text:
Airway management

Airway management includes a set of maneuvers and medical procedures performed to prevent and relieve airway obstruction. This ensures an open pathway for gas exchange between a patient's lungs and the atmosphere. This is accomplished by either clearing a previously obstructed airway; or by preventing airway obstruction in cases such as anaphylaxis, the obtunded patient, or medical sedation. Airway obstruction can be caused by the tongue, foreign objects, the tissues of the airway itself, and bodily fluids such as blood and gastric contents (aspiration).

Airway management is commonly divided into two categories: basic and advanced.

Basic techniques are generally non-invasive and do not require specialized medical equipment or advanced training. These include head and neck maneuvers to optimize ventilation, abdominal thrusts, and back blows.

Advanced techniques require specialized medical training and equipment, and are further categorized anatomically into supraglottic devices (such as oropharyngeal and nasopharyngeal airways), infraglottic techniques (such as tracheal intubation), and surgical methods (such as cricothyrotomy and tracheotomy).

Airway management is a primary consideration in the fields of cardiopulmonary resuscitation, anaesthesia, emergency medicine, intensive care medicine, neonatology, and first aid. The "A" in the ABC treatment mnemonic is for airway.

Basic airway management
Basic airway management involves maneuvers that do not require specialized medical equipment (in contrast to advanced airway management). It is mainly used in first aid since it is non-invasive, quick, and relatively simple to perform. The simplest way to determine if the airway is obstructed is by assessing whether the patient is able to speak. Basic airway management can be divided into treatment and prevention of an obstruction in the airway.

Treatment
Treatment includes different maneuvers that aim to remove the foreign body that is obstructing the airway. This type of obstruction most often occurs when someone is eating or drinking. Most modern protocols, including those of the American Heart Association, American Red Cross and the European Resuscitation Council, recommend several stages, designed to apply increasingly more pressure. Most protocols recommend first encouraging the victims to cough, and allowing them an opportunity to spontaneously clear the foreign body if they are coughing forcefully. If the person's airway continues to be blocked, more forceful maneuvers such as hard back slaps and abdominal thrusts (Heimlich maneuver) can be performed. Some guidelines recommend alternating between abdominal thrusts and back slaps while others recommend the same starting with the back slaps first. Having the person lean forward reduces the chances of the foreign body going back down the airway when coming up.

Performing abdominal thrusts on someone else involves standing behind them, and providing inward and upward forceful compressions in the upper abdomen, concretely in the area located between the chest and the belly button. The rescuer usually gives the compressions using a fist that is grasped with the other hand.

Abdominal thrusts can also be performed on oneself with the help of the objects near, for example: by leaning over a chair. Anyway, when the choking victim is oneself, one of the more reliable options is the usage of any specific anti-choking device. In adults, there is limited evidence that the head down position can be used for self-treatment of suffocation and appears to be an option only if other maneuvers do not work. In contrast, in children under 1 it is recommended that the child be placed in a head down position as this appears to help increase the effectiveness of back slaps and abdominal thrusts.

When the victim can not receive pressures on the abdomen (it can happen in case of pregnancy or excessive obesity, for example), chest thrusts are advised instead of abdominal thrusts. The chest thrusts are the same type of compressions but applied on the lower half of the chest bone (not in the very extreme, which is a point named xiphoid process and could be broken).

The American Medical Association and Australian Resuscitation Council advocate sweeping the fingers across the back of the throat to attempt to dislodge airway obstructions, once the choking victim becomes unconscious. However, many modern protocols and literature recommend against the use of the finger sweep. If the person is conscious, they should be able to remove the foreign object themselves, and if they are unconscious, a finger sweep can cause more harm. A finger sweep can push the foreign body further down the airway, making it harder to remove, or cause aspiration by inducing the person to vomit. Additionally, there is the potential for harm to the rescuer if they are unable to clearly see the oral cavity (for example, cutting a finger on jagged teeth).

Prevention
Prevention techniques focus on preventing airway obstruction by the tongue and reducing the likelihood of aspiration of stomach contents or blood. The head-tilt/chin-lift and jaw-thrust maneuvers are useful for the former while the recovery position is useful for the latter. If head-tilt/chin-lift and jaw-thrust maneuvers are performed with any objects in the airways it may dislodge them further down the airways and thereby cause more blockage and harder removal.

The head-tilt/chin-lift is the primary maneuver used in any patient in whom cervical spine injury is not a concern. This maneuver involves flexion of the neck and extension of the head at Atlanto-occipital joint (also called the sniffing position), which opens up the airway by lifting the tongue away from the back of the throat. Placing a folded towel behind the head accomplishes the same result.

The jaw-thrust maneuver is an effective airway technique, particularly in the patient in whom cervical spine injury is a concern. It is easiest when the patient is positioned supine. The practitioner places their index and middle fingers behind the angle of the mandible to physically push the posterior aspects of the mandible upwards while their thumbs push down on the chin to open the mouth. When the mandible is displaced forward, it pulls the tongue forward and prevents it from occluding the entrance to the trachea.

The recovery position is an important prevention technique for an unconscious person that is breathing casually. This position entails having the person lie in a stable position on their side with the head in a dependent position so fluids do not drain down the airway, reducing the risk of aspiration.

Most airway maneuvers are associated with some movement of the cervical spine. When there is a possibility of cervical injury, collars are used to help hold the head in-line. Most of these airway maneuvers are associated with some movement of the cervical spine. Even though cervical collars can cause problems maintaining an airway and maintaining a blood pressure, it is not recommended to remove the collar without adequate personnel to manually hold the head in place.

Advanced airway management
In contrast to basic airway management maneuvers such as head-tilt or jaw-thrust, advanced airway management relies on the use of medical equipment. Advanced airway management can be performed "blindly" or with visualization of the glottis by using a laryngoscope. Advanced airway management is frequently performed in the critically injured, those with extensive pulmonary disease, or anesthetized patients to facilitate oxygenation and mechanical ventilation. Additionally, implementation of a cuffing system is used to prevent the possibility of asphyxiation or airway obstruction.

Many methods are used in Advanced airway management. Examples in increasing order of invasiveness include the use of supraglottic devices such as oropharyngeal or nasopharyngeal airways, infraglottic techniques such as tracheal intubation and finally surgical methods.

Removal of foreign objects
The ingestion and aspiration of foreign objects pose a common and dangerous problem in young children. It remains one of the leading cause of death in children under the age of 5. Common food items (baby carrots, peanuts, etc.) and household objects (coins, metals, etc.) may lodge in various levels of the airway tract and cause significant obstruction of the airway. Complete obstruction of the airway represents a medical emergency. During such crisis, caretakers may attempt back blows, abdominal thrust, or the Heimlich maneuver to dislodge the inhaled object and reestablish airflow into the lungs.

In the hospital setting, healthcare practitioners will make the diagnosis of foreign body aspiration from the medical history and physical exam findings. In some cases, providers will order chest radiographs, which may show signs of air-trapping in the affected lung. In advanced airway management, the inhaled foreign objects, however, are either removed by using a simple plastic suction device (such as a Yankauer suction tip) or under direct inspection of the airway with a laryngoscope or bronchoscope. If removal is not possible, other surgical methods should be considered.

Supraglottic techniques
Supraglottic techniques use devices that are designed to have the distal tip resting above the level of the glottis when in its final seated position. Supraglottic devices ensure patency of the upper respiratory tract without entry into the trachea by bridging the oral and pharyngeal spaces. There are many methods of subcategorizing this family of devices including route of insertion, absence or presence of a cuff, and anatomic location of the device's distal end. The most commonly used devices are laryngeal masks and supraglottic tubes, such as oropharyngeal (OPA) and nasopharyngeal airways (NPA). In general, features of an ideal supraglottic airway include the ability to bypass the upper airway, produce low airway resistance, allow both positive pressure as well as spontaneous ventilation, protect the respiratory tract from gastric and nasal secretions, be easily inserted by even a nonspecialist, produce high first-time insertion rate, remain in place once in seated position, minimize risk of aspiration, and produce minimal side effects.

A nasopharyngeal airway is a soft rubber or plastic tube that is passed through the nose and into the posterior pharynx. Nasopharyngeal airways are produced in various lengths and diameters to accommodate for gender and anatomical variations. Functionally, the device is gently inserted through a patient's nose after careful lubrication with a viscous lidocaine gel. Successful placement will facilitate spontaneous ventilation, masked ventilation, or machine assisted ventilation with a modified nasopharyngeal airway designed with special attachments at the proximal end. Patients generally tolerate NPAs very well. NPAs are preferred over OPAs when the patient's jaw is clenched or if the patient is semiconscious and cannot tolerate an OPA. NPAs, however, are generally not recommended if there is suspicion of a fracture to the base of the skull. In these circumstances, insertion of the NPA can cause neurological damage by entering the cranium during placement. There is no consensus, however, regarding the risk of neurological damage secondary to a basilar skull fracture compared to hypoxia due to insufficient airway management. Other complications of Nasopharyngeal airways use includes laryngospasm, epistaxis, vomiting, and tissue necrosis with prolonged use. Oropharyngeal airways are curved, rigid plastic devices, inserted into the patient's mouth. Oropharyngeal airways are produced in various lengths and diameters to accommodate for gender and anatomical variations. It is especially useful in patients with excessive tongue and other soft tissues. OPAs prevent airway obstruction by ensuring that the patient's tongue does not obstruct the epiglottis by creating a conduit. Because an oropharyngeal airway can mechanically stimulate the gag reflex, it should only be used in a deeply sedated or unresponsive patient to avoid vomiting and aspiration. Careful attention must be made while inserting an OPA. The user must avoid pushing the tongue further down the patient's throat. This is usually done by inserting the OPA with its curve facing cephalad and rotating it 180 degrees as you enter the posterior pharynx.

Extraglottic devices are another family of supraglottic devices that are inserted through the mouth to sit on top of the larynx. Extraglottic devices are used in the majority of operative procedures performed under general anaesthesia. Compared to a cuffed tracheal tube, extraglottic devices provide less protection against aspiration but are more easily inserted and causes less laryngeal trauma. Limitations of extraglottic devices arise in morbidly obese patients, lengthy surgical procedures, surgery involving the airways, laparoscopic procedures and others due to its bulkier design and inferior ability to prevent aspiration. In these circumstances, endotracheal intubation is generally preferred. The most commonly used extraglottic device is the laryngeal mask airway (LMA). An LMA is a cuffed perilaryngeal sealer that is inserted into the mouth and set over the glottis. Once it is in its seated position, the cuff is inflated. Other variations include devices with oesophageal access ports, so that a separate tube can be inserted from the mouth to the stomach to decompress accumulated gases and drain liquid contents. Other variations of the device can have an endotracheal tube passed through the LMA and into the trachea.

Infraglottic techniques
In contrast to supraglottic devices, infraglottic devices create a conduit between the mouth, passing through the glottis, and into the trachea. There are many infraglottic methods available and the chosen technique is reliant on the accessibility of medical equipment, competence of the clinician and the patient's injury or disease. Tracheal intubation, often simply referred to as intubation, is the placement of a flexible plastic or rubber tube into the trachea to maintain an open airway or to serve as a conduit through which to administer certain drugs. The most widely used route is orotracheal, in which an endotracheal tube is passed through the mouth and vocal apparatus into the trachea. In a nasotracheal procedure, an endotracheal tube is passed through the nose and vocal apparatus into the trachea. Alternatives to standard endotracheal tubes include laryngeal tube and combitube.

Surgical methods
Surgical methods for airway management rely on making a surgical incision below the glottis in order to achieve direct access to the lower respiratory tract, bypassing the upper respiratory tract. Surgical airway management is often performed as a last resort in cases where orotracheal and nasotracheal intubation are impossible or contraindicated. Surgical airway management is also used when a person will need a mechanical ventilator for a longer period. Surgical methods for airway management include cricothyrotomy and tracheostomy.

A cricothyrotomy is an emergency surgical procedure in which an incision is made through the cricothyroid membrane to establish a patent airway during certain life-threatening situations, such as airway obstruction by a foreign body, angioedema, or massive facial trauma. Cricothyrotomy is much easier and quicker to perform than tracheotomy, does not require manipulation of the cervical spine and is associated with fewer immediate complications. Some complications of cricothyrotomy include bleeding, infection, and injury to surrounding skin and soft tissue structures.

A tracheotomy is a surgical procedure in which a surgeon makes incision in the neck and a breathing tube is inserted directly into the trachea. A common reason for performing a tracheotomy includes requiring to be put on a mechanical ventilator for a longer period. The advantages of a tracheotomy include less risk of infection and damage to the trachea during the immediate post-surgical period. Although rare, some long term complications of tracheotomies include tracheal stenosis and tracheoinnominate fistulas.

Cardiopulmonary resuscitation
The optimal method of airway management during CPR is not well established at this time given that the majority of studies on the topic are observational in nature. These studies, however, guide recommendations until prospective, randomized controlled trials are conducted.

Current evidence suggests that for out-of-hospital cardiac arrest, basic airway interventions (head-tilt–chin-lift maneuvers, bag-valve-masking or mouth-to-mouth ventilations, nasopharyngeal and/or oropharyngeal airways) resulted in greater short-term and long-term survival, as well as improved neurological outcomes in comparison to advanced airway interventions (endotracheal intubation, laryngeal mask airway, all types of supraglottic airways (SGA), and trans-tracheal or trans-cricothyroid membrane airways). Given that these are observational studies, caution must be given to the possibility of confounding by indication. That is, patients requiring an advanced airway may have had a poorer prognosis in relation to those requiring basic interventions to begin with.

For the management of in-hospital cardiac arrest however, studies currently support the establishment of an advanced airway. It is well documented that quality chest compressions with minimal interruption result in improved survival. This is suggested to be due, in part, to decreased no-flow-time in which vital organs, including the heart are not adequately perfused. Establishment of an advanced airway (endotracheal tube, laryngeal mask airway) allows for asynchronous ventilation, reducing the no-flow ratio, as compared to the basic airway (bag-valve mask) for which compressions must be paused to adequately ventilate the patient.

Bystanders without medical training who see an individual suddenly collapse should call for help and begin chest compressions immediately. The American Heart Association currently supports "Hands-only" CPR, which advocates chest compressions without rescue breaths for teens or adults. This is to minimize the reluctance to start CPR due to concern for having to provide mouth-to-mouth resuscitation.

Trauma
Airway represents the "A" in the ABC mnemonic for trauma resuscitation.

Management of the airway in trauma can be particularly complicated, and is dependent on the mechanism, location, and severity of injury to the airway and its surrounding tissues. Injuries to the cervical spine, traumatic disruption of the airway itself, edema in the setting of caustic or thermal trauma, and the combative patient are examples of scenarios a provider may need to take into account in assessing the urgency of securing an airway and the means of doing so.

The pre-hospital setting provides unique challenges to management of the airway including tight spaces, neck immobilization, poor lighting, and often the added complexity of attempting procedures during transport. When possible, basic airway management should be prioritized including head-tilt-chin-lift maneuvers, and bag-valve masking. If ineffective, a supraglottic airway can be utilized to aid in oxygenation and maintenance of a patent airway. An oropharyngeal airway is acceptable, however nasopharyngeal airways should be avoided in trauma, particularly if a basilar skull fracture is suspected. Endotracheal intubation carries with it many risks, particularly when paralytics are used, as maintenance of the airway becomes a challenge if intubation fails. It should therefore be attempted by experienced personnel, only when less invasive methods fail or when it is deemed necessary for safe transport of the patient, to reduce risk of failure and the associated increase in morbidity and mortality due to hypoxia. Management of the airway in the emergency department is optimal given the presence of trained personnel from multiple specialties, as well as access to "difficult airway equipment" (videolaryngoscopy, eschmann tracheal tube introducer, fiberoptic bronchoscopy, surgical methods, etc.). Of primary concern is the condition and patency of the maxillofacial structures, larynx, trachea, and bronchi as these are all components of the respiratory tract and failure anywhere along this path may impede ventilation. Excessive facial hair, severe burns, and maxillofacial trauma may prevent acquisition of a good mask seal, rendering bag-valve mask ventilation difficult. Edema of the airway can make laryngoscopy difficult, and therefore in those with suspected thermal burns, intubation is recommended in attempts to quickly secure an airway prior to progression of the swelling. Furthermore, blood and vomitus in the airway may prove visualization of the vocal cords difficult rendering direct and video laryngoscopy, as well as fiberoptic bronchoscopy challenging. Establishment of a surgical airway is challenging in the setting of restricted neck extension (such as in a c-collar), laryngotracheal disruption, or distortion of the anatomy by a penetrating force or hematoma. Tracheotomy in the operating room by trained professionals is recommended over cricothyroidotomy in the case of complete laryngotracheal disruption or children under the age of 12.

title: Airway management


text:
Federal Election Campaign Act

The Federal Election Campaign Act of 1971 (FECA,, et seq.) is the primary United States federal law regulating political campaign fundraising and spending. The law originally focused on creating limits for campaign spending on communication media, adding additional penalties to the criminal code for election law violations, and imposing disclosure requirements for federal political campaigns. The Act was signed into law by President Richard Nixon on February 7, 1972.

In 1974, the act was amended to create the Federal Election Commission (FEC) and to further regulate campaign spending.

The act was amended again in 1976, in response to the provisions ruled unconstitutional by Buckley v. Valeo, including the structure of the FEC and the limits on campaign expenditures, and again in 1979 to allow parties to spend unlimited amounts of hard money on activities like increasing voter turnout and registration. In 1979, the FEC ruled that political parties could spend unregulated or "soft" money for non-federal administrative and party building activities. Later, this money was used for candidate-related issue ads, which led to a substantial increase in soft money contributions and expenditures in elections. This in turn led to passage of the Bipartisan Campaign Reform Act of 2002 ("BCRA"), effective on January 1, 2003, which banned soft money expenditure by parties. Some of the legal limits on giving of "hard money" were also changed by BCRA.

Background
As early as 1905, Theodore Roosevelt argued in favor of campaign finance reform and called for a ban of corporate contributions for political purposes. In response, the United States Congress passed the Tillman Act of 1907, which banned the corporate contributions. Further regulation followed in the Federal Corrupt Practices Act enacted in 1910, and subsequent amendments in 1910 and 1925, the Hatch Act, the Smith–Connally Act of 1943, and the Taft–Hartley Act in 1947. These acts sought to regulate corporate and union spending in campaigns for federal office, and mandated public disclosure of campaign donors.

Legislative history
In 1970, President Nixon vetoed the Political Broadcast Act of 1970, a bill that aimed to establish laws regulating campaign spending on television and radio. President Nixon claimed that the Political Broadcast Act did not sufficiently limit campaign expenditures, noting that it "plugged only one hole in a sieve." This bill was an attempt to regulate election spending, but despite having the necessary membership to override the veto, Senate Democrats did not pass the law without the President's signature. Subsequently, Senator Mike Mansfield introduced S. 382, later to be known as FECA, to the Senate on January 26, 1971 in the 92nd Congress.

The Act was first introduced to the Senate Subcommittee on Communications of the Committee on Commerce on March 2, 1971 by Senator John Pastore. After passing the Senate Committee on Commerce by a vote of 18–0, the Act passed the Senate floor on August 5, 1971 by a vote of 88-2.

In the House, the Act passed on November 30, 1971 by a vote of 372–23. Because the House version was not identical to the Senate version, a conference committee was called. On December 14, 1971, the Senate agreed to the conference report, and on January 19, 1972, the House agreed to the conference report, sending the bill to President Nixon.

Campaign communications
The Act limited campaign expenditures for broadcast media, newspaper advertisement, and telephone calls to $0.10 per voter in the district they're running in when adjusted for inflation using the consumer price index. The Act also limited the amount campaigns could spend on broadcast media to 60% of their total campaign spending limitation. Additionally, the Act required broadcast and non-broadcast media to charge the lowest unit rate for advertisements for all candidates within the 45 days leading up to a primary election and the 60 days leading up to a general election. Despite several debates on the issue, the Act did not repeal Section 315 of the Communications Act of 1934, a requirement that media companies offer equal broadcast time to candidates for federal office.

Criminal code amendments
Promises of rewards or gifts were prohibited under FECA, meaning that a candidate for office could not offer employment or other benefits in exchange for donations or other forms of political aid. The Act also placed a cap on the amount a candidate could spend of their own money on their campaign at $50,000 for Presidential and Vice Presidential candidates, $35,000 for Senate candidates, and $25,000 for candidates for the House of Representatives.

Violations of the policies outlined in the Act carried fines of up to $1,000 and up to one year of imprisonment, or both.

Disclosure requirements
The Act required candidates for federal office to disclose the expenditures they made and contributions they received if those amounts totaled more than $100. Candidates were also required to disclose the structure and membership of their political committees if they intended to receive and spend more than $1,000 during a calendar year. Political committees were required to keep track of the name, occupation, address, and amount that any person contributes if that amount exceeded $10. Additionally, the Act outlawed making contributions in the name of another person or knowingly accepting contributions that are being made in the name of another person.

Reports were to be sent to the Comptroller General of the Government Accountability Office for Presidential elections, the Secretary of the Senate for Senatorial elections, and the Clerk of the House for House of Representatives elections. Candidates were also required to report finances to the Secretary of State's office in the state they are running for elected office in.

1974 amendments
Following the 1972 Presidential election, Congress amended the FECA in 1974 to set limits on contributions by individuals, political parties and PACs. The 1974 amendments also established an independent agency, the Federal Election Commission (FEC) to enforce the law, facilitate disclosure and administer the public funding program. The FEC commenced in 1975 and administered the first publicly funded presidential election in 1976.

In 1976, the Supreme Court in Buckley v. Valeo struck down several key provisions of the 1974 amendments, including limits on spending by candidate campaigns, limits on the ability of citizens to spend money independently of a campaign, and limits on the amount of money a candidate could donate to his or her own campaign. The case also substantially narrowed the category of independent political expenditures subject to mandatory donor disclosure.

1976 and 1979 amendments
Further amendments to the FECA were made in 1976 to conform the law with the ruling in Buckley v. Valeo. Major amendments were also made in 1979 to streamline the disclosure process and expand the role of political parties.

2002 amendments
In 2002, major revisions to the FECA were made by the Bipartisan Campaign Reform Act, more commonly referred to as "McCain–Feingold." However, major portions of McCain-Feingold were struck down by the Supreme Court on constitutional grounds in Federal Election Commission v. Wisconsin Right to Life, Inc. (2007), Davis v. Federal Election Commission (2008) and Citizens United v. Federal Election Commission (2010). The Citizens United ruling also struck down FECA's complete ban on corporate and union independent spending, originally passed as part of the Taft–Hartley Act in 1947.

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

title: Federal Election Campaign Act


text:
Template talk:R from other capitalisation

Title
The use of "alternate" for "another", "different" or "alternative" is wrong. This page needs to be renamed. — Chameleon 13:00, 17 May 2004 (UTC)

 * It's the terminology used on the main page on the subject. -- User:Docu

 * I was referring about the main page on the subject, not this talk page. Wake up.  — Chameleon 11:46, 1 Jun 2004 (UTC)

 * I'll be renaming this page within a week unless someone can put forward arguments for alternate being better than the correct alternative or other. — Chameleon 09:21, 4 Jun 2004 (UTC)

This page (as well as the category) should use "from" instead of "for", like the other redirect templates. ··gracefool |☺ 08:12, 16 Jun 2005 (UTC)

 * No problem for this one, so I moved it to . I used "other" instead of "alternative" as the later (and "alternate") seem to create lengthy discussions. -- User:Docu
 * I always thought the answer to that was "alternative" is a noun and "alternate" is not. But "other" is indeed less ambiguous.  --Stratadrake 22:29, 2 January 2007 (UTC)

2005 August TfD

 * This template was listed on templates for deletion, but there was no consensus to delete. See the log. (archive entry) Courtland 01:02, 3 September 2005 (UTC)

Duplicate templates...
So how did we end up with eight templates saying the exact thing? It's misleading to say that any one of them redirects to another when this is the case, and couldn't we establish redirects without causing recursion issues? --Stratadrake 22:27, 2 January 2007 (UTC)

 * Don't know about then, now this may be it. There are about 20 redirects to this template currently (r alt caps; R from alternate caps; R from alternative caps; etc.) -MornMore (talk) 10:01, 20 November 2009 (UTC)

Request for category modification
Hello! As you can tell if you browse through, they've been thinned out into a bunch of subcategories for a while. In keeping with this, whenever someone can get around to it, I'd like for this template to be placed in the following categories: (with a sort key like "Capitalisation") and (with no sort key whatsoever). It should also be removed from. Thanks! $$\sim$$ Lenoxus " * " 02:05, 24 May 2008 (UTC)
 * ✅ I moved the categories to the doc page, so you can edit them at your own will now. Let me know if you need other changes made to the template.  --CapitalR (talk) 17:42, 24 May 2008 (UTC)
 * Thanks! Now I have a question... Why does the documentation put the template into the categories and  (the ones that it sorts tagged redirects into)? I've seen this elsewhere, but it doesn't quite make sense to me... $$\sim$$ Lenoxus " * " 18:29, 24 May 2008 (UTC)

One of the below templates?
The template contains the sentence "Apply one of the below templates to redirects created for this purpose." What does this refer to? Please explain, or preferable, clarify the text so that mortal being like myself can understand it. -- Jitse Niesen (talk) 16:55, 10 August 2008 (UTC)

It leads to the title in accordance with the Wikipedia naming conventions for capitalisation?
Maybe someday, but for now Wikipedia remains a work in progress, and we still have many pages under non-standard titles, including cases where the title in accordance with the Wikipedia naming conventions for capitalisation unfortunately redirects to an incorrect title. Until we believe that we have completed the task of fixing these, I would prefer that the template text not give undue legitimacy to the status quo. Thank you - Walrus heart (talk) 17:14, 15 April 2009 (UTC)

Associated category up for CSD
The category linked to this template is currently up for deletion here. If anyone from here has anything to add to the discussion, especially if anyone can provide original or current purposes that the category and/or template serve, the input would be greatly appreciated. - TexasAndroid (talk) 13:46, 4 May 2009 (UTC)

Spelling error
The word "capitalisation" is an incorrect spelling. The word is "capitalization." Can we correct this? --JohnDoe0007 (talk) 13:13, 23 May 20
 * capitalisation. So no. Rich Farmbrough, 05:57, 30 May 2009 (UTC).
 * One of those cases where those of us with US-only spellcheckers get caught. *sighs and hits "Add to dictionary" in his browser*.  --Philosopher Let us reason together. 06:21, 30 May 2009 (UTC)

Creating redirects with bot
Please, check this Bots/Requests for approval/BOTijo 2 (again). emijrp (talk) 15:46, 25 June 2009 (UTC)

Edit request from Ost316, 10 August 2011
Change categorization of printworthiness from " " to "  " to allow flagging valid alternate capitalizations as is done on R from plural. The auto-categorization as unprintworthy was also brought up above. —Ost (talk) 19:04, 10 August 2011 (UTC)
 * Done. Ucucha (talk) 21:06, 11 August 2011 (UTC)

Request for multiple edits: Interwiki link hack
This request is for the five template pages listed below. Please prefix links with, and use a piped link when appropriate, in the following redirect templates, similar to [ my change to “Template:R from short name”]. See WT:Template messages/Redirect pages for background and aborted version of this edit request. This is a workaround for 7304. Vadmium (talk) 02:35, 11 August 2011 (UTC).
 * Template:R from other capitalisation: 2 links
 * alternative spelling: 2 links
 * historic name: 3 links
 * to list entry: 3 links; use Further instead of See
 * surname: 1 link
 * All done. Ucucha (talk) 21:02, 11 August 2011 (UTC)

What are the Wikipedia naming conventions for capitalization?
As the template says, the page that uses the template leads to the title of the same page page in accordance with the Wikipedia naming conventions for capitalization. But what are those naming conventions? That should be clear from the text that is inserted, or a link to a list of such conventions should be given.

For example, the page Learning vector quantization redirects to Learning Vector Quantization, as it claims that the latter is better capitalization, but it does not say which naming convention is used to determine that. Most other articles for scientific methods are not capitalized in this way, and I feel that this article is being inconsistent in that way. If possible, I would like to delete the redirect page in order to be able to make a move on the article and change the capitalization to make it consistent. —Kri (talk) 17:26, 15 February 2014 (UTC)
 * The naming conventions are at Wikipedia:Manual of Style/Capital letters (MOS:CAPS). Adding a link to this template seems like a good idea to me. As learning vector quantization is not a proper name, the title has been corrected to lower case. Wbm1058 (talk) 13:42, 9 March 2014 (UTC)
 * But the hatnote at MOS:CAPS says For the style guideline on capitalization in article titles, see Naming conventions (capitalization).
 * This template populates Category:Redirects from other capitalisations, which says: "The pages in this category are redirects from alternative capitalisation, per Naming conventions (capitalization)". Wbm1058 (talk) 13:52, 10 March 2014 (UTC)

✅ – I updated the template to add a link to the Wikipedia naming conventions for capitalization. Wbm1058 (talk) 15:00, 10 March 2014 (UTC)

Code cleanup
I've compressed the code a lot, at. Compare it [//en.wikipedia.org/w/index.php?title=Template:R_from_other_capitalisation&oldid=622560963&action=edit before] and after. Big enough change it's worth sandboxing this and seeing if anyone detects an error in it. Seems to work fine for me. — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  05:28, 24 August 2014 (UTC)
 * The only "error" I detected was that there were two category links. This was easily fixed by a parser function in the   parameter.  Pretty impressive!  Things to consider might be that the sandbox code also subdues the text that follows the first sentence whenever   or   is filled.  That text would still apply even if not subdued and, in my humble opinion, is needed.  I would also want to include a second unnamed parameter to coincide with the   and   named parameters.  That would make this functionality work when this rcat is called by the  template by use of its   parameter.  The only other thing I can think of right now is that  was designed to be used twice in each rcat, and while this interesting method of using only the one instance of the template with "embeds" strategically inserted where needed may be functional, it might be something we would want to consider very carefully before implementation. –   Paine Ellsworth   C LIMAX ! 08:50, 15 October 2014 (UTC)

Code fix
The code has been repaired – there were two primary problems and one secondary one: All fixed. –  Paine Ellsworth   C LIMAX ! 06:24, 15 October 2014 (UTC)
 * The code left a superfluous "(space)to(space)" at the end of the first sentence when either the "of=" or "reason=" parameter was used,
 * the code subdued critical text when either the "of=" or "reason=" parameter was used, and the secondary issue that
 * this "of/reason" functionality was not able to be deployed when this rcat used the This is a redirect template to tag redirects.
 * Is this in reference to my sandbox code, or the "live" template?  — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  15:55, 15 October 2014 (UTC)
 * Forgive me for my lack of clarity – this describes what I did to the live template. The only thing I fixed in the sandbox was the double link to the category.  It all works fine except for the considerations I noted above. –   Paine    18:35, 15 October 2014 (UTC)

Can redirects to sections qualify as other capitalization?
See specifically and previous discussion at User talk:Senator2029. Senator2029's response suggests that any relevant template documentation needs to make our decision explicit.

(I disagree somewhat with the redirect being unprintworthy, because all the links coming from would make the impression that we don't care about cleaning up unprintworthy redirects. Also, I don't see where the capitalized "Identifier" is declared officially incorrect; on the other hand, this section of PubMed's official FAQ does capitalize "Identifier." But I digress.) --SoledadKabocha (talk) 18:36, 19 November 2014 (UTC)

Template-protected edit request on 9 September 2015
Replace "different" with "other" to match Template:R from plural and Template:R to plural.

GeoffreyT2000 (talk) 04:39, 9 September 2015 (UTC)
 * Yes check.svg Done — Mr. Stradivarius  ♪ talk ♪ 04:49, 9 September 2015 (UTC)

Template-protected edit request on 27 November 2016
Replace "Miscapitisations" (typo, I checked Wiktionary) with "Miscapitalisations".

Mihirpmehta (talk) 18:28, 27 November 2016 (UTC)
 * ✅ — xaosflux  Talk 04:18, 28 November 2016 (UTC)

Twinkle namespace integration bug
See https://github.com/wikimedia-gadgets/twinkle/issues/1459. {{u| Sdkb  }}  talk 19:47, 15 November 2021 (UTC)

Template-protected edit request on 18 February 2022
This template should be updated to take a parameter that indicates the other capitalization, if the other capitalization is not the same as the target page's title, analogous to R from miscapitalization. This is useful on redirects that are R from avoided double redirects (to be used in tandem with that template). Mdewman6 (talk) 02:28, 18 February 2022 (UTC)
 * There is an of, aka reason, parameter already in this template similar to what is in the miscap rcat template. What am I missing?...
 * –  P.I. Ellsworth  - ed.  put'r there 04:53, 18 February 2022 (UTC)
 * , I'm not sure, templates aren't really my thing. With the miscap template, putting another page name (the redirect with other capitalization) after a pipe will cause the resulting text on the redirect page to say what the miscapitalization is. With this template, nothing changes if there is text after a pipe added. Perhaps there needs to be some additional text along with it for it work here, but it's been streamlined at with the code of the miscap template? Thanks, Mdewman6 (talk) 06:56, 18 February 2022 (UTC)
 * the two rcat templates, miscaps and other caps, are just designed a little differently. In miscaps, the first parameter, which can be used two ways, either with (text) or just, will render the "(text)". In this rcat template the first parameter is used by the printworthy to sort the redirect to the  category. That is why in this template, to show the (text) you want to display, you just type   or, since the (text) in this rcat is also rendered by the second parameter, 2, you can either type   or just two pipes, as in  . Two pipes together like that indicate an empty parameter between the pipes. So to summarize, with the other caps template, the easiest way to do what you want to do is type two pipes instead of one pipe. Example: . Hope this helps, and thank you very much for your edits!  P.I. Ellsworth  -  ed.  put'r there 11:07, 18 February 2022 (UTC)
 * the two rcat templates, miscaps and other caps, are just designed a little differently. In miscaps, the first parameter, which can be used two ways, either with (text) or just, will render the "(text)". In this rcat template the first parameter is used by the printworthy to sort the redirect to the  category. That is why in this template, to show the (text) you want to display, you just type   or, since the (text) in this rcat is also rendered by the second parameter, 2, you can either type   or just two pipes, as in  . Two pipes together like that indicate an empty parameter between the pipes. So to summarize, with the other caps template, the easiest way to do what you want to do is type two pipes instead of one pipe. Example: . Hope this helps, and thank you very much for your edits!  P.I. Ellsworth  -  ed.  put'r there 11:07, 18 February 2022 (UTC)

Discussion at Template talk:R from miscapitalisation § Template intent
You are invited to join the discussion at Template talk:R from miscapitalisation § Template intent.  When should the miscapitalisation template be used? —Bagumba (talk) 06:40, 22 March 2024 (UTC)

"Template:R ac" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Template:R_ac&redirect=no Template:R ac] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. jlwoodwa (talk) 20:23, 10 May 2024 (UTC)


text:
The Times They Are a-Changin' (Bob Dylan album)

The Times They Are a-Changin' is the third studio album by the American singer-songwriter Bob Dylan. It was released on February 10, 1964, through Columbia Records. Whereas his previous albums, Bob Dylan and The Freewheelin' Bob Dylan, combined original material and cover songs, this was the  first to feature only original compositions. The album consists mostly of stark, sparsely arranged ballads concerning issues such as racism, poverty, and social change. The title track is one of Dylan's most famous; many feel that it captures the spirit of social and political upheaval that characterized the 1960s.

Some critics and fans were not quite as taken with the album as a whole, relative to his previous work, for its lack of humor or musical diversity. Still, The Times They Are a-Changin' peaked at No. 20 on the US chart, eventually going gold, and belatedly reaching No. 4 in the UK in 1965.

Recording sessions
Dylan began work on his third album on August 6, 1963, at Columbia's Studio A, located at 799 Seventh Avenue in New York City. Once again, Tom Wilson was the producer for the entire album. Dylan had, by the time of recording, become a popular, influential cultural figure.

Eight songs were recorded during that first session, but only one recording of "North Country Blues" was ultimately deemed usable and set aside as the master take. A master take of "Seven Curses" was also recorded, but it was left out of the final album sequence.

Another session at Studio A was held the following day, this time yielding master takes for four songs: "Ballad of Hollis Brown", "With God on Our Side", "Only a Pawn in Their Game", and "Boots of Spanish Leather", all of which were later included on the final album sequence.

A third session was held in Studio A on August 12, but nothing from this session was deemed usable. However, three recordings taken from the third session eventually saw official release: "master" takes of "Paths of Victory," "Moonshine Blues," and "Only a Hobo" were all included on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 released in 1991. In 2013, "Eternal Circle" (Take 4), "Hero Blues" was included in the 1963 entry of The 50th Anniversary Collection 1963.

Sessions did not resume for more than two months. During the interim, Dylan toured briefly with Joan Baez, performing a number of key concerts that raised his profile in the media. When Dylan returned to Studio A on October 23, he had six more original compositions ready for recording. Master takes for "The Lonesome Death of Hattie Carroll" and "When the Ship Comes In" were both culled from the October 23 session. A master take for "Percy's Song" was also recorded, but it was ultimately set aside and was not officially released until Biograph in 1985. An alternate take on "Percy's Song," a "That's All Right" (Arthur Crudup)/"Sally Free and Easy" (Cyril Tawney) medley and "East Laredo Blues" were released in 2013 on the 1963 entry of The 50th Anniversary Collection.

Another session was held the following day, October 24. Master takes of "The Times They Are a-Changin'" and "One Too Many Mornings" were recorded and later included in the final album sequence. A master take for "Lay Down Your Weary Tune" was also recorded, but ultimately left out of the final album; it was eventually released on Biograph. Two more outtakes, "Eternal Circle" and "Suze (The Cough Song)", were later issued on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. A final outtake, "New Orleans Rag", was released in 2013 on "The 50th Anniversary Collection".

The sixth and final session for The Times They Are a-Changin' was held on October 31, 1963. The entire session focused on one song — "Restless Farewell"— whose melody is taken from an Irish-Scots folk song, "The Parting Glass", and it produced a master take that ultimately closed the album.

Songs
The Times They Are a-Changin' opens with the title track, one of Dylan's most famous songs. Dylan's friend, Tony Glover, recalls visiting Dylan's apartment in September 1963, where he saw a number of song manuscripts and poems lying on a table. "The Times They Are a-Changin'" had yet to be recorded, but Glover saw its early manuscript. After reading the words "come senators, congressmen, please heed the call", Glover reportedly asked Dylan: "What is this shit, man?", to which Dylan responded, "Well, you know, it seems to be what the people like to hear".

Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe: "This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads … 'Come All Ye Bold Highway Men', 'Come All Ye Tender Hearted Maidens'. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close for a while and allied together at that time."

The climactic lines of the final verse: "The order is rapidly fadin'/ And the first one now/ Will later be last/ For the times they are a-changin'" have a Biblical ring, and several critics have connected them with lines in the Gospel of Mark, 10:31, "But many that are first shall be last, and the last first."

A self-conscious protest song, it is often viewed as a reflection of the generation gap and of the political divide marking American culture in the 1960s. Dylan, however, disputed this interpretation in 1964, saying "Those were the only words I could find to separate aliveness from deadness. It had nothing to do with age." A year later, Dylan would say: "I can't really say that adults don't understand young people any more than you can say big fishes don't understand little fishes. I didn't mean "The Times They Are a-Changin'" as a statement … It's a feeling."

"Ballad of Hollis Brown" was originally recorded for Dylan's previous album, The Freewheelin' Bob Dylan. That version was rejected and the song was eventually re-recorded for The Times They Are a-Changin'. Described by Clinton Heylin as a "'tragic tale of independence and free will' culled from the folk idiom", it is a grim, rural Gothic story of a father killing his starving family ("There's seven people dead on a South Dakota farm").

"With God on Our Side" was first performed at New York's Town Hall on April 12, 1963 (which also happened to be Dylan's debut appearance at that venue). Although Dylan claims it is an original composition, the melody to "With God on Our Side" bears a striking resemblance to "The Patriot Game", the lyrics of which were written by Dominic Behan and the melody borrowed from the traditional Irish folk song, "The Merry Month of May". Behan called Dylan a plagiarist and a thief, in an attempt to goad Dylan into a lawsuit; Dylan made no response. "The Patriot Game" was originally introduced to Dylan by Scottish folk singer Nigel Denver. Scottish songwriter Jim McLean recalls Dylan asking him in late 1962: "'What does it mean, 'Patriot Game'?'... I explained—probably lectured him—about Dr. Johnson, who's one of Dominic's favourite writers, and that's where Dominic picked up [the] saying: 'Patriotism is the last refuge of a scoundrel.'" Music critic Tim Riley writes: "'With God on Our Side" manages to voice political savvy mixed with generational naiveté" as it "draws the line for those born long enough after World War I to find its issues blurry ('the reasons for fightin'/I never did get') and who view the forgiveness of the World War II Germans as a farce."

Dylan follows "With God on Our Side" with a soft, understated ballad: "One Too Many Mornings". "It's the sound of someone too smitten by love to harbor regrets, grown too independent to consider a reunion," writes Riley. One of the more celebrated songs on The Times They Are a-Changin', Dylan would dramatically rearrange it on his legendary 1966 concert tour for a full electric band.

"North Country Blues" tells the story of a mining company's decision to outsource its operations to countries where labor costs are cheaper than in the U.S.A. ("It's much cheaper down in the South American towns/Where the miners work almost for nothing".) The song marks the first time Dylan wrote a narrative from the point of view of a woman: the ex-wife of a miner whose work has disappeared. This song has been described by many critics as Dylan's portrait of his hometown, Hibbing, Minnesota.

Dylan first performed "Only a Pawn in Their Game" at a voter registration rally in Greenwood, Mississippi. The song refers to the murder of Medgar Evers, who was the Mississippi leader of the NAACP. Civil rights activist Bernice Johnson would later tell critic Robert Shelton that "'Pawn' was the very first song that showed the poor white was as victimized by discrimination as the poor black. The Greenwood people didn't know that Pete [Seeger], Theo[dore Bikel] and Bobby [Dylan] were well known. (Seeger and Bikel were also present at the registration rally.) They were just happy to be getting support. But they really like Dylan down there in the cotton country."

The melody for "Boots of Spanish Leather" was inspired by Martin Carthy's arrangement of the English folksong "Scarborough Fair" (also the melody of an earlier Dylan composition, "Girl from the North Country"). Dylan learned Carthy's arrangement during his first trip to England in late 1962. After finishing his obligations in England (including a brief appearance in a BBC drama, Madhouse on Castle Street), Dylan traveled to Italy looking for his girlfriend, Suze Rotolo, apparently unaware that she had already returned to America (reportedly the same time Dylan left for England). While in Italy, Dylan created an early draft of "Boots of Spanish Leather". Salon.com critic Bill Wyman called the song "an abstract classic and one of the purest, most confounding folk songs of the time".

According to Dylan biographer Clinton Heylin, "When the Ship Comes In" was written in August 1963 "in a fit of pique, in a hotel room, after his unkempt appearance had led an impertinent hotel clerk to refuse him admission until his companion, Joan Baez, had vouched for his good character." Heylin speculates that "Jenny's Song" from Brecht and Weill's Threepenny Opera was also an inspiration: "As Pirate Jenny dreams of the destruction of all her enemies by a mysterious ship, so Dylan envisages the neophobes being swept aside in 'the hour when the ship comes in'." Dylan's former girlfriend Suze Rotolo recalls that her "interest in Brecht was certainly an influence on him. I was working for the Circle in the Square Theatre and he came to listen all the time. He was very affected by the song that Lotte Lenya's known for, 'Pirate Jenny'."

"The Lonesome Death of Hattie Carroll" tells the story of a hotel barmaid who died after being struck by a wealthy white man. The song was inspired by Dylan's reading a newspaper account of the incident which took place in a hotel in Maryland, in February 1963.

The closing song of the album, "Restless Farewell" takes its melody from the traditional Irish-Scots song "The Parting Glass". Dylan's lyrics have an edge due to the way that Newsweek had treated Dylan. In a profile of the singer, published in October 1963, Dylan was portrayed as someone who had lied about his middle-class origins. Furthermore, it was implied that Dylan had plagiarised the lyrics of his best-known composition, "Blowin' in the Wind". Stung by these untrue allegations, Dylan composed a song about the pain of having "the dust of rumor" flung in his eyes. He swiftly recorded the work a few days after the Newsweek profile appeared on October 31, 1963. The album ends with Dylan's vow "I'll make my stand/ And remain as I am/ And bid farewell and not give a damn".

Outtakes
The sessions for The Times They Are a-Changin' produced a large surplus of songs, many of which were eventually issued on later compilations. According to Clinton Heylin, "perhaps the two best songs, 'Percy's Song' and 'Lay Down Your Weary Tune', would not make the final album, failing to fit within the narrow bounds Dylan had decided to impose on himself."

"'Lay Down Your Weary Tune' ... along with 'Eternal Circle' ... marked a new phase in Dylan's songwriting", writes Heylin. "It is the all-important link between the clipped symbolism of 'A Hard Rain's a-Gonna Fall' and the more self-conscious efforts to come the following year. A celebration of song itself, 'Lay Down Your Weary Tune' was also an admission that there were certain songs 'no voice can hope to hum'."

Riley describes "Lay Down Your Weary Tune" as "a hymn to music's instrumental spectrum ... it's about the heightened awareness of nature and reality available to performer and listener in the course of a highly charged musical experience". The song is also rich in natural imagery, often in surreal, musical terms ("The cryin' rain like a trumpet sang/And asked for no applause"). Steven Goldberg writes that the song depicts nature "not as a manifestation of God but as containing God within its every aspect". The Byrds released their own celebrated version of "Lay Down Your Weary Tune" in 1965 on their critically acclaimed second album, ''Turn! Turn! Turn!''

"Percy's Song" is sung from the point of view of a man who visits a judge in a futile, last-ditch attempt to save his friend from a severe prison sentence. It is based on a tune taken from "The Wind and the Rain", a song introduced to Dylan by Paul Clayton. "'Percy's Song', along with ... 'Seven Curses' and 'Moonshine Blues', showed that Dylan's command of traditional themes, housed in traditional melodies, remained undiminished by the topicality of other efforts", writes Heylin. Fairport Convention recorded their own celebrated rendition of "Percy's Song" on their critically acclaimed third album, Unhalfbricking.

Written sometime in late 1962 or early 1963, "Only a Hobo" was also recorded during these sessions but ultimately set aside. Described by Heylin as "a superior reworking of [Dylan's earlier composition] 'Man on the Street' that took as its source the 'Poor Miner's Lament'", the song is sung from the point of view of a sympathetic narrator who stumbles upon a homeless man lying dead in a gutter. Rod Stewart later released his own celebrated version of "Only a Hobo" on the critically acclaimed Gasoline Alley in 1970. Dylan himself re-recorded "Only a Hobo" for Bob Dylan's Greatest Hits Vol. II, only to reject that version as well. He eventually released his own version in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

Dylan also recorded demo versions for publishing purposes of several songs on the album. The demos, recorded for his first two publishing companies, Leeds Music and M. Witmark & Sons, were available for many years as bootlegs and were officially released by Columbia Records in October 2010 on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964.

Legacy
On October 26, 1963, three days after recording the final song for The Times They Are a-Changin', Dylan held a concert at New York's Carnegie Hall. That night, he performed eight songs from his forthcoming third album, as well as several outtakes from the same album sessions (including "Percy's Song", "Seven Curses", and "Lay Down Your Weary Tune"). Columbia recorded the entire concert, but it was decades before a substantial portion of it was officially released (in fact to date the concert in its entirety has not been released). Nevertheless, the performance was well received by the press and audience alike.

A month later, on November 22, 1963, President John F. Kennedy was assassinated in Dallas, Texas. Dylan's friend Bob Fass was sitting with Dylan in Carla Rotolo's apartment the day of the shooting. According to Fass, Dylan was deeply affected by it and said: "What it means is that they are trying to tell you 'Don't even hope to change things'." Dylan later claimed that Kennedy's death did not directly inspire any of his songs, but in a manuscript written shortly after the assassination, he wrote: "it is useless to recall the day once more." In another, he repeatedly wrote: "there is no right or left there is only up and down."

Three weeks to the day after Kennedy's assassination, the Emergency Civil Liberties Committee gave Dylan their annual Tom Paine award for his contribution to the civil rights movement. Dylan gave an acceptance speech at the awards ceremony held at Hotel Americana in New York. In his closing remarks, he stated the following: "I want to accept this award, the Tom Paine Award, from the Emergency Civil Liberties Committee. I want to accept it in my name but I'm not really accepting it in my name and I'm not accepting it in any kind of group's name, any Negro group or any other kind of group. There are Negroes - I was on the march on Washington up on the platform and I looked around at all the Negroes there and I didn't see any Negroes that looked like none of my friends. My friends don't wear suits. My friends don't have to wear suits. My friends don't have to wear any kind of thing to prove that they're respectable Negroes. My friends are my friends, and they're kind, gentle people if they're my friends. And I'm not going to try to push nothing over. So, I accept this reward - not reward, (Laughter) award in behalf of Phillip Luce who led the group to Cuba which all people should go down to Cuba. I don't see why anybody can't go to Cuba. I don't see what's going to hurt by going any place. I don't know what's going to hurt anybody's eyes to see anything. On the other hand, Phillip is a friend of mine who went to Cuba. I'll stand up and to get uncompromisable about it, which I have to be to be honest, I just got to be, as I got to admit that the man who shot President Kennedy, Lee Oswald, I don't know exactly where … what he thought he was doing, but I got to admit honestly that I too - I saw some of myself in him. I don't think it would have gone - I don't think it could go that far. But I got to stand up and say I saw things that he felt, in me - not to go that far and shoot. (Boos and hisses) You can boo but booing's got nothing to do with it. It's a - I just a - I've got to tell you, man, it's Bill of Rights is free speech and I just want to admit that I accept this Tom Paine Award in behalf of James Forman of the Students Non-Violent Coordinating Committee and on behalf of the people who went to Cuba." (Followed by applause and boos)

It was voted number 378 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).

Clinton Heylin wrote: "in less than six months [Dylan] had turned full circle from the protest singer who baited Paul Nelson into someone determined to write only songs that 'speak for me' … Dylan's ambitions as a writer for the page … may have been further fed at the end of December when he met renowned beat poet Allen Ginsberg, author of Howl and Kaddish." Dylan was already familiar with Ginsberg's work. By now, beat poetry and French symbolists had become an enormous influence on Dylan's work, as Dylan "passed from immediate folk sources to a polychrome of literary styles". In an interview taken in 1985, Dylan said that he didn't start writing poetry until he was out of high school: "I was eighteen or so when I discovered Ginsberg, Gary Snyder, Philip Whalen, Frank O'Hara and those guys. Then I went back and started reading the French guys, Rimbaud and François Villon."

Many critics took note of the stark pessimism on The Times They Are a-Changin', which NPR's Tim Riley later described as "'Masters of War' stretched out into a concept album" due to its "social preening and black-and-white moralism".

By the time the album was released in February 1964, Dylan was already entering a new phase in his career, pulling further away from his popular image as a protest singer.

The album was re-released in 2010 with new liner notes by Greil Marcus.

In popular culture
In 1994, Dylan licensed "The Times They Are a-Changin'" to be used in an advertisement for the auditing and accountancy firm Coopers & Lybrand, as performed by Richie Havens. Two years later, in 1996, a version of the song by Pete Seeger was used in a TV advertisement for the Bank of Montreal. This song was also used as the background track to the opening montage in the movie Watchmen.

The album and the song are mentioned in writer Walter Isaacson's biography of Steve Jobs, as works of Dylan that were particularly meaningful to Jobs, the song is also referenced in the movie, where Jobs and John Sculley debate what lyrics of the song to use in the unveiling of the Macintosh.

Personnel

 * Bob Dylan – vocals, acoustic guitar, harmonica
 * Tom Wilson – production


text:
Wikipedia:Articles for deletion/OpenGL

I'll ask again. Do we really want articles on subroutines? RickK 20:44, 16 May 2004 (UTC)

 * Wikipedia is not (should not be) an API reference. Delete -- Cyrius|&#9998 21:27, May 16, 2004 (UTC)
 * We don't want you vandalizing Wikipedia. Btw, GL_QUADS is a data type and fbdevhw is a module. It's ok that you don't know that but don't take out your anger on us. Eric B. and Rakim 21:56, 16 May 2004 (UTC)
 * Have you considered starting a book about OpenGL programming at Wikibooks? That would be a completely appropriate place for this kind of data. Fredrik 00:00, 17 May 2004 (UTC)
 * I find it very patronizing of you to tell us what to do. Why don't you go to Wikibooks delete page (if there is one) and waste your breath there? Eric B. and Rakim 17:39, 17 May 2004 (UTC)~
 * I find it very patronizing of you to tell us how to create an encyclopedia. RickK 22:52, 17 May 2004 (UTC)
 * When Eric B. and Rakim speak in the plural possessive, they are apparently speaking about the two authors responding together to Wikipedia's solicitation for literary donations. When you speak in the plural possessive, RickK, who are you speaking for? Who elected you? You are about the top Wikipunk of the year so far, RickK, and that is all you are. Bele 04:03, 20 May 2004 (UTC)
 * He's at the very least speaking for me. Now, whose sockpuppet are you? Fredrik 22:26, 20 May 2004 (UTC)
 * We're not telling you how to create an encyclopedia. We're creating the articles by ourself. We just wish that people like you would stop interfering. Eric B. and Rakim 00:31, 18 May 2004 (UTC)
 * Comment: You might also want to review the policy on personal attacks, as might several other VfD contributors. Vandalizing? But you're not the only one to argue this way recently by any means. Andrewa 04:17, 17 May 2004 (UTC)
 * Delete, all of them. The chances that someone would want to look these particular items up in Wikipedia are slim. The articles themselves are stubby and shallow and provide no insight that could not be better obtained through a standard OpenGL reference. Dpbsmith 22:07, 16 May 2004 (UTC)
 * I agree with Fredrik, wikibooks would be appropriate. --Starx 01:35, 17 May 2004 (UTC)
 * I know little about Wikibooks, but that would seem a more appropriate location. Isomorphic 02:00, 17 May 2004 (UTC)
 * Move to Wikibooks and delete. This is not encyclopedia material. Eric B. and Rakim - grow up. Screaming "vandal!" at people who are just trying to help get your material moved to the best place for it isn't endearing you to anyone. --Stormie 06:33, May 17, 2004 (UTC)
 * We're grown up enough thankyouverymuch. And maybe you can enlighten us if there really is another word to describe those who tries to destroy your work because they are ignorant than "vandals"? Eric B. and Rakim 17:39, 17 May 2004 (UTC)
 * Delete: not suitable for Wikipedia. Why not try something like this at, say, opengl.org? Since there already exists a lot of documentation on OpenGL, it doesn't seem very useful to start a new documentation project at Wikibooks. Wile E. Heresiarch 18:18, 17 May 2004 (UTC)
 * Delete all. We tried. Until they read the doco, they're unlikely to contribute anything worthwhile. This applies both to Wikipedia policies on what is wanted both in the article namespace and here on VfD, and to the existing user guides for the subjects on which they wish to contribute. I also note that these seem to be the same guys who contributed and then rudely defended the Ballerium Wikispam. Food for thought? Andrewa 19:21, 17 May 2004 (UTC)
 * Merge with OpenGL and delete. Keeping these itty-bitty highly-specialized niblets as standalone articles is not fundamentally different from keeping all those silly StarCraft game units lying around. Denni 21:38, 2004 May 18 (UTC)
 * Delete. Wikipedia is not Eric/Rakim's programming reference. JFW | T@lk  23:42, 18 May 2004 (UTC)
 * I think they're not suitable for Wikipedia but for Wikibooks, too. Copy to Wikibooks and delete from Wikipedia is best solution. ja.PiaCarrot 13:15, 2004 May 21 (UTC)

title: Wikipedia:Articles for deletion/OpenGL


text:
Visualization (graphics)

Visualization (or visualisation (see spelling differences)), also known as Graphics Visualization, is any technique for creating images, diagrams, or animations to communicate a message. Visualization through visual imagery has been an effective way to communicate both abstract and concrete ideas since the dawn of humanity. from history include cave paintings, Egyptian hieroglyphs, Greek geometry, and Leonardo da Vinci's revolutionary methods of technical drawing for engineering purposes that actively involve scientific requirements.

Visualization today has ever-expanding applications in science, education, engineering (e.g., product visualization), interactive multimedia, medicine, etc. Typical of a visualization application is the field of computer graphics. The invention of computer graphics (and 3D computer graphics) may be the most important development in visualization since the invention of central perspective in the Renaissance period. The development of animation also helped advance visualization.

Overview

The use of visualization to present information is not a new phenomenon. It has been used in maps, scientific drawings, and data plots for over a thousand years. Examples from cartography include Ptolemy's Geographia (2nd century AD), a map of China (1137 AD), and Minard's map (1861) of Napoleon's invasion of Russia a century and a half ago. Most of the concepts learned in devising these images carry over in a straightforward manner to computer visualization. Edward Tufte has written three critically acclaimed books that explain many of these principles.

Computer graphics has from its beginning been used to study scientific problems. However, in its early days the lack of graphics power often limited its usefulness. The recent emphasis on visualization started in 1987 with the publication of Visualization in Scientific Computing, a special issue of Computer Graphics. Since then, there have been several conferences and workshops, co-sponsored by the IEEE Computer Society and ACM SIGGRAPH, devoted to the general topic, and special areas in the field, for example volume visualization.

Most people are familiar with the digital animations produced to present meteorological data during weather reports on television, though few can distinguish between those models of reality and the satellite photos that are also shown on such programs. TV also offers scientific visualizations when it shows computer drawn and animated reconstructions of road or airplane accidents. Some of the most popular examples of scientific visualizations are computer-generated images that show real spacecraft in action, out in the void far beyond Earth, or on other planets. Dynamic forms of visualization, such as educational animation or timelines, have the potential to enhance learning about systems that change over time.

Apart from the distinction between interactive visualizations and animation, the most useful categorization is probably between abstract and model-based scientific visualizations. The abstract visualizations show completely conceptual constructs in 2D or 3D. These generated shapes are completely arbitrary. The model-based visualizations either place overlays of data on real or digitally constructed images of reality or make a digital construction of a real object directly from the scientific data.

Scientific visualization is usually done with specialized software, though there are a few exceptions, noted below. Some of these specialized programs have been released as open source software, having very often its origins in universities, within an academic environment where sharing software tools and giving access to the source code is common. There are also many proprietary software packages of scientific visualization tools.

Models and frameworks for building visualizations include the data flow models popularized by systems such as AVS, IRIS Explorer, and VTK toolkit, and data state models in spreadsheet systems such as the Spreadsheet for Visualization and Spreadsheet for Images.

Scientific visualization

As a subject in computer science, scientific visualization is the use of interactive, sensory representations, typically visual, of abstract data to reinforce cognition, hypothesis building, and reasoning. Scientific visualization is the transformation, selection, or representation of data from simulations or experiments, with an implicit or explicit geometric structure, to allow the exploration, analysis, and understanding of the data. Scientific visualization focuses and emphasizes the representation of higher order data using primarily graphics and animation techniques. It is a very important part of visualization and maybe the first one, as the visualization of experiments and phenomena is as old as science itself. Traditional areas of scientific visualization are flow visualization, medical visualization, astrophysical visualization, and chemical visualization. There are several different techniques to visualize scientific data, with isosurface reconstruction and direct volume rendering being the more common.

Data and information visualization

Data visualization is a related subcategory of visualization dealing with statistical graphics and geospatial data (as in thematic cartography) that is abstracted in schematic form.

Information visualization concentrates on the use of computer-supported tools to explore large amount of abstract data. The term "information visualization" was originally coined by the User Interface Research Group at Xerox PARC and included Jock Mackinlay. Practical application of information visualization in computer programs involves selecting, transforming, and representing abstract data in a form that facilitates human interaction for exploration and understanding. Important aspects of information visualization are dynamics of visual representation and the interactivity. Strong techniques enable the user to modify the visualization in real-time, thus affording unparalleled perception of patterns and structural relations in the abstract data in question.

Educational visualization
Educational visualization is using a simulation to create an image of something so it can be taught about. This is very useful when teaching about a topic that is difficult to otherwise see, for example, atomic structure, because atoms are far too small to be studied easily without expensive and difficult to use scientific equipment.

Knowledge visualization
The use of visual representations to transfer knowledge between at least two persons aims to improve the transfer of knowledge by using computer and non-computer-based visualization methods complementarily. Thus properly designed visualization is an important part of not only data analysis but knowledge transfer process, too. Knowledge transfer may be significantly improved using hybrid designs as it enhances information density but may decrease clarity as well. For example, visualization of a 3D scalar field may be implemented using iso-surfaces for field distribution and textures for the gradient of the field. Examples of such visual formats are sketches, diagrams, images, objects, interactive visualizations, information visualization applications, and imaginary visualizations as in stories. While information visualization concentrates on the use of computer-supported tools to derive new insights, knowledge visualization focuses on transferring insights and creating new knowledge in groups. Beyond the mere transfer of facts, knowledge visualization aims to further transfer insights, experiences, attitudes, values, expectations, perspectives, opinions, and predictions by using various complementary visualizations. See also: picture dictionary, visual dictionary

Product visualization
Product visualization involves visualization software technology for the viewing and manipulation of 3D models, technical drawing and other related documentation of manufactured components and large assemblies of products. It is a key part of product lifecycle management. Product visualization software typically provides high levels of photorealism so that a product can be viewed before it is actually manufactured. This supports functions ranging from design and styling to sales and marketing. Technical visualization is an important aspect of product development. Originally technical drawings were made by hand, but with the rise of advanced computer graphics the drawing board has been replaced by computer-aided design (CAD). CAD-drawings and models have several advantages over hand-made drawings such as the possibility of 3-D modeling, rapid prototyping, and simulation. 3D product visualization promises more interactive experiences for online shoppers, but also challenges retailers to overcome hurdles in the production of 3D content, as large-scale 3D content production can be extremely costly and time-consuming.

Visual communication
Visual communication is the communication of ideas through the visual display of information. Primarily associated with two dimensional images, it includes: alphanumerics, art, signs, and electronic resources. Recent research in the field has focused on web design and graphically oriented usability.

Visual analytics
Visual analytics focuses on human interaction with visualization systems as part of a larger process of data analysis. Visual analytics has been defined as "the science of analytical reasoning supported by the interactive visual interface".

Its focus is on human information discourse (interaction) within massive, dynamically changing information spaces. Visual analytics research concentrates on support for perceptual and cognitive operations that enable users to detect the expected and discover the unexpected in complex information spaces.

Technologies resulting from visual analytics find their application in almost all fields, but are being driven by critical needs (and funding) in biology and national security.

Interactivity
Interactive visualization or interactive visualisation is a branch of graphic visualization in computer science that involves studying how humans interact with computers to create graphic illustrations of information and how this process can be made more efficient.

For a visualization to be considered interactive it must satisfy two criteria:
 * Human input: control of some aspect of the visual representation of information, or of the information being represented, must be available to a human, and
 * Response time: changes made by the human must be incorporated into the visualization in a timely manner. In general, interactive visualization is considered a soft real-time task.

One particular type of interactive visualization is virtual reality (VR), where the visual representation of information is presented using an immersive display device such as a stereo projector (see stereoscopy). VR is also characterized by the use of a spatial metaphor, where some aspect of the information is represented in three dimensions so that humans can explore the information as if it were present (where instead it was remote), sized appropriately (where instead it was on a much smaller or larger scale than humans can sense directly), or had shape (where instead it might be completely abstract).

Another type of interactive visualization is collaborative visualization, in which multiple people interact with the same computer visualization to communicate their ideas to each other or to explore information cooperatively. Frequently, collaborative visualization is used when people are physically separated. Using several networked computers, the same visualization can be presented to each person simultaneously. The people then make annotations to the visualization as well as communicate via audio (i.e., telephone), video (i.e., a video-conference), or text (i.e., IRC) messages.

Human control of visualization
The Programmer's Hierarchical Interactive Graphics System (PHIGS) was one of the first programmatic efforts at interactive visualization and provided an enumeration of the types of input humans provide. People can:
 * 1) Pick some part of an existing visual representation;
 * 2) Locate a point of interest (which may not have an existing representation);
 * 3) Stroke a path;
 * 4) Choose an option from a list of options;
 * 5) Valuate by inputting a number; and
 * 6) Write by inputting text.

All of these actions require a physical device. Input devices range from the common – keyboards, mice, graphics tablets, trackballs, and touchpads – to the esoteric – wired gloves, boom arms, and even omnidirectional treadmills.

These input actions can be used to control both the unique information being represented or the way that the information is presented. When the information being presented is altered, the visualization is usually part of a feedback loop. For example, consider an aircraft avionics system where the pilot inputs roll, pitch, and yaw and the visualization system provides a rendering of the aircraft's new attitude. Another example would be a scientist who changes a simulation while it is running in response to a visualization of its current progress. This is called computational steering.

More frequently, the representation of the information is changed rather than the information itself.

Rapid response to human input
Experiments have shown that a delay of more than 20 ms between when input is provided and a visual representation is updated is noticeable by most people. Thus it is desirable for an interactive visualization to provide a rendering based on human input within this time frame. However, when large amounts of data must be processed to create a visualization, this becomes hard or even impossible with current technology. Thus the term "interactive visualization" is usually applied to systems that provide feedback to users within several seconds of input. The term interactive framerate is often used to measure how interactive a visualization is. Framerates measure the frequency with which an image (a frame) can be generated by a visualization system. A framerate of 50 frames per second (frame/s) is considered good while 0.1 frame/s would be considered poor. The use of framerates to characterize interactivity is slightly misleading however, since framerate is a measure of bandwidth while humans are more sensitive to latency. Specifically, it is possible to achieve a good framerate of 50 frame/s but if the images generated refer to changes to the visualization that a person made more than 1 second ago, it will not feel interactive to a person.

The rapid response time required for interactive visualization is a difficult constraint to meet and there are several approaches that have been explored to provide people with rapid visual feedback based on their input. Some include

 * 1) Parallel rendering – where more than one computer or video card is used simultaneously to render an image. Multiple frames can be rendered at the same time by different computers and the results transferred over the network for display on a single monitor. This requires each computer to hold a copy of all the information to be rendered and increases bandwidth, but also increases latency. Also, each computer can render a different region of a single frame and send the results over a network for display. This again requires each computer to hold all of the data and can lead to a load imbalance when one computer is responsible for rendering a region of the screen with more information than other computers. Finally, each computer can render an entire frame containing a subset of the information. The resulting images plus the associated depth buffer can then be sent across the network and merged with the images from other computers. The result is a single frame containing all the information to be rendered, even though no single computer's memory held all of the information. This is called parallel depth compositing and is used when large amounts of information must be rendered interactively.
 * 2) Progressive rendering – where a framerate is guaranteed by rendering some subset of the information to be presented and providing incremental (progressive) improvements to the rendering once the visualization is no longer changing.
 * 3) Level-of-detail (LOD) rendering – where simplified representations of information are rendered to achieve a desired framerate while a person is providing input and then the full representation is used to generate a still image once the person is through manipulating the visualization. One common variant of LOD rendering is subsampling. When the information being represented is stored in a topologically rectangular array (as is common with digital photos, MRI scans, and finite difference simulations), a lower resolution version can easily be generated by skipping n points for each 1 point rendered. Subsampling can also be used to accelerate rendering techniques such as volume visualization that require more than twice the computations for an image twice the size. By rendering a smaller image and then scaling the image to fill the requested screen space, much less time is required to render the same data.
 * 4) Frameless rendering – where the visualization is no longer presented as a time series of images, but as a single image where different regions are updated over time.

title: Visualization (graphics)


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Zapiro

Jonathan Shapiro (born 27 October 1958) is a South African cartoonist, known as Zapiro, whose work appears in numerous South African publications and has been exhibited internationally on many occasions. He is the nephew of British magician David Berglas and cousin to Marvin Berglas, director of Marvin's Magic.

Early life
Jonathan was born into a Jewish family in Cape Town, South Africa to Gershon and Gaby Shapiro. He studied architecture at the University of Cape Town but found it unsatisfying and moved to the art campus, Michaelis. Shortly after this he was conscripted into the army for two years, where he refused to carry arms. In 1983 he became active in the newly formed anti-Apartheid movement, the United Democratic Front and as a result was arrested under the Illegal Gatherings Act and, subsequently, monitored by military intelligence. Zapiro was an important participant in South Africa's End Conscription Campaign, designing its logo. After his military service he applied for and was awarded a Fulbright scholarship to study cartooning at the School of Visual Arts in New York for two years.

The name Zapiro was derived from the nickname of a fellow pupil at Rondebosch Boys' High School, Martin Szapiro, whose friends called him Zap. After Martin's death in a mountaineering accident, Zapiro chose this name. The first Zapiro character was a character named Preppy, whose main characteristic was his fringe, and who commented on issues that went on around school.

Career
Shapiro started out as the editorial cartoonist of South in 1987. In 1988 Jonathan was detained shortly before leaving on a Fulbright Scholarship to study media arts at the School of Visual Arts in New York. There he studied under the comics masters Art Spiegelman, Will Eisner and Harvey Kurtzman.

Zapiro had started out as the editorial cartoonist for South newspaper in 1987, and after his stint in New York, he was the editorial cartoonist for the Sowetan from 1994 to 2005. His cartoons appeared in the Cape Argus from 1996 to 1997. He has been the editorial cartoonist for the Mail & Guardian since 1994, the Sunday Times since 1998 and since September 2005 he has appeared three times a week in the Cape Times, the Star, the Mercury and the Pretoria News.

Since 2017, Zapiro has been the editorial cartoonist for the publication, Daily Maverick.

Zapiro's caricatures also appear in the form of puppets on the satirical television and web show ZANEWS, a Spitting Image type of programme he helped launch in 2009 alongside producer Thierry Cassuto.

Awards and exhibitions
Shapiro became the first cartoonist to win a category prize in the CNN African Journalist of the Year Awards in 2001, and was awarded the Mondi Newspaper Award for Graphic Journalism in both 2003 and 2004. That same year he was made an Honorary Doctor of Literature by the University of Transkei. In 2005 Shapiro won the Principal Prince Claus Award.

He has held solo cartoon exhibitions in New York, London and Frankfurt and many in South Africa, and has also exhibited in numerous group shows locally and internationally. His exhibition "Jiving with Madiba" was held at the South African Jewish Museum in Cape Town from 14 July to 27 November 2011. He has been an invited participant in cartoon events in Cameroon, Botswana, Australia, France, the UK, the Netherlands and Italy. In 2003 he was Africa's only representative amongst cartoonists invited to the World Economic Forum in Davos, Switzerland, and he attended the forum again in 2004–2006.

In 2007, he received the Courage in Editorial Cartooning Award at the annual Cartoonists Rights Network International dinner, capping the 50th Anniversary Convention of the Association of American Editorial Cartoonists. At the South African Cartoonists Awards in 2008 he won the Best Humorist Cartoon award. In 2009, the Media Institute of Southern Africa awarded Zapiro its MISA Press Freedom Award for his two decades of humour and satire in South Africa.

He was awarded the Freedom to Publish Prize by the International Publishers Association in 2012. In 2019, He was awarded the Chevalier des Arts et des Lettres one of France's highest cultural honours. He was also ranked by Jeune Afrique magazine as one of the 50 most influential personalities on the African continent.

Criticism
In 2003, members of the Faith and Politics Institute, an American organisation, lodged complaints against three of the cartoons at an exhibition for visiting American congressional representatives as well as members of the institute. The cartoons in question depicted former American president Bill Clinton and US policies of "trade and not aid", and President George W. Bush with a raised middle finger in a comment on American unilateralism and Bush's stance on the World Summit on Sustainable Development.

In 2006, former Deputy President of South Africa Jacob Zuma furthered his claim of being "tried by the media" and threatened to bring defamation action against various elements of the press for remarks that he alleged were defamatory. Approximately R15 million of the R63 million rand demanded by his legal representatives were in connection with Zapiro cartoons.

In 2008, Zapiro met with further animosity, this time from the South African ruling party, the African National Congress (ANC) over a cartoon that appeared in the Sunday Times on 7 September 2008. The cartoon depicted a scene where the ANC president's (Jacob Zuma) staunchest supporters (ANC Youth League president Julius Malema, secretary general of the ANC – Gwede Mantashe, SACP secretary general Blade Nzimande and Cosatu secretary general Zwelinzima Vavi) were holding down Lady Justice, with Zuma in a state of undress getting ready to rape Lady Justice. Mantashe, who was shown in the cartoon with a speech bubble containing "Go for it, boss", labelled the cartoon "racist", while ANC spokesperson Jesse Duarte said the cartoon was "vile, crude and disgusting". Zapiro refused to apologise for the cartoon. The African National Congress, the South African Communist Party and the ANC Youth League released a joint statement as a formal response to The Sunday Times, while the Congress of South African Trade Unions (COSATU) issued a separate press statement demanding an apology.

On 21 May 2010 the Mail and Guardian published a strip from Zapiro depicting Muhammed, as part of Everybody Draw Mohammed Day. On 20 May 2010, the M&G had won against an eleventh-hour court bid by the Council of Muslim Theologians to bar the publication of the cartoon. A week later, Zapiro released another cartoon in response to the various reactions to the original cartoon. In it he said that he would have to accept that exceptions would be necessary in regard to 'religious censorship'. This was seen by some as a statement that he felt that his freedom of speech would have to have been limited because of those that were insulted by his cartoon which had graphically depicted Mohamed.

In 2016 a cartoon he published depicting National Prosecuting Authority head Shaun Abrahams as a monkey was criticised for being racist. Shapiro apologised for the cartoon stating that "I’ve offended politicians for all sorts of things. I’ve been attacked because of the cartoons of Jacob Zuma. I can defend, I’d say‚ 99% of them. Occasionally‚ I make mistakes... This‚ I see now as a mistake."

title: Zapiro