 * 33-800AD
 * 1100-1650AD

The section on the 20th century could be greatly expanded.

Also, more links refering to the Jewish roots of Christianity are required.

Just a few suggestions.

Mr. Jones 11:18, 5 May 2004 (UTC)

 * The Expert tag was applied to this article so that an expert on these time periods would contribute to the article. I have pointed this out because I did not gather the reason for the tag without questioning the contributor who tagged the article. RoyalbroilTalk  Contrib 03:37, 17 November 2006 (UTC)

Artists
Perhaps someone could compile a list of Christian artists. TheSun 11:44, 21 November 2005 (EST)

Also, there are links to the Relient K page and other artists, but not mewithoutYou, who has a Wikipedia article. seldomburn 4:24, 15 May, 2007 (CST)

Creation Music Festival
A-Z Christian Music Directories Available at:
 * Information is needed about the West and East coast Creation Festival which is one of the biggest, if not THE biggest christian music event!
 * Creation Festival

http://www.christiammusic.org/cmp/artist

http://christianmusic.about.com/cs/artistsandbands/a/aaatozartists.htm

Christian Music Lyrics
Are we changing the lyrics in today's society? These are times that are becoming truly more defined as we continue to change from a global perspective. Then why would we not understand that the words expressed through music have something more defined to say today than yesterday? Does the song, Amazing Grace stand for what was once said or still is said to be? The Jesus movement seems to be defining the words chosen in songs from yesterday. As we connect with the many artists in Christian Music, what is the truth behind the song? Will it bring that lost one to God? Will it open doors for that one that is seeking Christ and looking for further direction in their walk or yet, is God speaking to them and in turn as Christ spoke thousands of years ago reaching out to others through that one who chose to listen to music written by an Artist.

Controversy of music in worship

There is a steady debate on if musical instruments are “o.k.” in the worship. Some churches believe that praising God involves using their God given talents and skills to uplift his name. Other churches believe that bringing in musical instruments is an addition to the worship service, and is not acceptable in God’s sight. Even thought there are no scriptures in the Bible that say Thou shall not play instruments in the worship; there are no examples in the New Testament where anyone uses musical instruments to praise God. It is also generally understood that the Bible is not a collection of Thou shall and thou shall nots. There are examples of the Bible where singing (a cappella) is used to worship God. Matthew 26:30 and Mark 26:30 exemplifies that even Jesus only sung in the New Testament. Using the following scriptures as examples, some churches say that singing is the only acceptable music in worship.

1) And when they had sung a hymn, they went out into the Mt. of Olives - Matthew 26:30; Mark 14:26. 2) And at midnight Paul and Silas prayed, and sang praises unto God - Acts 16:25. 3) For this cause I will confess to thee among the Gentiles, and sing unto thy name - Romans 15:9. 4) I will sing with the spirit, and I will sing with the understanding also - 1 Corinthians 14:15. 5) Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord - Eph 5:19. 6) Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord - Col 3:16. 7) In the midst of the church will I sing praise unto thee - Heb 2:12. 8) Is any among you afflicted? Let him pray. Is any merry? Let him sing psalms - James 5:13.

This debate will continue on because both sides have great points. Praising God in both of these manners will continue on because of their own understand of the scripture and faith in God.

More to Come
I have to say (from the POV of a practising liturgical musician = see [www.stfrancischoir.com] ) that this article needs some serious attention to improve its historicity and authority. It is currently too restricted to protestant/contemporary music to be really regarded as comprehensive or authoratative. I will keep working on it. Please help. Noel 09:15, 17 May 2007 (UTC)
 * I agree. This article reads more like a write-up about CCM than about Christian music in general. Needs major re-working; mebbe even a thorough and complete re-write. I don't have the time for this right now. If anyone has the time, resources (online and books) please do delve in. Also, you may wanna take a look here to jumpstart the search. I've my eye on the page. (Working on the Christian music portal, so...) Cheerio! a JC freak   y A k  22:02, 29 June 2007 (UTC)

 * I hate to jump on the bandwagon here, but this article is poorly written and formatted. I honestly think it needs a full rewrite. It is full of POV and inaccurate information. We definately need a few SMEs to work this out. Absolon S. Kent (talk) 15:12, 14 December 2007 (UTC)

There are three articles Christian music, Contemporary Christian music and Contemporary Christian worship which all overlap. (And that's leaving aside Hymn, Hymn tune, etc.). I would suggest that all these need to be considered together, to decide what each is and is not.

Here's an initial attempt at a proposal:

1. Christian music should concentrate on giving an overview of the breadth of Christian music across the world and across the ages, but should seek to AVOID going into any depth in any of them. (Its section on CCM, for instance, should be pruned back.) Imagine it as a sort of "table of contents" with a little bit of description  and brief narrative. The principal editors would have an appreciation of the breadth covered Ken and Kendrick, Matt Redman and Olivier Messiaen, Orthodox chant and Taize prayer response, etc.

2. Contemporary Christian music should be about just that: the thing commonly understood as "CCM" which is about recording artists producing material primarily for home listening. It should take care to AVOID straying too far into similar music styles in corporate worship (which is not the playing of such pre-recorded material for listening).

3. Contemporary Christian worship should concentrate on modern liturgies (e.g. Iona, Taize, "emerging church", etc.) and should probably AVOID straying into detailed music discussions.

4. To sit along side the traditional-oriented Hymn family we might need a separate 'Worship song' to discuss pop/rock styles. Both these would have a focus on how they are used in corporate worship. (There already is a 'Worship song', but currently redirects into 'Contemporary Christian worship'; I suggest that these be separated out.)

How about that for a start?

Feline Hymnic (talk) 23:01, 14 December 2007 (UTC)

 * I've just adjusted the lead sentence to try to set the long-historical and wide-geographical scopes to this article. Feline Hymnic (talk) 20:12, 28 December 2008 (UTC)

Proposed WikiProjects merger?
I've noticed that there are several independent WikiProjects related to Christian music all with very small memberships (or at least only a few active participants). I would like to propose to the WikiProject the possible merger of these projects into one WikiProject (probably entitled Christian music WikiProject with task forces for each genre (Contemporary Christian music, Southern Gospel, urban contemporary gospel, etc.). The other option is to make Christian music as a whole a task force under the Christianity Wikiproject. Please share your thoughts on this issue on the discussion page on the Christian music portal. Absolon S. Kent (talk) 19:49, 3 January 2008 (UTC)

January 8, 2008 Revisions and edits
I took a stab at revising the article to give it a more neutral tone and to bring it more in line with the other Wikipedia music genre articles. I found it too difficult to manage the history section without dealing with the POV issues so I deleted it. The thought is that the specific Christian music genre and subgenre pages can handle the issue of history. I was not sure on the genre and subgenre groupings so let me explain my rational so no feelings are hurt...most of the items I listed as genre are actually how music is marketed in mainstream (except those I didn't know...I left those in to be moved at a later time). The subgenres are more of niche markets and types. Those that were left were place in the live performance section (basically because all genres may appear in these forms). If nothing else I hope these edits will help spark attention for this important article. BTW for those who want to join the discussion the new Christian music WikiProject is now active. Absolon S. Kent (talk) 15:48, 8 January 2008 (UTC)

External links: advertising?
The external links section of the current version at present is an invitation for every commercial venture to advertise themselves, which is clear contravention of Wikipedia principles. Indeed the "News and Information" and "Music reviews" subsections are already just that. Can we agree that all links should be informational, not advertising? I propose removing those subsections altogether in the next few days. (In its present guise, that would leave the (good) DMOZ project as the only entry.) Seem OK? Feline Hymnic (talk) 22:41, 9 March 2008 (UTC)
 * I attempted a while back and there were some concerns (see discussion above). The compromise has been to agressively patrol new additions for linkspam. Absolon S. Kent (talk) 22:58, 9 March 2008 (UTC)

Adding External Link - Source One Television
May I sugget adding a link to Source One Television (www.SourceOneTV.com). Source One TV is a Christian music news program. Thank you.

--Pmatadeen (talk) 00:09, 11 March 2008 (UTC)

 * Oppose - The link is not content-relevant. Per WP:NOT and WP:NOT I oppose. Absolon S. Kent (talk) 13:21, 11 March 2008 (UTC)

Hot Worship
An anon user added a link to www.hotworship.com. The claim is that this site is a directory of worship sites, live online worship, blogs, podcasts, etc. I'm not sure it meets the test for external links. Would love other opinions before it is readded. Absolon S. Kent (talk) 13:04, 10 April 2008 (UTC)

Deleted section
The below text has been under constant edit since it's addition to the article. I'm moving it here so that the constant changes can be worked out before it is placed back in the article. -- Absolon S. Kent (talk) 00:46, 23 July 2008 (UTC)

The Foundations for Christian music in worship

 * Christian music in praise and worship has some its roots in the Old Testament of the Bible. Praise is a vital part of worship in many Christian churches offering believers the opportunity to express their joy and gratitude to God.  One of the most important purposes of worship expression in the Jewish and Christian faith is to praise God.

 * The Book of Psalms in the Old Testament offers many chapters of praise and worship, and is often recited in various forms in both Judaism and Christianity. The Book of Psalms is comprised of five separate "books" of prayer and praise.  David, who is believed to be the author of portions of the Psalms, was a harpist and composer.

 * On seven different occasions the phrase "make a joyful noise" is found in the King James Version of Psalms . The Book of Psalms encourages worship by clapping hands, playing various musical instruments, shouting, and singing.  "O come, let us worship and bow down, let us kneel before the LORD our maker" is a passage showing a humble attitude is important in worship of God.  One of the most recognized passages is Psalm 100 is its urging to "serve the LORD with gladness; come before his presence with singing."  His people are to "enter his gates with thanksgiving and into his courts with praise."

Converted Pagan Influence

 * It was this majority populace of common Pagans that introduced art, painting, sculpture, pageant, dance and music into Christianity, as it also did with the creation of Saints., as indicated by archaeological records and art of the 3rd and 4th century, which corresponds to the time when Christians were first allowed to practice their religion without persecution ,

Comments go here
With the citations Kazuba added, this looks good to me. I have no problem with the part above the "Pagan" part. There does need to be a clarification over influences lifted by Christians from non-Christian sources and influences brought into Christianity by converts from other religions such as Greek paganism. Also, words like "populance" need to be replaced with more common, easier-to-understand words. davidwr/ (talk)/(contribs)/(e-mail)  00:56, 23 July 2008 (UTC)

Christian Music
The references to the material was at the end. I shifted some around. Maybe this will make you happy. This is not original research to anyone who studied early Christianity and Paganism in the Roman empire. I doubt if there is a Roman historian who is not aware of this material. It is old hat. It may be new to you. But it is certainly not orginal. Most people just don't dig enough. They are just not THAT interested. Read Ramsay MacMullen's studies. This is his field of expertise. You must know Christmas comes from the Pagan holidays. When Pagans became Christian's they brought what they treasured with them. If this had not occurred Christianity probably would have died out because it was too austere and lacked appeal.

Since my material is no longer here. It could have been edited by a caring person. (It is easier to destroy than create) I can only surmise my ideas and material were not welcome or thought to have any value by my critics and readers. I found this to be another interesting experiment (with men.) Thanks for being so unopinionated and open-mined about critical ancient historians and learning something new. Kazuba (talk) 02:15, 24 July 2008 (UTC)

Focus on Western trends
I think the article focus more (only?) on western christian music at all. It completely ignores to explain or even mention any other musical traditions among non-western Christians. If that remains so, wouldn't it justify a renaming of the title of the article. So as to identify more correctly with the content? Knight177 (talk) —Preceding undated comment added 15:41, 30 November 2009 (UTC).
 * Do you have specifics of "non-Western Christian" musical traditions? If you have good sources for them I say "Go for it! Be Bold." -- Absolon S. Kent (chat),, Monday July 29, 2024 (UTC)
 * Agreed. The only reason no information about non-Western traditions are not discussed is that no editors have access to verifiable information on the topic. --Walter Görlitz (talk) 20:50, 30 November 2009 (UTC)

Further, over half of the article is on "Contemporary Christian music", which already has its own article. So in the 2,000 year history and worldwide geography of Christian music, the article is way way out of balance towards this present-day, West-centric aspect. It would be good to expand is as suggested above, although that would be intensive work. But we could at least take an interim step by pruning back the CCM stuff, which would have the additional benefit of allowing the "main|CCM" template to fulfil its purpose. Thoughts? Feline Hymnic (talk) 21:22, 1 December 2009 (UTC)

Christian music or hymns began in the Middle Ages and are still active in the twenty-first century today. Graduate of Princeton University and author of the book Music: An Appreciation, Roger Kamien states that the Greek, Syrian, and the Hebrew were all strong influences of the church music. He emphasizes that the music predominantly has a monophonic melody. Surprisingly, one of the first forms of music that is still popular today was the Book of Psalms. This is what the Jewish and the early Christians sang, before hymns were written. These psalms are found in our Bibles today and we continue to reference these verses as we speak and sing praises. Another type of music that was appropriate for the practice of Catholicism was the Canticle. Today Canticles are still sung as part of many liturgies in the Roman Catholic Church. These are now recognized as “Gregorian Chants,” after Pope Gregory. Kamien now introduces a new type of worship. These songs are melodies and have been set to sacred Latin text.

The “Gregorian Chants” were used very frequently, but it wasn’t long before priest and organist began to alter the style and wording of them. The complexity of the music used for Mass began to increase which resulted in liturgical organ music. Kamien writes that later as Pope Marcellus became appointed, he sought to simplify the presentation while maintaining the charm of the music. Through this process he pursued to make the words the most important part of the music, altering and simplifying the melody. —Preceding unsigned comment added by Presleywesson (talk • contribs) 04:23, 2 March 2010 (UTC)

 * Gregorian Chants were the main style for about four hundred years (900s to 1300s) and if you extend it to include plainchant in general, for almost 1300 years. This means that your statement "it wasn't long before..." is pretty much nonsensical. Then the fact that churches didn't employ organs until the 1600s. I can't speak to how priests, who were usually illiterate in the medieval period and earlier, changed the style and wording of the music. My feeling is, it's probably not accurate either. --Walter Görlitz (talk) 05:44, 2 March 2010 (UTC)

Christian music? Gospel music?
Why is there a Christian music article and a Gospel music article? These terms are interchangeable. And the way this article is written, it's basically about CCM - which already has its own article. So what is the point of having this article at all? (plus there are errors in it). Musdan77 (talk) 01:41, 1 May 2010 (UTC)
 * Christian music the parent to Gospel music, contemporary Christian music, Christian rock, Christian alternative, contemporary worship music, and many other genres and sub-genres. --Walter Görlitz (talk) 02:21, 1 May 2010 (UTC)
 * So, if this article is supposed to be about the origin and history of the "parent" then that's how it should be written. But, that's not how it's written. Musdan77 (talk) 03:16, 1 May 2010 (UTC)
 * You're right that it's not written about the origin and history of Christian music, but who said that's what the article is about? The article is currently about the division between the genres. There is no origin section nor is there a history section. Are you volunteering to add those sections? No one has stepped forward to add them yet, otherwise I'm sure that there would be those sections. In fact, there's no mention of Gospel music either, but there could be. --Walter Görlitz (talk) 03:53, 1 May 2010 (UTC)
 * If you are going to work on this section I recommend you post your proposed changes here on the discussion page or over at the Christian music Wikiproject. Previous edits were viewed as placing one genre over others and had to be removed. A simple answer to your original question, why are there two articles, is that the original Gospel music article focused heavily on the African-American genre (urban contemporary) while the Christian music article focused on CCM. A group striped most of the Christian music-related articles including Southern Gospel, Christian metal, and the ones mentioned above, trying to show that they are all the same music, just different styles. It's been a while since the Wikiproject has made any sort of organized effort to do a cleanup, perhaps it is time to look at that again. -- Absolon S. Kent (chat), 15:44, Thursday December 17, 2009 (UTC)

Not fond of the new template
The topic is not highlighted in it and it's difficult to read. Also, the image is not appropriate. Anyone else notice the change? Walter Görlitz (talk) 00:51, 10 February 2015 (UTC)

Nomination of Portal:Christian music for deletion
A discussion is taking place as to whether Portal:Christian music is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The page will be discussed at Wikipedia:Miscellany for deletion/Portal:Christian music until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the page during the discussion, including to improve the page to address concerns raised in the discussion. However, do not remove the deletion notice from the top of the page. North America1000 23:12, 2 June 2019 (UTC)

Christian fusion
Are there also such genres as Christian jazz, Christian reggae, Christian Eurodance, Christian techno, or others? — Preceding unsigned comment added by 2601:C7:C201:C640:F47E:5B35:8067:73AA (talk) 15:18, 27 January 2021 (UTC)
 * Yes. Walter Görlitz (talk) 16:42, 27 January 2021 (UTC)
 * Then why don't they have pages? Why aren't they even listed on other pages?  — Preceding unsigned comment added by 2601:C7:C201:C640:C47D:5264:3626:2F26 (talk) 03:16, 28 January 2021 (UTC)
 * To be fair, Christian jazz is almost non-existent. I don't know that it qualifies to be considered its own genre. Most jazz players from the last fifty years who self-identify as Christian were active in the "mainstream" genre as well and so there was no need to create a separate sub-genre. There are only a few Christian reggae bands or performers and so they do not qualify. I only know of three in Christian Eurodance and they, along with the many Christian techno artists, likely identify as Christian electronic dance music today. I do not think your euqstions are earnest though. Walter Görlitz (talk) 05:37, 28 January 2021 (UTC)
 * What do you mean? Why don't you think my questions are earnest?  — Preceding unsigned comment added by 2601:C7:C201:C640:C47D:5264:3626:2F26 (talk) 14:21, 28 January 2021 (UTC)
 * Go into details on the subject. Why do you think these also deserve pages, or at least sections in this article? What is your concern about them? Walter Görlitz (talk) 18:36, 28 January 2021 (UTC)
 * I want to make sure that they actually exist and that the Christian template is missing no genres. — Preceding unsigned comment added by 2601:C7:C201:C640:C47D:5264:3626:2F26 (talk) 00:43, 29 January 2021 (UTC)

Wiki Education assignment: Introduction to Public Musicology
— Assignment last updated by Megan1473 (talk) 01:32, 17 January 2023 (UTC)

Christmas Carols
The complete absence of any mention of Christmas carols, one of the most ubiquitous categories of Christian music, amazes me. I don't have time right now to figure out how to insert it, but the lacuna is glaring. --Haruo (talk) 13:36, 2 July 2024 (UTC)

title: Talk:Christian music


text:
Scribe (rapper)

Malo Ioane Luafutu, also called Jeshua Ioane Luafutu  (born on 29 May 1979), and better known by his stage name Scribe, is a New Zealand rapper of Samoan descent. He achieved two solo number ones on the singles chart from his debut album, The Crusader, which was released in 2003 in New Zealand and later certified four times platinum. He also reached number one as a featured artist on P-Money's 2004 song "Stop the Music", and in 2010 on R&B singer J.Williams' single "You Got Me".

Early life
Scribe was born Malo Loane Luafutu on 29 May 1979 in Christchurch, New Zealand, to Caroline 'Carol' Luafutu and Fa'amoana John Luafutu. He grew up in the suburb of Philipstown, Christchurch.

Career
With the initial focus on the song "Stand Up", director Chris Graham gave the video for the single the energy of a rock video. He invited music guests, DJs and even the general public to participate as extras in the video. The song debuted at number 6 on the New Zealand top 40 singles chart and soon rose to number 1. The single spent 12 (non-consecutive) weeks at number one.

Dirty Records released Scribe's debut album The Crusader in New Zealand in October 2003 with distribution through Festival Mushroom Records. The album went gold within hours and platinum within days. It sold 60,000 copies in New Zealand, which is four times platinum status in that country.

Scribe followed the success of the album with the limited-edition release of "Not Many – The Remix!" featuring guest vocals from MCs Savage and Con Psy which peaked at No. 2. He then released a new single, "Dreaming" in January 2004; this also reached No. 1.

Scribe took a break from new singles and toured the country on the Hook It Up tour before he returned in late 2004 with a new single off P-Money's Magic City album called "Stop the Music", again reaching No. 1.

In 2005, he opened for the Beastie Boys at shows in Australia.

Rhyme Book
Scribe's second studio album, titled Rhyme Book, was released by Scribe in Australia on 29 September 2007 and in New Zealand on 1 October 2007. Rhyme Book did not sell as well as its predecessor. It featured collaborations with New York hip-hop artist Talib Kweli (of Reflection Eternal and Black Star fame) on the track "Be Alright".

The first single off the album in New Zealand, "My Shit", had its video premiere on 12 August 2007 on local music channel C4. "F.R.E.S.H." was the second single released in New Zealand. The first single in Australia however was "F.R.E.S.H.", followed by "My Shit". The third single in both countries, "Say It Again", features Scribe's cousin Tyra Hammond.

Scribe is Dead
After a decade hiatus, Scribe released a single titled "Non Attachment" which will feature on the forthcoming independently released album Scribe is Dead, due for release in 2024. This effectively shelved his third album Therapy that was announced in 2011 but never released.

A second single for the album, titled "Glowstick", was released at the end of 2023. A third song, "Do or Die, Don’t or Die", was premiered in late April 2024. Scribe said in an interview with Rolling Stone that it would be his final album.

Personal struggles and addictions
In 2011, in an interview on Campbell Live, Scribe described how he became addicted to drugs, alcohol and gambling between 2005 and 2007 following lacklustre sales of his second album, Rhyme Book. His addiction led to his family denying him access to money. He decided to pawn off the platinum awards he had won with his debut album.

In November 2011 Scribe was arrested in Wellington for disorder and released after being formally warned. Scribe said his arrest was illegal, but he admitted he was "dissing" the police but that "their ego couldn't handle it".

Following the assault on cricketer Jesse Ryder in late March 2013, Scribe took to Twitter, implying that Ryder was somehow responsible because his behaviour was not "humble" enough for someone visiting Christchurch. He further noted that "Cantabrians don't beat people up for no reason." Scribe's comments were widely vilified on Twitter and numerous blogs, with many posters alluding to Scribe's role in the violent, unprovoked assault on Phil Armstrong in 2004 as further evidence that he condones violence. Ryder later jokingly thanked Scribe for his "support".

In August 2018, Scribe was imprisoned for two months after breaching his curfew and performed in Motueka. He was released on 29 October. He was later due in court on 13 December for methamphetamine possession and breach of protection order.

Christchurch earthquake
Scribe released a remix of his single "Not Many" to show support for the victims of the 2011 Christchurch earthquakes. "Not Many Cities" features Scribe rapping in different parts of the CBD's red zone, with altered lyrics such as "I don't know any city" instead of "I don't know anybody". Although his video received positive attention from the media, there was outcry from some Christchurch residents who claimed it was unfair that Scribe was allowed in the red zones when red zone business owners were not.

Shortly after the remix's release, Scribe announced that he was working on a third album, titled Therapy, but it was later shelved.

Family
Scribe is the cousin of other prominent Samoan New Zealand musicians Ladi6 and Tyra Hammond of The Opensouls. His father is Fa'amoana John Luafutu, who wrote the 2022 film A Boy Called Piano, directed by Nina Nawalowalo. Scribe's brother Matthias Luafutu is an actor. Scribe, Matthias and their father John also collaborated with Tom McCrory and Nina Nawalowalo on the stage play A White Guitar in 2015, which was an autobiographical story that did an eight-city sold-out tour in 2016.

Major album guest appearances

 * P-Money – Big Things (2002) (six songs)
 * Concord Dawn – Uprising (2003) (one song)
 * P-Money – Magic City (2004) (three songs)
 * P-Money – Everything (2010) (three songs)

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

title: Scribe (rapper)


text:
Talk:History of Poland (1385–1569)

NPOV
Though I am neither Polish nor Lithuanian it certainly strikes me as unusually aggressive to change a neutral and sensible entry for the combined Lithuanian-Polish history of The Jagiellon Era to "Jagiellon Poland". This change has been made by User:Cautious, whose interest is in Polish topics. Wetman 11:20, 5 May 2004 (UTC)
 * I believe that he was influenced by titles of famous Polish historian's Paweł Jasienica books: Piast Poland, Jagiellon Poland etc. Moreover during Jagiellon reigns Poland and Lithuania were under personal union. Polish-Lithuanian Commonwealth was created in 1569 Lublin Union, and in 1572 last Jagiellon king Sigmundus II Augustus died. Lithuania during that time was a close ally of Poland, nevertheless it was separate entity. So I don't think that was aggresive. Przepla 12:04, 5 May 2004 (UTC)

 * The heading states that The partnership proved profitable for the Poles, who played a dominant role in one of the most powerful empires in Europe for the next three centuries. While true, I think it is biased, being more of a 'partial truth' - the partnership proved profitable for Lithuanians as well, who were an important part of that 'powerful empire', after all. --Piotr Konieczny aka Prokonsul Piotrus 14:42, 27 Aug 2004 (UTC)

 * Term Polish-Lithuanian until union of Lublin is rather absurd, if not to say harder.--Lokyz 22:30, 28 August 2006 (UTC)
 * Lokyz is right: there is no factual basis to call two separate states Poland and GDL as Poland-Lithuania until Lublin. Somebody should correct this text: the history concerning Lithuania is found unter the title Jagiellon Poland, that is incorrect as well.Iulius 12:04, 19 April 2007 (UTC)

Split
This article will soon be expanded and/or splitted into several subarticles. See WikiProject History of Poland/Periodization. Most likely it will be the history article, and a new state article will be at Kingdom of Poland (Jagiellon). --Piotr Konieczny aka Prokonsul Piotrus 23:37, 27 Nov 2004 (UTC)

lots of info - needs some serious work to work as NPOV
examples renegade crusaders, heathen state etc
 * Agreed. I added it specifically to one particular place, but I think the whole article is riddled with it. Urbandale (talk) 19:39, 11 January 2010 (UTC)

Polish statehood template
Could someone with a better knowledge of WP syntax than I figure out a way to place the Polish statehood template (which I've just added) beneath the History of Poland template? Appleseed 01:18, 22 September 2005 (UTC)

St.Florian gate
Daytime photo available? 164.165.249.75 (talk) 18:58, 8 April 2008 (UTC)

title: Talk:History of Poland (1385–1569)


text: User talk:69.157.31.26

title: User talk:69.157.31.26


text:
David Bates (historian)

David Bates is a historian of Britain and France during the period from the tenth to the thirteenth centuries. He has written many books and articles during his career, including Normandy before 1066 (1982), Regesta Regum Anglo-Normannorum: The Acta of William I, 1066–1087 (1998), The Normans and Empire (2013), William the Conqueror (2016) in the Yale English Monarchs series (translated into French as Guillaume le Conquérant (2019)) and La Tapisserie de Bayeux (co-authored with Xavier Barral i Altet) (2019).

Education and career

 * King Edward VI Grammar School, Nuneaton (1955–1963)
 * University of Exeter (BA, 1966, and PhD, 1970)
 * Archivist at the Imperial War Museum in London (1969–1971)
 * Fellow of the University of Wales, University College, Cardiff (now the University of Cardiff) (1971–73). He remained there as lecturer, senior lecturer, reader, and professor until 1994.
 * Edwards Professor of Medieval History at the University of Glasgow (1994–2003)
 * Director of the Institute of Historical Research in the University of London (2003–08)
 * Professor of Medieval History at the University of East Anglia (2008–2010). He is now Emeritus Professor there.
 * Visiting Professorship at the University of Caen Normandie from 2009 to 2012
 * The University of Caen Normandie awarded him an honorary doctorate (Docteur Honoris Causa) in 2000.

During this peripatetic career, he has held several positions that have involved responsibilities for the general development of his subject, such as Head of History and Welsh History in Cardiff, Head of the Department of Medieval History, Head of the School of History and Archaeology, and Head of History in Glasgow, and Director of the Centre of East Anglian Studies at the University of East Anglia. His time at the Institute of Historical Research, among other things, required that he animate public debate about History's role in British education and in public life and that he participate in delegations and projects that took him to Japan, Russia, Israel, and the United States.

Books
The most important of his books are:
 * Normandy before 1066 (London and New York, Longmans, 1982)
 * A Bibliography of Domesday Book (Woodbridge, The Boydell Press, 1986)
 * William the Conqueror (George Philip, 1989; reprinted, Tempus, 2001,2004)
 * Regesta Regum Anglo-Normannorum: The Acta of William I, 1066–1087 (Oxford, Clarendon Press, 1998)
 * The Normans and Empire (Oxford, Oxford University Press, 2013)
 * William the Conqueror (London and New Haven, Yale University Press, 2016). Translated into French as Guillaume le Conquérant (Paris, Flammarion, 2019)
 * La Tapisserie de Bayeux (Paris: Citadelles & Mazenod, 2019). Co-authored with Xavier Barral i Altet).

The Normans and Empire argues for a new analytical framework for the expansion of the Normans in Western Europe and for the experience of the British Isles. William the Conqueror (Guillaume le Conquérant) proposes a radical revision of the life of William the Conqueror.

All of his books are based on extensive researches in the archives and libraries in France and Normandy that have uncovered a lot of new or inadequately known material, some of it published in Regum Anglo-Normannorum: The Acta of William I. He retains an interest in the interpretation of charters as literary sources and is currently working on a book on William the Conqueror's half-brother Odo, bishop of Bayeux and further innovative approaches to the history of northern Europe during the period from the tenth to the thirteenth century. A Festschrift has been published in his honour:

 * Normandy and its Neighbours, 900-1250: Essays for David Bates, ed. David Crouch and Kathleen Thompson (Turnhout, Brepols, 2011).

He has co-edited a volume in honour of Professor Elisabeth van Houts, Lives, Identities and Histories in the Central Middle Ages, ed. Julie Barrau and David Bates (Cambridge, 2021).

Selected articles and publications

 * ‘The Character and Career of Odo, Bishop of Bayeux, 1049/50-1097’, Speculum, 50 (1975), 1-20.
 * ‘The Land Pleas of William I’s Reign: Penenden Heath Revisited’, Bulletin of the Institute of Historical Research, 51 (1978), 1–19.
 * ‘The Earliest Norman Writs’, English Historical Review, 100 (1985), 266–84.
 * ‘Normandy and England after 1066’, English Historical Review, 104 (1989), 851–80.
 * Bishop Remigius of Lincoln 1067-1092  (Lincoln:  The Honywood Press, 1992).
 * ‘Les chartes de confirmation et pancartes normandes du règne de Guillaume le Conquérant’, in Pancartes monastiques des XIe et XIIe siècles, ed. M. Parisse, P. Pégeot and B.-M. Tock (Turnhout, 1998), 95–109.
 * ‘West Francia: The Northern Principalities, 900-1024’, in The New Cambridge Medieval History, vol. 3, c.900-c.1024, ed. T. Reuter (Cambridge, 1999), 398–419.
 * ‘England and the “Feudal Revolution”’, in Il Feudalesimo nell’Alto Medioevo: Settimane di Studi del Centro Italiano di Studi sull’Alto Medioevo, 47 (2000), 611-49.
 * ‘The Conqueror’s Adolescence’, in Anglo-Norman Studies: Proceedings of the Battle Conference (2002), 25 (2003), 1–18.
 * ‘A Charter of William the Conqueror and Two of His Sons’, in Tabularia ( http://www.unicaen.fr/mrsh/revue/tabularia ) (2005).
 * ‘The Representation of Queens and Queenship in Anglo-Norman Royal Charters’, in Frankland: The Franks and the World of the Early Middle Ages. Essays in Honour of Dame Jinty Nelson, ed. Paul Fouracre and David Ganz (Manchester, 2008), 285–303.
 * ‘Autour de l’année 1047 : un acte de Guillaume, comte d’Arques, pour Fécamp (18 juillet 1047)’, in De part et d’autre de la Normandie médiévale : Recueil d’études en hommage à François Neveux, ed. Pierre Bouet, Catherine Bougy, Bernard Garnier and Christophe Maneuvrier (Caen, 2009), 43-52 (with Pierre Bauduin)
 * ‘Frank Barlow 1911-2009’, Proceedings of the British Academy, clxxi (2011), 3-24.
 * ‘Anger, emotion and a biography of William the Conqueror’, in Gender and Historiography: Studies in the History of the Earlier Middle Ages in Honour of Pauline Stafford, ed. Janet L. Nelson, Susan Reynolds and Susan M. Johns (London, 2012), 21–33.
 * ‘Robert of Torigni and the Historia Anglorum’, in The English and their Legacy, 900-1200: Essays in Honour of Ann Williams, ed. David Roffe (, 2012), 175–84.
 * ‘The Abbey and the Norman Conquest: An Unusual Case?’, in Bury St Edmunds and the Norman Conquest, ed. Tom Licence (Woodbridge, 2014), 5-21.
 * ‘Guillaume le Conquérant et les abbés anglais’, in Pierre Bauduin, Grégory Combalbert, Adrien Dubois, Bernard Garnier, and Christophe Maneuvrier (eds.), Sur les pas de Lanfranc, du Bec à Caen: Recueil d’études en homage à Véronique Gazeau, Cahiers des Annales de Normandie, no. 37 (Caen, 2018), 335–42.
 * ‘Migration, Conquest, and Identity: England’s History in the Eleventh and Twelfth Centuries’, in Le Migrazioni nell’alto Medioevo: Settimane di Studio della Fondazione Italiano di Studi sull’Alto Medioevo, lxvi (2019), i, 305–35.
 * ‘William the Conqueror and Wessex’, in Alexander Langlands and Ryan Lavelle (eds.), The Land of the English Kin: Essays in Honour of Professor Barbara Yorke (Leiden and Boston, Brill, 2020), 517–37.
 * 'Lives, Identities and the Historians of the Normans', in Lives, Identities and Histories in the Central Middle Ages, ed. Julia Barrau and David Bates (Cambridge, 2021), 180-202.
 * 'Epilogue: The Legacy of William the Conqueror and His Age Today', in The Cambridge Companion to the Age of William the Conqueror, ed. Benjamin Pohl (Cambridge, 2022), 310-20.
 * 'Epilogue: Some Reflections', in Maritime Exchange and the Making of the Norman Worlds, ed. Philippa Byrne and Caitlin Ellis (Turnhout, 2023), 211-20.

Conference proceedings
Bates has always been committed to encouraging collaboration between scholars from different countries. While at the Institute of Historical Research he organised five annual Anglo-American conferences from 2004 to 2008 and several other major conferences. He was Director of the Battle Conference on Anglo-Norman Studies from 2010 to 2012.

In addition to the three volumes of Anglo-Norman Studies based on the Battle conferences he directed, he has edited or co-edited the following conference proceedings:-

 * (with Anne Curry) England and Normandy in the Middle Ages (London, The Hambledon Press 1994)
 * (with Elizabeth Hallam) Domesday Book (Tempus, 2001)
 * (with Julia Crick and Sarah Hamilton) Writing Medieval Biography: Essays in Honour of Professor Frank Barlow (Woodbridge, The Boydell Press, 2006)
 * (with Véronique Gazeau and Eric Anceau) Liens personnels, réseaux, solidarités en France et dans les îles britanniques (XIe -XXe siècle), (Paris, Publications de la Sorbonne, 2006)
 * (with Robert Liddiard) East Anglia and its North Sea World in the Middle Ages (Woodbridge, The Boydell Press, 2013)
 * (with Pierre Bauduin) 911–2011: Penser les mondes normands médiévaux: Actes du colloque international de Caen et Cerisy (29 septembre-2 octobre 2011) (Caen, Presses Universitaires de Caen, 2016)
 * (with Edoardo D’Angelo, and Elisabeth van Houts) People, Texts and Artefacts: Cultural Transmission in the Medieval Norman Worlds (London, Institute of Historical Research, 2018)
 * 1066 in Perspective (Leeds, Royal Armouries, 2018)

Honours

 * Fellow of the Royal Historical Society,
 * Fellow of the Society of Antiquaries of London
 * Centenary Fellow of the Historical Association,
 * Member of the Academy of Europe
 * Fellow of the Royal Society of Arts.
 * Honorary fellow of the Institute of Historical Research,
 * *Life Member of Clare Hall in the University of Cambridge,
 * Vice-president of the Dugdale Society,
 * President of the Battle and District Historical Society from 2019.
 * La Tapisserie de Bayeux (co-authored with Xavier Barral i Altet) was awarded ‘Le Prix SNA du Livre d’Art 2020’ by the Syndicat National des Antiquaires in October 2020.

Visiting positions and fellowships

 * A Huntington Library Fellowship at the Henry E. Huntington Library, Pasadena, California (November–December 1984)
 * A Visiting Professorship at the Ecole Nationale des Chartes in Paris (April–May 1999)
 * A British Academy Marc Fitch Research Readership (October 2001 – September 2003)
 * A Visiting Fellow Commonership at Trinity College, Cambridge (October 2002 – March 2003)
 * Directeur d'Etudes Invité at the Ecole Pratique des Hautes Etudes in Paris (May 2003)
 * Visiting professor at the University of Caen Normandie (2009–2012) as holder of a 'Chaire d'Excellence' funded by the then Région de la Basse-Normandie.
 * A Leverhulme Trust Emeritus Fellowship (2013–2015)

Public lectures
Bates has given many talks and lectures at universities and historical societies, many of them to branches of the Historical Association, of which he is a committed supporter.

Major lectures which have led to publications are:-

 * The Stenton Lecture at the University of Reading (1999). Reordering the Past and Negotiating the Present in Stenton’s ‘First Century’ (Stenton Lecture, University of Reading, 2000).
 * The R. Allen Brown Memorial Lecture (2002) at the Battle Conference. ‘The Conqueror’s Adolescence’, in Anglo-Norman Studies: Proceedings of the Battle Conference (2002), 25 (2003), pp. 1–18.
 * The Henry Loyn Memorial Lecture (2006) at Cardiff University. ‘William the Conqueror and His Wider Western World’, Haskins Society Journal, 15 (2006, for 2004), pp. 73–87.
 * The James W. Ford Lectures in British History at the University of Oxford (2010). The Normans and Empire (Oxford, Oxford University Press, 2013).

Professional contributions
As Director of the Institute of Historical Research from 2003 to 2008, Bates held one of the most important posts in the UK historical profession. He has always been committed to making a contribution to making History accessible to as wide a public as possible and to organising conferences and producing edited volumes. In addition to what is mentioned above, he was, for example, the founding editor of the Longmans/Pearson Medieval World series from 1987 to 2001, thereby encouraging publications by many other scholars. Twenty-four books were published during this period and many are still in print. He contributed all the pre-1066 entries to The History Today Companion to British History, ed. Juliet Gardiner and Neil Wenborn (London: Collins & Brown, 1995) and to The History Today Who’s Who in British History, ed. Juliet Gardiner (London: Collins & Brown, 2000). He has also published extensively in France. He is currently working on more publications relating to the history of Britain and France during the period from the tenth to the thirteenth centuries.

title: David Bates (historian)


text:
Craig David

Craig Ashley David (born 5 May 1981) is a British singer and songwriter who rose to fame in 1999, featuring on the single "Re-Rewind" by Artful Dodger. David's debut studio album, Born to Do It, was released in 2000, after which he has released a further five studio albums and worked with a variety of artists such as Sting, Tinchy Stryder, Big Narstie, Kano and Jay Sean. David has 20 UK top 40 singles, and seven UK top 40 albums, selling over 15 million records worldwide as a solo artist.

David has been nominated for fourteen Brit Awards: five times for Best British Male, and twice receiving a Grammy Award nomination for Best Male Pop Vocal Performance.

Early life
David was born in Southampton, Hampshire, the only child of Tina (née Loftus), a retail assistant at Superdrug, and George David, a carpenter, and grew up in the Holyrood estate. David's father is Afro-Grenadian and David's mother is Anglo-Jewish and related to the founders of the Accurist watch-making company; David's maternal grandfather was an Orthodox Jew and his maternal grandmother a convert to Judaism. David's parents separated when he was eight and he was brought up by his mother.

He attended Bellemoor School and Southampton City College.He had a bird called KES which he bought in Barnsley. David was bullied by other students at school. He wrote and released the song "Johnny" in 2005 about his memories of being bullied.

David's father, George David, played bass in a reggae band called Ebony Rockers. As a teen, David began accompanying his father to local dance clubs, where DJs let him take the microphone.

Early career
David's earliest exposure came when he worked on a B-side to British group Damage's cover of "Wonderful Tonight", on the track "I'm Ready". He then started doing vocals for the UK garage duo Artful Dodger, on tracks such as "Something" and "What Ya Gonna Do".

Wildstar Records first became aware of David when the artist's then manager Paul Widger met the label's co-owner Colin Lester and played some of his music. Lester later told HitQuarters that he was particularly impressed by the first song he heard, "Walking Away", saying "That was an absolute stand-out ... It struck me that any seventeen-year-old that could write a song like this had huge potential." The Wildstar boss was further won over when, on later visiting the artist's home in Southampton, he found David's tiny bedroom stacked from floor to ceiling with 12" vinyl records, commenting: "That convinced me he was the real deal and not just some kid acting out the part." At that point Lester offered him a development deal with his label. When Lester later heard the song "7 Days", he said he immediately heard a number-one record and promoted the contract to an album deal the same day.

1999–2003: Born to Do It and Slicker Than Your Average
The song "Re-Rewind (The Crowd Say Bo Selecta)", from the Artful Dodger album It's All About the Stragglers, hit number two on the UK charts in 1999; thus, paving the way for a solo career. David's first single, "Fill Me In", released on Colin Lester's and Ian McAndrew's Wildstar Records, topped the UK chart and was the first of a string of four top 10 singles from his debut album Born to Do It, which eventually sold more than 8 million copies worldwide, earning multi-platinum status in more than 20 countries. The song "Key to My Heart", taken from the US version of the album, was also featured in the award-winning Warner Bros. animated film Osmosis Jones.

The success of David's debut, which was written almost entirely by David and Mark Hill of Artful Dodger, led to the United States release of "Fill Me In" in May 2001. It reached number 15 on the Billboard Hot 100 chart. Born to Do It was released in the United States on 17 July 2001, peaking at number 11 on the Billboard 200 chart and sold over 1 million copies. The single "7 Days" hit the top 10 in the U.S.; although "Walking Away", which had reached number 3 in the UK and number 5 in Australia, missed the top 40 in the U.S. and was the last of his singles to chart there.

In April 2009, MTV viewers voted Born to Do It as number 2 on their "Greatest Album of All Time" poll, behind Michael Jackson's Thriller.

The follow-up album, Slicker Than Your Average, was released in 2002. The album's first four singles continued David's streak of top 10 hits in the UK, bringing a total of nine consecutive top 10 hits until "World Filled with Love" peaked at number 15 in 2003. None of the six singles released from the album charted in the U.S. Although "What's Your Flava?" and "Rise & Fall" (duet with Sting) received airplay on the urban contemporary and soft adult contemporary formats, they did not make the Hot R&B/Hip-Hop Songs or Adult Contemporary charts. However, "What's Your Flava?" made the Rhythmic Top 40 chart (number 32), Mainstream Top 40 chart (number 24) and the Top 40 Tracks chart (number 37). According to the RIAA, Slicker Than Your Average was certified gold in the U.S.

David also commented that the album title could be looked at in two different ways: "On the one hand, it's coming across like I'm arrogant. On the other hand, it's saying I have a lot more composure on the album.""

The album was leaked onto the internet prior to its official release but David was not too bothered as he felt it "spreads the word".

2005–2009: The Story Goes... and Trust Me
David later signed on with Warner Music and put together his third album, The Story Goes..., which was released worldwide in August 2005 (excluding the U.S. where it was never released). The first single, "All the Way", returned him to the top 3. The second single, "Don't Love You No More (I'm Sorry)", tied with "7 Days" as his longest-running single in the charts since "Re-Rewind", spending 15 weeks inside the UK top 75. The album's third single, "Unbelievable", debuted at number 18 in March 2006.

In 2007, David collaborated with British rapper Kano on his album London Town, for the single "This Is the Girl". The track was released on 27 August 2007 and debuted at number 18 on the UK charts.

The first single from his album Trust Me, "Hot Stuff (Let's Dance)", was released on 5 November 2007. David successfully sought permission from David Bowie to sample his 1983 number-one single "Let's Dance". The single was a top ten hit, whilst the album charted at number 18 on the UK Albums Chart. "6 of 1 Thing", the second single to be taken from Trust Me, charted at number 39 on the UK Singles Chart, becoming his third-lowest-charting single to date.

"Officially Yours" was released on 23 June 2008 and peaked at number 158 on the UK Singles Chart, becoming his lowest-charting single to date and was the final single from Trust Me. In July, a new track titled "Are You Up for This" started receiving airplay on various radio stations as part of a promo with Ice Cream Records, which also featured a remix with Wittyboy called "Nutter Butter". On 17 August 2008, David performed at a birthday tribute concert for songwriter Don Black at the London Palladium. He performed the song "Ben", originally a hit for Michael Jackson.

David took part in Soccer Aid 2008 at Wembley Stadium on 7 September 2008. He picked up the "Man of The Match" award on the night and played in the same England side as ex-internationals such as Alan Shearer, Teddy Sheringham and David Seaman, and played against the likes of Romário, Paolo Di Canio, Jaap Stam and Luís Figo. David received two 2008 UK Urban Music Award nominations for Best Album with Trust Me and Best R&B Act. On 7 November 2008, David was recognised for his contribution to the music industry by receiving an honorary degree of Doctor of Music, from Southampton Solent University at a graduation ceremony held at Southampton Guildhall.

David released his first Greatest Hits album on 24 November 2008. In support of the release, David released two singles to promote the album. "Where's Your Love" featuring Tinchy Stryder and Rita Ora, a homage to his UK garage days, was digitally released on 10 November 2008. The second single, "Insomnia", produced by Jim Beanz from Timbaland productions, a dance track with hard bassline beats, was released the following week on 17 November 2008. Toby Gad and Eimear Crombie provided back-up vocals and instrumental stylings. David also started working with guitarist and recording engineer Kwame Yeboah, both live and in the studio.

On 29 December 2008, a new mix of "Insomnia", titled "Up All Night Mix", was made available for digital download. As part of the Greatest Hits compilation, David re-recorded "Walking Away" with four different artists across Europe: Monrose from Germany, Nek from Italy, Lynnsha from France and Álex Ubago from Spain. The album debuted at number 48 on the UK Albums Chart. From February to April 2009, David toured Russia, the Far East and performed one show in Los Angeles as part of a Greatest Hits tour. He met fans at a meet and greet session at Singapore Changi Airport before his show.

In April 2009, Born to Do It came second in a poll by MTV UK for the Greatest Album Ever, which received over 40,000 votes, beaten by Michael Jackson's album Thriller. On 14 May 2009, David participated in the Hillsborough Memorial football match at Anfield. On 26 July 2009, David participated in the Sir Bobby Robson Trophy match at St James' Park, playing alongside boyhood hero Alan Shearer.

2009–2013: Signed Sealed Delivered and TS5 launch
On 18 September 2009, fans got the first taste of the new album with an exclusive demo posted on his official website, a thirty-second snippet covering Stevie Wonder's "Signed, Sealed, Delivered I'm Yours". On 2 October 2009, David revealed to his fans via Twitter and his website that he had signed a new record deal with Universal Motown. The UK edition of Jay Sean's new album All or Nothing which was released on 30 November 2009, features David on a track entitled "Stuck in the Middle". David performed a bold new cover of "I Wan'na Be Like You" from Walt Disney's 1967 film The Jungle Book on the ITV programme Ultimate Movie Toons, broadcast 28 March 2010. The first single from David's fifth studio album Signed Sealed Delivered was "One More Lie (Standing in the Shadows)" and it was released in the UK on 22 March 2010 where it made number 76 with the album following one week later on 29 March 2010, which entered the UK chart at number 13.

On 17 March 2010, David released a UK garage compilation album titled Rewind Old Skool Classics mixed with DJ Spoony featuring some of their favourite UK garage hits from the last ten years.

Two weeks later on 31 May 2010, the second single to be taken from Signed Sealed Delivered, titled "All Alone Tonight (Stop, Look, Listen)" was released. The chorus of the single samples the Stylistics' hit "Stop, Look, Listen (To Your Heart)" but features completely new verses. In the weeks leading up to the release, BBC Radio Two backed the single by naming it their 'Record of the Week' and adding it to their 'A-List'. On 20 May 2010, David appeared as a co-host on The Morning Show in Australia alongside Kylie Gillies, whilst regular male presenter Larry Emdur was on holiday. On 27 August 2010, Swiss DJ Remady released an album titled No Superstar on which David features on the track "Do It on My Own". David was nominated for 'Best Video' at the 2010 Urban Music Awards for the song "One More Lie (Standing in the Shadows)". The 2010 Sunday Times Rich List indicated that Craig David was worth £8 million.

David revealed on Twitter that he had worked with record producer Jim Beanz on material for his new album. He also tweeted about working with August Rigo and more recently Fraser T. Smith. Whilst doing a show in Russia, David confirmed he had left Universal Music Group and hopes to release his new album in America as well as the UK. In February 2011, David agreed to do a desert trek for Comic Relief as part of Red Nose Day 2011. A host of celebrities including Dermot O'Leary, Olly Murs and Lorraine Kelly trekked 100 kilometres across a Kenyan desert to raise money for preventable blindness across Africa.

In May 2011, David made a guest appearance on NRJ12's French reality TV show Les Anges 2 where he offered advice to contestants trying to make a life in Miami. Released on 1 August 2011, David featured on Erick Morillo's new mix CD Subliminal Invasion on the track "Fly Away". David performed at the Michael Jackson tribute concert, held in Cardiff at the Millennium Stadium on 8 October 2011.

Further to their earlier collaboration, David and Erick Morillo also canvassed a promotional track to DJs and radio stations titled "Get Drunk Up" and also featured it on YouTube. Morillo revealed David would appear on a project with Harry Romero and José Nunez, featuring a remix of the track. In December, he featured on the Blackout Mode dance track "Freak on the Dancefloor" that appeared on the compilation album R&B Collection 2012.

In 2012, David featured on a number of tracks whilst recording his own album, including releases with Stereo Palma titled "Our Love" and a collaboration with Mohombi and DJ Asaad titled "Addicted".

In July 2012, it was revealed David was writing with the Backstreet Boys on their 20th-anniversary album, the follow-up to their 2009 album This Is Us and the first they released since the return of Kevin Richardson who departed from the group in 2005.

In January 2013, David announced on Twitter that he had signed a publishing deal with Universal Music Publishing Group (UMPG). The deal saw David's publishing company, formally known as Bootyman Music Publishing merge to become JEM Music.

Starting in March 2013, David embarked on a world tour starting with three shows across Australia, followed by four in Europe (France, Belgium, Germany and the Netherlands) and finally finishing in May with four shows in England (Birmingham, Manchester, Southampton and London). In September 2013, Capital FM announced that David's DJ show 'TS5' would move to Capital Xtra every Friday evening from 10:00 pm.

2014–2020: Following My Intuition and The Time Is Now
On 2 July 2014, David previewed a teaser track titled "Cold" on his official SoundCloud page. Premiering it on his TS5 radio show the week before, he wanted to preview some of the new music he has been working on in anticipation of his long-awaited sixth studio album. A further teaser track titled "Seduction" was uploaded to the same SoundCloud page in September 2014.

On 5 September 2015, David featured on BBC Radio 1's Live Lounge with Sigala where they covered Wiz Khalifa and Charlie Puth's "See You Again" mixed with the Little Mix track "Black Magic". The following week, on 10 September 2015, David appeared on Kurupt FM's 'Sixty Minute Takeover' on BBC Radio 1Xtra with MistaJam. He performed "Fill Me In" over the track "Where Are Ü Now" and it became a viral internet hit. Two snippets of potential new album tracks were also played on the night and this 1Xtra appearance led to David making surprise performances of the "Fill Me In" / "Where Are Ü Now" remix at Fabric with Kurupt FM and Alexandra Palace with Major Lazer and Diplo.

It was later revealed that the Radio 1Xtra appearance led to a collaboration between David and Big Narstie who also featured on the show and the track they recorded titled "When the Bassline Drops" was played on MistaJam's BBC Radio 1 and BBC Radio 1Xtra show on 7 November 2015, it was later revealed the track is to be released under SpeakerBox/JEM on 27 November 2015. David made a surprise appearance on The X Factor on 13 December 2015, where he performed his breakthrough single "Re-Rewind" during a medley with Reggie 'n' Bollie and Fuse ODG. "When the Bassline Drops" debuted at number 50 in the UK and peaked at number 10 on 5 February 2016, becoming David's highest-charting single since 2007.

On 25 January 2016, it was announced that Craig David had signed a recording contract with Insanity Records (a joint venture between Sony Music UK and Insanity Management) and independent company Speakerbox Media.

On 19 March 2016, at the second day of the Ultra Music Festival 2016, during the set of the Dutch DJ and record producer Hardwell, he appeared to present their new track "No Holding Back", which was released on 19 August 2016.

In 2016, David appeared on Kaytranada's album 99.9%, on the track "Got It Good", which he also co-wrote. This song also appeared on his sixth studio album. On 19 August 2016, Craig announced on social networks that his sixth studio album, Following My Intuition, would finally be released on 30 September 2016. It debuted at number one on the UK Albums Chart, giving David his first number-one album since his debut, Born to Do It, reached the top spot in 2000.

On 15 September 2017, David announced the release of the seventh studio album, The Time Is Now, which was released in January 2018, along with the single "Heartline".

On 23 November, David released his second single from The Time Is Now, "I Know You" featuring Bastille. David and Dan Smith from Bastille performed the song live a day later on Sounds Like Friday Night. The single peaked at number 5 in 2018, making it David's highest-charting single since "Don't Love You No More (I'm Sorry)" in 2005.

The Time Is Now debuted at number 2 on the UK Albums Chart, kept off the top spot by The Greatest Showman: Original Motion Picture Soundtrack.

On 31 May 2019, David released a new single "When You Know What Love Is" from his upcoming eighth album. In July, David made a cameo appearance in Love Island, performing the single as a DJ at a Ministry of Sound pool party.

His next UK garage single "Do You Miss Me Much" was released on 23 August 2019.

On 31 December 2019 and 1 January 2020, David performed on BBC One's New Year Live concert at Westminster Central Hall with his full band and TS5 DJ set.

2021–present: album 22 and book What's Your Vibe?
After appearing on KSI's BMG-released album All Over the Place, David went independent as a solo artist in order to release his new album.

In May 2021, he appeared on "Summertime", a single from People Just Do Nothing stars Kurupt FM, which appeared on their album The Greatest Hits (Part 1). In October, he scored a top 40 single with MNEK titled "Who You Are", which was produced by Digital Farm Animals and released by Moor in association with BMG.

David ended the year as one of the judges on new talent show Walk the Line. Debuting on ITV on 12 December 2021, David joined Gary Barlow, Dawn French and Alesha Dixon on the judging panel.

In June 2022, David performed at the Platinum Party at the Palace. In August 2022, he performed "7 Days", "Live in the Moment" and "Fill Me In" alongside Coldplay at Wembley Stadium.

On 30 September 2022, David released his eighth studio album, 22 via his own TS5 label and Moor Records under exclusive license to BMG. The album was preceded by and features singles "Who You Are" (featuring MNEK), "My Heart's Been Waiting for You" (featuring Duvall), "G Love" (featuring Nippa) and "DNA" (featuring Galantis). "Who You Are (Part 2)", "Who You Are" (Stripped) and "DNA (Part 2)" were also released as additional promotional singles.

On 6 October 2022, David released his first book titled What's Your Vibe?; upon announcing the book he stated: "For the past 2 years, I've been working on this book which isn't your typical memoir or self-help manual, but more of a place to share some of the lessons I've learnt over the years that have helped me navigate day to day life".

On 14 November 2022, music festival Camp Bestival announced their 2023 lineup, which included David, alongside Primal Scream, Melanie C, Grace Jones, the Kooks, the Human League and others.

On 23 February 2023, a 20th anniversary edition of his second album Slicker Than Your Average was released.

Publishing deals
On 9 September 2020, David signed a global publishing deal with New York-based Round Hill Music. The agreement includes all of David's music catalogue to date, and also includes a futures agreement that will see all of his new music administered by the company.

Caricature on Bo' Selecta!
David was frequently caricatured by comedian Leigh Francis on the British TV comedy show Bo' Selecta!; the show's title itself being a reference to his song "Re-Rewind (The Crowd Say Bo Selecta)". Although many other celebrities lampooned in the series appreciated the jokes and even appeared in the series themselves, David—the series' most prominently mocked target—did not enjoy the attention, remarking that the public were no longer taking him seriously. Speaking to The Sunday Times in 2007, David said that "The whole Bo' Selecta! thing was killing me for a while because this idiot had a cult following and I was the main caricature. ... Inside it was absolutely pissing me off and hurtful beyond belief. There were times when I thought I just want to knock this guy out".

Although he made an appearance himself on the programme (as the pseudo-fictional tribute act "Craig Davis"), he regretted it. However, he has also denied that his career had been ruined as a result of the show, and has said that he was satisfied with his musical output over the years.

In a 2015 interview with the Daily Mirror, David stated that he had no hard feelings towards Francis, explaining how he had seen him at a wedding and given him a hug, assuring him they were "cool". He further explained in the interview that it was his PR team who suggested that he "play hurt" by the caricature. He reiterated this stance on The Jonathan Ross Show in 2016 and explained that, contrary to popular belief, he had not fled the UK to escape negative attention brought about from the show.

In June 2020, Francis apologised for his portrayal of David (among other black and mixed race celebrities such as Michael Jackson, Mel B and Trisha Goddard) in the show as a response to the Black Lives Matter movement and George Floyd protests, stating that "I want to say sorry for any upset I caused whether I was Michael Jackson, Craig David or Trisha Goddard... all people who I am a big fan of." Bo' Selecta! was removed from the video on demand service All 4 later that same month for similar reasons.

David raised the topic again in October 2022. "Every sketch felt personal", he told The Times. "It felt like a vendetta and when it got a following, it became something that affected me. People would shout at me on the street and I felt the same feeling I had when I was bullied at school. Leigh Francis had normalised bullying by making it comedy. When he put blackface on, that was being racist. We can all apologise when on the back foot. Has he reached out to any of the people he did on his show? He hasn't reached out to me. Has he gone to communities to talk about bullying? Racism? And to be educated? You can only ask him."

Personal life and activism
David is Jewish.

He is an avid supporter of Southampton F.C., his hometown football team.

On 24 March 2010 (World Tuberculosis Day), the World Health Organization appointed Craig David as a Goodwill Ambassador against tuberculosis. His first activity in this role was to travel to South Africa to learn more about tuberculosis, where he met people suffering from the disease and those who have recovered, and scientists who have dedicated their lives to fighting tuberculosis. David stated that his mission is to help overcome the social stigma of TB in order to combat the disease. He has also been criticised by Action on Smoking and Health in 2013 for appearing in another Big Tobacco–funded appearance in Penang, Malaysia, where Japan Tobacco International sponsored a concert.

In January 2021 it was announced that Craig David would appear in an esports series in a campaign with McLaren and British American Tobacco (BAT) in order to enable them to reach their customers "in new, exciting and engaging ways" to push the nicotine pouch brand VELO. He appears in the series alongside other UK stars including presenter Rory Reid and Fred Sirieix.

In October 2022, David released a track titled "Better Days (I Came by Train)" in association with Trainline to encourage use of trains instead of flying or driving to lower CO2 emissions and save the planet.

Discography

 * Born to Do It (2000)
 * Slicker Than Your Average (2002)
 * The Story Goes... (2005)
 * Trust Me (2007)
 * Signed Sealed Delivered (2010)
 * Following My Intuition (2016)
 * The Time Is Now (2018)
 * 22 (2022)

Concert tours
Headlining
 * Born to Do It "Off the Hook" Tour (2001)
 * Slicker Than Your Average Tour (2003)
 * The Story Goes... Tour (2006)
 * Following My Intuition Tour (2017)
 * The Time Is Now Tour (2018)
 * Hold That Thought Tour (2022)
 * 7 Days Commitment Tour North America (2024)

Honours and awards
On 30 December 2020, it was announced that in the Queen's New Year Honours List David had been appointed as MBE in recognition of his services to music. His manager Colin Lester was also appointed OBE in recognition of his services to the music industry and to charity. David received his award at Windsor Castle on 15 December 2021.

title: Craig David


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Template:History of Poland

{{documentation |content=

title: Template:History of Poland


text:
Talk:1902

Layout
The year in topic layout on this page is one of three versions. I seek opinions before making them all the same; see comment on my talk page BozMo(talk)

Nauru
"The catholic church friendly took over-hand in Nauru and then became Nauru's main religion."

is this sentence supposed to make any sense? -R. fiend 20:09, 14 Jul 2004 (UTC)

Rolling Mill Mine
The RMM disaster is reported as having taken place in 1905, according to the entry on ths subject. The date of July 10 agrees. Can someone who knows the history fix the discrepancy?--King Hildebrand 18:38, 16 July 2006 (UTC)

Format

 * [See: Talk:1950. -Wikid77 14:04, 22 December 2006 (UTC)]

Vandalism?
The following text looks like vandalism: December 24 - Thaddius Q. McGriffin, Just another asian persuasion (Griffin Carpenter's, the American serial killer, only known blood relative) (d. 2008) 194.171.77.203 09:39, 8 May 2007 (UTC)

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

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

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

BetacommandBot (talk) 18:42, 13 February 2008 (UTC)

title: Talk:1902


text:
Talk:1901

Heading
The following statement in the heading couldn't be more incorrect and I was unable to edit it: "1901 is the first year of the 20th Century." Last time I checked, it was the second year of the 20th Century. How does one edit the heading to accurately reflect reality? —Preceding unsigned comment added by Killersgt (talk • contribs) 11:55, 23 May 2011 (UTC)

Layout
The year in topic layout on this page is one of three versions. I seek opinions before making them all the same; see comment on my talk page BozMo(talk)

British protectorate
Nigeria is mentioned to become a british protectorate in both 1900 and 1901. Anyone has idea which one is correct...? --Ningyou

Licence plate
The 2005 licence plate currently illustrating the article looks very little like those of 104 years earlier. Too bad we apparently don't have an illustration of a plate from that era at present, but I don't think this illustration is particularly relevent. I'd as soon remove it from this article. Comments? -- Infrogmation 02:23, 1 August 2006 (UTC)

Format
[See: Talk:1950. -Wikid77 14:06, 22 December 2006 (UTC)]

Monthly calendars overlink or crowd
04-Jan-2008: Many or most year-articles in "1900-1999" once again have those month-calendar images re-added, although they have been removed repeatedly by prior editors. The total of 12 monthly calendars generate over 385 new wikilinks (per year) or 385*100 = 38,500 wikilinks to repeat the calendar display, which had already been provided by the "link will display full calendar" at the top of each article. Also those month-images are crowding the article text, causing numerous large text gaps in the auto-wrap of text. The intent of wikilinking is to connect to other articles for further details, so that information does not need to be repeated within each related article. The rampant trend of "boxifying" another article, such as a 12-month calendar, to be repeated into each related article as navboxes is overlinking and generating millions of spamlinks into the Wikipedia page-link database. In the case of "1900-1999" those month-calendars alone generate 38,500 wikilinks into the page-link database. I am returning to the original design of wikifying the year-articles to only link to the full-year calendar, using one wikilink. For days not described within year-article events, the full-year calendar will provide the 385 extra wikilinks (such as "2 April"). Please help by removing any month-calendar boxes in any of those year-event articles, as has been done by other editors previously.

Discuss at Talk:1950. -Wikid77 12:33, 4 January 2008

The world celebrates the start of the 20th century
not true, the 20th century is only held to be so by the christian world, the muslims and the buddhists didn't celebrate it. —Preceding unsigned comment added by 82.47.202.4 (talk) 23:25, 12 December 2009 (UTC)

American League
There should be a reference to the American League (baseball) beginning play in 1901. Jny 16:50, 5 March 2007 (UTC)
 * No, that's for 1901 in baseball & 1901 in the United States. Jim Michael 2 (talk) 12:16, 2 February 2023 (UTC)

"regarded by some"?
"The world celebrates what is regarded by some as the start of the new century." That phrasing seems to me rather odd. Objectively speaking, it was the start of a new century, was it not? Or does anyone seriously dispute that? And if so, on what grounds? If it simply means that not everyone in the world uses the Gregorian calendar, then we should clarify. Aridd (talk) 21:24, 30 January 2008 (UTC)
 * Objectively speaking, it was the start of a new century, was it not.
 * no, that's a rediculous statement "objectively" everday is a new century and year depending on where you count it from.
 * should we also clarify the fact that not everyone uses the muslim calender or the buddhist calender or the discordian calender, or the subgenii calender. come on have some perspective... how many calenders do we have to name before it is understood that time is relative and i don't just mean in the einstein sense i mean in the cultural sense also. —Preceding unsigned comment added by 82.47.202.4 (talk) 23:40, 12 December 2009 (UTC)

SSS SOS
The page says:
 * "* December 12 – Guglielmo Marconi receives the first trans-Atlantic radio signal in Newfoundland, Canada; it is Morse code for the letter "S.""

It's been suggested Marconi actually only heard static & mistook it for a Morse sign... With that in mind, at least a fn ref saying so appears to me warranted. TREKphiler  hit me ♠  14:41, 7 November 2009 (UTC)

Is this 1901 or 1900?
I just noticed that as of the 10:22, 1 February 2015 edit this article (1901) - begins with the line "Year 1900 (MCMI) was a common year starting on Tuesday (link will display calendar) of the Gregorian calendar and a common year starting on Monday of the 13-day-slower Julian calendar. This was the first year of the 20th century."

Now, I don't edit on Wikipedia, so I am not going to edit this, but I will just bring this to your attention. I am assuming this is an error, but I don't want to edit in case this is some super secret Wikipedia thing about labeling Year n with a value of n-1 (not trying to be sarcastic, I just don't know protocol). 99.230.243.1 (talk) 15:12, 3 February 2015 (UTC)
 * Thanks. — Arthur Rubin  (talk) 18:42, 4 February 2015 (UTC)

1901 and computing, does it belong here?
The section Significance of 1901 for modern computers seems out of place on this page and inconsistent with other WikiProject Years articles. I suggest it be moved to the page Time formatting and storage bugs. Maestroso simplo (talk) 01:43, 16 December 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on 1901. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110721112715/http://www.nhi.gov.ph/files/NHI_res_7_s2002.pdf to http://www.nhi.gov.ph/files/NHI_res_7_s2002.pdf

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Cheers.— InternetArchiveBot  (Report bug) 13:44, 14 June 2017 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. Community Tech bot (talk) 01:06, 6 July 2018 (UTC)
 * Anonymous photograph of Albert, (4th) Duke of Broglie.jpg

title: Talk:1901


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User:PACO~enwiki

I am a Spanish Wikipedian collaborating mainly in the Wikipedia in Spanish.I live in Madrid, Spain and my main contributions will be in terms of links to es: but I'll fix any clear error I see. I am a sysop of Spanish Wikipedia.

If you want contact me, you can do it making click here in English, (my level of English is intermediate) or alternatively following the Español link in this page.

es:Usuario:PACO

title: User:PACO~enwiki


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David Bates (poet)

David Bates (March 6, 1809 – January 25, 1870) was an American poet.

He was born in Indian Hill, Ohio, and educated in Buffalo, New York, before working in first Indianapolis then Philadelphia. In 1849, he published a volume of poetry, Eolian.

Among his best-known works are Speak Gently, which was parodied by Lewis Carroll in Alice's Adventures in Wonderland, as well as "Chiding", and "Childhood".

He started his adult life as a lowly clerk but, through hard work and determination, made his way in the business and eventually became a full member and chief buyer for an Indianapolis mercantile house. Apart from that Bates had a talent for writing easy going, gentle poetry and, at the age of 40, he had a collection of poems published under the title Eolian. One of the best known poems in this collection – Speak Gently – has become something of a universal hymn for people all over the world.

Links

 * Profile, allpoetry.com. Accessed March 29, 2024.

title: David Bates (poet)


text:
User:Vincechiew

Thanks for experimenting with Wikipedia. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in articles will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. -- Graham :) | Talk 11:32, 5 May 2004 (UTC)

title: User:Vincechiew


text:
Manilkara bidentata

Manilkara bidentata is a species of Manilkara native to a large area of northern South America, Central America and the Caribbean. Common names include bulletwood, balatá, ausubo, massaranduba, quinilla, and (ambiguously) "cow-tree".

Description
The balatá is a large tree, growing to 30–45 m tall. The leaves are alternate, elliptical, entire, and 10–20 cm long. The flowers are white, and are produced at the beginning of the rainy season. The fruit is a yellow berry, 3–5 cm in diameter, which is edible; it contains one (occasionally two) seed(s). Its latex is used industrially for products such as chicle.

Uses
The latex is extracted in the same manner in which sap is extracted from the rubber tree. It is then dried to form an inelastic rubber-like material. It is almost identical to gutta-percha (produced from a closely related southeast Asian tree), and is sometimes called gutta-balatá.

Balatá was often used in the production of high-quality golf balls, to use as the outer layer of the ball. Balatá-covered balls have a high spin rate, but do not travel as far as most balls with a Surlyn cover. Due to the nondurable nature of the material the golf club strikes, balatá-covered balls do not last long before needing to be replaced. While once favored by professional and low-handicap players, they are now obsolete, replaced by newer Surlyn and urethane technology.

In 1943, Major League Baseball used balata instead of rubber in its baseballs due to wartime rationing. The balata balls initially displayed significantly less resilience (bounce) than rubber-core balls, forcing MLB to reformulate the balata-ball design several weeks into the season. MLB resumed using rubber in 1944.

Today, Brazil is the largest producer of Massaranduba wood, where it is cut in the Amazon rainforest.

The tree is a hardwood with a red heart, which is used for furniture and as a construction material where it grows. Locals often refer to it as bulletwood for its extremely hard wood, which is so dense that it does not float in water. Drilling is necessary to drive nailed connections. In trade, it is occasionally (and incorrectly) called "brazilwood".

The fruit, like that of the related sapodilla (M. zapota), is edible.

Though its heartwood may present in a shade of purple, Manilkara bidentata should not be confused with another tropical tree widely known as "purpleheart", Peltogyne pubescens.

This timber is being used to produce outdoor furniture and is being marketed as "Pacific Jarrah" in Australia.

title: Manilkara bidentata


text: User talk:62.255.241.252

title: User talk:62.255.241.252


text:
Mahler's compactness theorem

In mathematics, Mahler's compactness theorem, proved by, is a foundational result on lattices in Euclidean space, characterising sets of lattices that are 'bounded' in a certain definite sense. Looked at another way, it explains the ways in which a lattice could degenerate (go off to infinity) in a sequence of lattices. In intuitive terms it says that this is possible in just two ways: becoming coarse-grained with a fundamental domain that has ever larger volume; or containing shorter and shorter vectors. It is also called his selection theorem, following an older convention used in naming compactness theorems, because they were formulated in terms of sequential compactness (the possibility of selecting a convergent subsequence).

Let X be the space

 * $$\mathrm{GL}_n(\mathbb{R})/\mathrm{GL}_n(\mathbb{Z})$$

that parametrises lattices in $$\mathbb{R}^n$$, with its quotient topology. There is a well-defined function Δ on X, which is the absolute value of the determinant of a matrix – this is constant on the cosets, since an invertible integer matrix has determinant 1 or −1.

Mahler's compactness theorem states that a subset Y of X is relatively compact if and only if Δ is bounded on Y, and there is a neighbourhood N of 0 in $$\mathbb{R}^n$$ such that for all Λ in Y, the only lattice point of Λ in N is 0 itself.

The assertion of Mahler's theorem is equivalent to the compactness of the space of unit-covolume lattices in $$\mathbb{R}^n$$ whose systole is larger or equal than any fixed $$\varepsilon>0$$.

Mahler's compactness theorem was generalized to semisimple Lie groups by David Mumford; see Mumford's compactness theorem.

title: Mahler's compactness theorem


text:
Pachmarhi

Pachmarhi is a hill station in the Hoshangabad district of Madhya Pradesh state of central India. It has been the location of a cantonment (Pachmarhi Cantonment) since the British Raj. The municipality is located in a valley of the Satpura Range and is widely known as Satpura ki Rani. ("Queen of Satpura")

Pachmarhi has an altitude of 1067. Dhupgarh, the highest point (1,352 meters) in Madhya Pradesh and the Satpura range, is located nearby. The town is wholly located within the Pachmarhi Biosphere Reserve and the Satpura Tiger Reserve.

History
Pachmarhi contains several caves hilltop caves, and the community's name is believed to be derived from the Hindi words Panch ("five") and Marhi ("caves"). According to a legend, these caves were built by five Pandava brothers of Mahabharatha era during their thirteen years of exile

The region was part of the Bhonsle Kingdom and was later ruled by the Marathas in the 18th century.

It was later part of the Gondi kingdom of Bhagvat Singh in the 19th century, although there was no permanent settlement at that time. The origins of modern Panchmarhi can be traced back to 1857, when Captain James Forsyth of the British Army and Subhedar Major Nathoo Ramji Powar noticed the plateau while en route to Jhansi. It quickly developed into a hill station and sanatorium for British troops in the Central Provinces of India, and Powar was made Kotwal. (a person in charge of the armoury)

In 1901, the year-round population was 3,020, with a population of double this number during the hot summer months. Pachmarhi served as the summer capital for the Central Provinces.

UNESCO added the Pachmarhi area to its list of Biosphere Reserves in May 2009, due to the many rare plant species in the vicinity. The total area of Pachmarhi Biosphere Reserve is 4981.72 km2, and it is located at latitude 22° 11’ to 22° 50’N and longitude 77° 47’ to 78° 52’E. The reserve spans parts of three civil districts, viz; Hoshangabad (59.55%), Chhindwara (29.19%) and Betul (11.26%). It includes three wildlife conservation units viz., Bori Sanctuary 485.72 km2), Satpura National Park (524.37 km2) and Pachmarhi Sanctuary (491.63 km2).

Town
Pachmarhi is a small community, and most of its land area is under the administration of the Pachmarhi Cantonment Board, which serves the Indian Army. The Indian Army Education Corps (AEC) are located in the community.

As of 2011 Indian census, Pachmarhi had a population of about 12,062. Most are employed by the army, or in forestry or tourism industries.

An airstrip and helipad located between the town and the mountain of Dhupgarh. The airstrip has been described as being seldom used, overrun with grass, and frequented by wild animals such as tigers and bison.

Climate
Pachmarhi's climate is mild, with temperatures ranging from warm to cool, with a Köppen and Geiger classification of Cwa. (humid subtropical) Summers have significantly more rainfall than winters. The town's average temperature is 21.7 °C and the average annual rainfall in is 2012 milimeters. May is the hottest month of the year, with an average temperature of 30.3 °C, while December is the coldest month of the year, with an average temperature of 15.5 °C.

Tourism
Pachmarhi has a significant tourist industry and there are numerous hotels as well as a few cottages and resorts. Many tourists come to see the local cave pavements, some of which are estimated to be 10,000 years old. Tourists also tend to visit the Pandav caves and the local wilderness, much of which is preserved due to governmental limitations on new construction. Many visitors also go paragliding and boating.

Some of the places of tourist interest there are:

 * Rajat Prapat (large waterfall)
 * Bee Fall
 * Bada Mahadev
 * Gupt Mahadev
 * Chauragarh (Shiv devotees come here in huge numbers during Mahashivratri)
 * Dhupgarh (the highest peak of the Satpuras and Madhya Pradesh)
 * Handi Khoh (deep valley)
 * Apsara Falls (fairy pool)
 * Jatashankar (stalagmite-filled cave in a deep ravine)
 * Dutchess Fall
 * Pachmarhi Hill (whole view of Pachmarhi City)
 * Pansy Pool
 * Waters Meet
 * Picadilly Circus
 * Patharchatta
 * Crumps Crag
 * Lady Robertson's View
 * Colletin Crag
 * Mount Rosa
 * Reechgarh
 * Rajendra Giri (gardens with natural scenery)
 * Bansri Vihar
 * Little Fall
 * Naagdwari
 * Draupadi Kund
 * Twynham Pool
 * Chhota Mahadev
 * Nandigad

Many visitors also come to visit the National Adventure Institute, which hosts a variety of adventure training camps.

Wildlife
The Satpura Tiger Reserve contains several large mammal species, including the tiger, leopard, wild boar, gaur (Bos gaurus), chital deer (Axis axis), muntjac deer, sambar deer (Cervus unicolor), and rhesus macaques.

The endemic fauna also includes chinkara, nilgai, wild dogs, the Indian wolf, bison, Indian giant squirrels, and flying squirrels.

Biosphere
The forests of Pachmarhi have many fruit trees such as mangoes, jamun, custard fruit, and lesser-known local fruits such as khatua, tendu, chunna, khinni, and chaar. Oak and blue pine are also abundant, and additionally, the forest is also known for having many medicinal plants and herbs.

Dhupgarh
The Satpura Range's highest point is 1,352 m. It's well-known for its sunrise and sunset views. At night, one can see the lights of neighbouring towns such as Itarsi. The summit can be reached by road or by foot.

Chauragarh
This is the third highest peak in the Satpura ranges. It is a pilgrimage site with Lord Siva's temple at the top. The Chauragarh fort there was built by king Sangram Shah of the Gond dynasty. It was developed by SenaSahebSubha Janoji Maharaj of Nagpur। from the Maratha Era the Pilgrimage from Nagpur Start।. It is also a widely known spot for sunrise viewing. During the festivities of Nagpanchami and Mahashivratri, devotees flock to Chauragarh temple in large numbers, leaving about 2 lakh trishuls as offerings which are kept in front of the temple and also in the way of the temple.

Bee Hill and Bee Falls
This is a waterfall in Pachmarhi. It is so named because from a distance the waterfall sounds like a bee. Bee Falls takes its name from bees since this place is famous for honeybees.

Dutchess Fall
This waterfall is the most remote. There are Doctor Fish in the pool made by the waterfall. The road to this waterfall is extreme, with very steep inclinations. There is straight downward trekking of 1 km.

PanarPani
Panarpani has a natural freshwater lake with forest around it.

Sangam
This is a conflux of mountain streams behind Dhupgarh. The water in these streams is crystal clear in all seasons except of course autumn.

Jatashankar and Mahadev caves
These are mountain caves with fresh water dripping from them. Mountains feed the streams with fresh water, that they soak in during autumn. As the name suggests, these caves and many others are the abode of lord Siva.

Silver Falls
Also called Rajat Prapat/Big Fall. The falls drop over 2800 feet through the gorge, leaving a silver streak behind that gives its name.

Apsara Vihar
This is a mountain stream that creates a natural water pool, cascades and waterfall in its course.

Other waterfalls
Pachmarhi's ecosystem includes other waterfalls such as Little Fall.

New year event in Pachmarhi utsav

Every year from 25 to 31 December, Pachmarhi utsav is organised by govt. Of Mp. In which various celebrities have been called to perform stage shows at utsav ground and various places. At the end of 31 an event is organised by local association Pachmarhi Partyan Mitra and MARRS

Film location

 * Massey Sahib (film 1985), featuring Raghuvir Yadav, Barry John, Arundhati Roy
 * Thodasa Roomani Ho Jaayen (film 1990), featuring Nana Patekar, Anita Kanwar
 * Tarkieb (film 2000), featuring Nana Patekar, Tabbu, Raghuveer Yadav, Shilpa Shetty, Milind Soman
 * Aśoka (film 2001), featuring Shah Rukh Khan, Kareena Kapoor Khan
 * Chakravyuh(film 2012), featuring Arjun Rampal, Abhay Deol, Manoj Bajpai, Om Puri, Esha Gupta
 * Trinetra (1991 film), featuring Mithun Chakraborty, Amrish Puri

Access
Pachmarhi is connected from Hoshangabad, Bhopal, Itarsi, Chhindwara, Gadarwara, Narsinghpur, Indore, Jabalpur. Buses start from Rani Kamalapati ISBT of Bhopal and generally take close to 5–6 hours. From Indore it takes 10–11 hours via Bhopal to reach Pachmarhi. The buses move through different towns like Hoshangabad, Chhindwara, Makhan Nagar, Sohagpur and Pipariya. The road's name is State Highway 19, and its name changes to State Highway 19A from the village of Matkuli to Pachmarhi. Matkuli is trijunction of Pipariya-Chhindwara-Pachmarhi way, and Pachmarhi is nearest from here, about 28 km. Pipariya is the nearest railhead, many trains on Mumbai-Kolkata route stop at Pipariya.. Itarsi Junction is also a major railhead near Pachmari. Madhya Pradesh Tourism Development Corporation buses are available for Pachmarhi from Indore, Bhopal.

Transport
The nearest airport is Bhopal. The nearest railway station is Pipariya railway station.

title: Pachmarhi