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Radio in New Zealand

Radio broadcasting began in New Zealand in 1922, and is now dominated by almost thirty radio networks and station groups. The Government has dominated broadcasting since 1925, but through privatisation and deregulation (in 1989) has allowed commercial talk and music stations to reach large audiences. New Zealand also has several radio stations serving Māori tribes, Pasifika communities, ethnic minorities, evangelical Christians and special interests.

State-owned broadcaster Radio New Zealand reaches the broadest range of listeners with bilingual flagship broadcaster Radio New Zealand National. Several previously state-owned radio brands like top-rating talk station Newstalk ZB are now owned by NZME Radio, which operates eight networks on terrestrial radio and iHeartRadio. Ten radio networks are operated by MediaWorks New Zealand, including top-rating music stations The Edge and The Rock. Independent stations like The SkiFM Network, 1XX and Coast FM continue to serve local communities, alongside low-powered and internet stations.

New Zealand was also one of the first countries to introduce Christian radio, with Rhema Media now operating three networks around the country. The Student Radio Network began with the start of bFM in 1969 and the first of the country's community access broadcasters was founded in 1981. Te Māngai Pāho funds Māori iwi radio stations, and the Pacific Media Network continues to receive Government support.

Early radio
Professor Robert Jack made the first broadcast in New Zealand from the University of Otago physics department on 17 November 1921. The first radio station, Radio Dunedin, began broadcasting on 4 October 1922, but it was only in 1925 that the Radio Broadcasting Company (RBC) began broadcasts throughout New Zealand.

Auckland Radio Service started broadcasting at 7:45pm on 13 April 1923 and 1YA was soon being heard on 4 evenings a week as far away as Dunedin. The government facilitated the creation of RBC and gave it a 5-year contract. Auckland Radio was then taken over by the Radio Broadcasting Company of New Zealand on 20 November 1925. A new studio, with a more powerful transmitter and 204 ft mast, opened on 9 August 1926 in Newton and could be heard in Rarotonga. It cost about £8,500 and used a 500W International Western Electric Company transmitter, able to reach most of the country. RBC's similar 3YA in Christchurch started broadcasting on 1 September 1926. Its 2YA Wellington studio was officially opened on 16 July 1927. Listenership rose rapidly, from 3,588 licences in 1926 to 18,162 in 1927.

In addition to those stations, in 1923 there were also Auckland stations 1AA (C.N. Edwards), 1AB (V.J. Penny), 1AC (L.S. Spackman), 1AH (Hartle & Gray), 1AM (Hamilton Amateur Radio Club), 2YA (then owned by Wilkins & Field, Nelson), 2AB (D. Wilkinson, Motueka), Gisborne had 2AD (P.R. Stevens), 2AE (R.J. Patty), 2AF (W.J. Sinclair), 2AG (I.H. O'Meara), a 2AG station (L.K. Ewen) was also in Whanganui, as was 2AH (Whanganui Amateur Wireless Club), 2AI in Wellington (W.L. Harrison), 2AJ in Stratford (Bransgrove), 2AK (L. Rawson, Hāwera), 2AP (P. Collier, Brooklyn) 2YK (Dominion Radio, Wellington), 2XA (Experimental Station, Wellington), Christchurch stations 3AA (R.J. Orbell), 3AB (F. Vincent), 3AC (Radio Society), 3AF (L.F. Ball), Greymouth 3AD (R.G.F. Blake), 4AA (F.D. Bell, Palmerston), 4AC (R.E. Robinson, Dunedin), 4AD (A.E. Jordan, Invercargill), 4YA was then owned by British Electric Supply and, with 4YO (Radio Supply Company), also in Dunedin, and 1YA (then Auckland Radio Service) had the only three 500 watt transmitters in the country. Further stations in 1926 were 1YC (N.C. Shepherd, Whangārei), 1YD (L.R. Keith, Auckland) and 2YL (B. C. Spackman, Napier).

In 1930, station 1ZR began operating from the Queen Street premises of Lewis Eady Limited in Auckland. Pioneer broadcasters included Aunt Daisy, Dudley Wrathall and Rod Talbot. A "radio church", the 'Friendly Road', was run by 'Uncle Tom' Garland and the Reverend Colin Scrimgeour.

In 1932, RBC's assets were acquired by the government, which established the New Zealand Broadcasting Board (NZBB). This would later be replaced by the New Zealand National Broadcasting Service (NBS) and the National Commercial Broadcasting Service (NCBS). In the 1950s, these merged to become the New Zealand Broadcasting Service (NZBS), a government department. In 1962, this gave way to the New Zealand Broadcasting Corporation (NZBC), an independent public body modelled on the BBC in the UK.

Until the 1980s, stations used a series of New Zealand call signs, consisting of a single digit and two letters (see right). In addition to YA National programme stations, YC Concert programme stations and a limited number of privately owned X stations, several stations were operated commercially by the government. In each region, the largest city was assigned a ZB station (1ZB Auckland, 2ZB Wellington, 3ZB Christchurch and 4ZB Dunedin) and a ZM music station (1ZM Auckland, 2ZM Wellington and 3ZM Christchurch). The Newstalk ZB and ZM brands continue to be used by NZME (formerly The Radio Network). The second largest city was assigned a ZA station: 1ZA in Taupō, 2ZA in Palmerston North, 3ZA in Greymouth and 4ZA in Invercargill. In other towns and cities the final letter was assigned from the town or city name such as 4ZG in Gore and 1ZH in Hamilton. These ZA and other stations, also now owned by NZME, were rebranded as Classic Hits and rebranded again in 2014 as The Hits. 1YA, 2YK, 3AQ, 4YA were the first stations operating in the country's four main cities, and 5ZB was a mobile radio station broadcast in railway carriages during the 1940s.

As part of the Geneva Frequency Plan of 1975, the country switched from 10 kHz to 9 kHz channel spacing on the AM band on 23 November 1978.

The Government deregulated the broadcasting market in 1989, and the number of private stations grew exponentially as a result. Most were locally owned and operated, but eventually became part of the Mediaworks group of stations, and by 2004 the majority of former privately owned stations had been rebranded (see below) and owned by the one company.

FM broadcasting
New Zealand's original FM broadcasting allocation, until 1986 was 89.0 to 94.0 MHz, and then from 1986, until 2000 was 89.0 to 100.0 MHz. Meanwhile, the segments of the band not used for FM broadcasting, such as the band above 100 MHz had been had been allocated to land-based AM mobile radio-telephone users (taxis, fire and others), an allocation that dates back to the late 1950s. New Zealand's FM frequency allocation issue was not fixed until the late 1990s, after those users had been progressively reassigned channels elsewhere, when the band was expanded to the full 20 MHz. New Zealand now uses the standard global allocation of 87.5–108 MHz for FM. Today, full-power FM stations use frequencies between 88.6 MHz and 106.5 MHz, although the band between 101.8 MHz and 103.3 MHz is allocated to future government, Maori and limited short term broadcasting, it is currently unused (as of February 2024). Low-power FM stations use frequencies from 87.6 MHz to 88.3 MHz and from 106.7 MHz to 107.7 MHz. New Zealand permits Radio Data System subcarriers, Radio NZ National uses RDS for its FM network with AF (Alternative Frequency) enabled, commercial radio use of RDS for station identification and program information is widespread.

The first station to broadcast on FM in New Zealand was a temporary station in Whakatane called FM 90.7. The station ran from 5 January 1982 until 31 January 1982. The first permanent station in New Zealand to broadcast on FM was Magic 91FM in Auckland broadcasting on 91.0FM followed by 89 Stereo FM broadcasting on 89.4FM. Both stations are no longer in operation; Magic 91 is the local Auckland frequency for ZM and 89 Stereo FM today broadcasts a simulcasted FM version of Newstalk ZB. Radio New Zealand started broadcasting on FM in the early 1980s and most networks now broadcast on FM. On 22 February 1982, Victoria University of Wellington's student station Radio Active became the first station in Wellington to legally broadcast on FM.

Pirate radio
From 1966, Radio Hauraki broadcast from the MV Tiri that was moored in international waters near Auckland, and in 1968 from the MV Tiri II. This was the only ship-based pirate station to ever broadcast in the Southern Hemisphere which it did for 1,111 days, although it was subsequently discovered that the ship had always been moored in the New Zealand territorial waters off the Hauraki Gulf.

In 1970 it was granted a licence to broadcast from land and a successor company still broadcasts to the Auckland market under the Radio Hauraki brand and is networked nationwide. In 1972, Radio Bosom broadcast briefly until Post Office inspectors found and seized the transmitter which was concealed in a maintenance tunnel under a University of Auckland building. Now known as 95bFM, the station broadcasts legally from the University of Auckland student union building.

Kiwi Radio began broadcasting as 4YZW on 1977, and as WKNZ on the medium wave band in 1978. On 25 March 1980 they launched a pirate Radio Freedom broadcast on both shortwave and FM. In 1983, the name was changed to Kiwi Radio, due to not wanting to be confused with the many other stations named Radio Freedom. Kiwi Radio was known to relay other pirates, such as some from Australia, before it ceased broadcasting in 1997. In 2013, Radio Totse began broadcasting on shortwave to North America on 6.925 MHz.

Radio New Zealand
Radio New Zealand is a New Zealand's state-owned national public service radio broadcasting service. It was formed in 1925, and took on its modern form under the Radio New Zealand Act 1995. The broadcaster is bound by the Charter and Operating Principles included in the Act, which is reviewed by the New Zealand Parliament every five years and was last amended in 2004. The broadcaster is required to provoke debate and critical thought, reflect New Zealand and Māori cultural diversity, cater for varied ages and interests, promote music and drama and create a sense of national identity. It is also a Civil Defence broadcaster.

Radio New Zealand National, formerly National Radio, is Radio New Zealand's general public service broadcaster. It broadcasts flagship news programmes like Morning Report, Midday Report and Checkpoint, alongside morning show Nine to Noon, afternoon show The Panel and a range of interviews and magazine programmes. Radio New Zealand Concert is FM radio network broadcasting classical, jazz, and rock music and regular news updates. The playlist is among the most diverse and eclectic of the world's state run classical music networks. Other services offered by Radio New Zealand include the Radio New Zealand International Pacific shortwave service, the AM Network Parliamentary broadcaster and The Wireless youth website.

Iwi Radio Network
Te Whakaruruhau o Ngā Reo Irirangi Māori is a Māori radio network of bilingual English and Māori language radio stations serving local Māori iwi through local frequencies and online streaming. The individual stations are all funded by and accountable to Te Māngai Pāho. They broadcast national and local news coverage, music, educational programming, comedy, drama and programmes that teach the Māori language, with local personalities, community shows and shared network programmes.

Pacific Media Network
The Pacific Media Network is a pan-Pasifika national broadcasting group owned and operated by the National Pacific Radio Trust and funded by New Zealand on Air. It has a legislative role of serving Pacific peoples and communities in English and ten Pacific languages, in a way that shapes the country's national identity. It also aims to "empower, encourage and nurture Pacific cultural identity and economic prosperity in New Zealand, to celebrate the Pacific spirit". Its primary source of income is a $3.25 million annual grant from the Government. Pacific Media includes the nationwide Niu FM radio network set up in 2002, the Auckland-based Radio 531pi station launched in 1993, and the independent Pacific Radio News service.

Access Radio Network
The Association of Community Access Broadcasters represents the twelve community radio stations set-up between 1981 and 2010 which have received government funding since 1989. They broadcast community programming and provide facilities, training and on-air time for individuals and community groups to produce programming. The stations are also required to represent particular religions, cultures, languages, ages and sexualities. There are currently local access stations in Auckland, Waikato, Taranaki, Hawke's Bay, Manawatu, Wairarapa, Kapiti, Wellington, Nelson, Canterbury, Otago and Southland.

Student Radio Network
The Student Radio Network (known as bNet between 1998 and 2009) is a loose grouping of the current and former student radio stations. These radio stations broadcast local independent news and current affairs, and have provided a platform for new or independent New Zealand artists. The network has co-operated on advertising sales, collaborated on ideas and shared original programming. Some stations are run by student associations while others are owned by independent non-profit trusts. The 2011 Canterbury earthquake and the introduction of voluntary student membership have raised fresh concerns about the future of student broadcasting, but the role of the stations continues to be recognised by New Zealand on Air and the Ministry for Culture and Heritage.

The network began as a grouping of university student radio stations in major centres, and for a while operated as a commercial network of student union stations and former student union stations in six markets. In 1986 member station Radio One launched the Rad-One Card, a low-cost discount and loyalty card with on-air competitions, to raise funds. Similar schemes have now been launched by other stations, such as the Active card by Radio Active and the bCard by bFM and Bank of New Zealand. It adopted the name bNet for over a decade, using the brand of Auckland member station bFM, and held the bNet NZ Music Awards between 1998 and 2007 to promote the role the stations played in fostering New Zealand music across genres. However, the group agreed to change its name back to Student Radio Network at a meeting in 2009, to reflect the broader range of student radio brands. The stations continue to provide a spotlight for local bands, having previously helped promote Fat Freddys Drop, Kora, Jordan Reyne, Dimmer, Jet Jaguar, Shocking Pinks, The Enright House and some underground and electronica acts.

In 1986 the Weird Culture, Weird Custom compilation was released with twelve tracks on the album, two chosen by competition by each of the six member stations. Artists included Jean-Paul Sartre Experience, Putty in Her Hands, and Cassandra's Ears. It was distributed by Jayrem Records. Freak The Sheep Vol. 2 was another similar compilation album released by Flying Nun Records in 1992.

Central Media Group NZ (Ski FM Network)
The Ski FM Network is New Zealand's largest independent CHR Pop/Top 40 radio network, wholly privately owned and operated. From studios in Taupo and operations/offices in Auckland. Iain Stables (ex ZM/Edge) and Danielle Jones(ex Beach FM and MWorks/MoreFm) own the majority of this company and have some media holdings too in Western Australia.

Whanganui on 93.6 FM, Ohakune 106.2 FM, Ruapehu south/Turoa 91.8, National Park/Whakapapa 105.4, Rotorua 90.0 FM, Taihape Mangaweka 90.0 FM, Taumarunui 91.1, Taupo and Turangi 1224 AM /87.8 FM, and online via Tune-In, iHeart Radio and www.skifmnetwork.co.nz. Originally established in the early 80's as a niche market platform, the brand has seen 3 owners over the years and since 2012 the current owners have solidified and expanded the buisness.

The Ski Brand has a regional coverage model across multiple frequencies which includes a population footprint of 135,772 plus the Summer and Winter visitor population spikes, it allows their advertisers to buy at regional rates and receive metropolitan origin visitor/F.I.T audiences. Currently, with no need for individual breakouts agencies/ advertisers find the return on investment for full network placement works exceptionally well and great value for campaign spend due to Skis reach.

New Zealand Media and Entertainment
New Zealand Media and Entertainment is one of New Zealand's largest radio companies. It was formed in 2014 through the formal merger of The Radio Network and the New Zealand assets of APN News & Media, which includes magazines and newspapers like The New Zealand Herald. The Radio Network, in turn, began when the commercial radio activities of Radio New Zealand were sold-off in 1996, putting the Sports Roundup service and the Newstalk ZB, Classic Hits and ZM networks into entirely private ownership.

The company now runs talk radio network Newstalk ZB and sports radio network Radio Sport alongside music networks Radio Hauraki, Coast, Flava, The Hits and Mix. Privately owned Gore station Hokonui Gold is operated by NZME under a long-term lease contract.

MediaWorks New Zealand
MediaWorks New Zealand operates ten radio brands alongside its television brands, TV3 and FOUR. It was formed in 2004 when CanWest Global Communications combined television company TV3 Network Services and radio company RadioWorks, to sell-down its shares in the company on the NZSX and sell its remaining stake to Ironbridge Capital. MediaWorks has continued to face ongoing financial difficulties, requiring a $43 million loan from the Government in 2011 before briefly going into receivership in 2013. Since Mark Weldon took charge of the company in August 2014, it has outlined plans for greater integration between radio and television. This includes the planned introduction of a combined news service, NewsHub, in 2016.

Since its inception in 2004, MediaWorks has relaunched local heritage stations to its adult contemporary More FM and easy listening The Breeze brands, reducing or removing local programming. Its other music brands include The Edge, The Rock and The Sound. It has rolled out new talk radio network Radio Live and local music station Kiwi FM, converted Radio Pacific to LiveSport, and purchased brands Mai FM and George FM. MediaWorks affiliates include Times FM in Orewa, Coromandel FM on the Coromandel Peninsula, Radio Dunedin in Otago and Port FM in Timaru.

Rhema Media
Rhema Media is the country's largest Christian media organisation, and a major New Zealand radio company. Christchurch evangelist Richard Berry first proposed Radio Rhema in the 1960s, and it began permanently broadcasting in 1976. Rhema Media is the founding organisation of United Christian Broadcasters and provides the model of broadcasting for member organisations in other countries. For example, Australia's Rhema FM is modelled on New Zealand's Rhema.

The organisation is predominantly funded by donations, and operates young-oriented Life FM, family-oriented Rhema and Star for older listeners. The future of some of its networks was brought into question in 2010, when the Government required Rhema Media to raise 6.4 million dollars to renew its commercial radio frequencies for the following two decades.

Brian FM
Broadcasting to Marlborough, Nelson, Whanganui, Taihape, Timaru, Oamaru, Ashburton, Alexandra and Cromwell. The station does not use DJs, instead plays music with short ad-libbed commercials.

The Wolf
The Wolf was a short-lived radio network based at Lake Tekapo in South Canterbury. The station was independently owned from its outset in 2001, and broadcast to rural areas where in some cases the larger network stations did not broadcast or operate local stations. The network started at a time when many New Zealand stations had been taken over by New Zealand's two largest radio companies The Radio Network and MediaWorks New Zealand or replaced with a network product based from one of the main centres, particularly Auckland. Due to funding issues, it went off the air permanently in 2003.

The network broadcasts on 100.6 FM in several centres, including Temuka, Blenheim, Kaikōura, Methven, Waimate, Oamaru, Alexandra, Gore, Mount Cook Village, Reefton, Geraldine, Twizel, Fairlie, Murchison, Timaru, Westport, Hanmer Springs and Karamea. It also broadcast on 91.9 FM in Hokitika, 97.8 FM in Lake Tekapo, 99.0 FM in Kāpiti Coast, 105.4 FM in Auckland and 1593 AM in Christchurch. The Wolf was available nationwide on the Sky Television digital service.

Low power and amateur
Low power broadcasting licences in New Zealand are issued by Radio Spectrum Management and managed by the Ministry of Business, Innovation and Employment. In many cases, they provide community groups with easy access to broadcasting. Any resident is allowed a free licence at a maximum of 1 watt EIRP in the FM guardbands from 87.6 to 88.3 and from 106.7 to 107.7 MHz under a General User Radio licence (GURL). Some frequency restrictions apply to areas under the flight paths into Auckland Airport and Wellington Airport to minimise interference with the airports' instrument landing systems (which operate on 109.9 MHz and 110.3 MHz). Prior to June 2010, the lower band was located between 88.1 and 88.8 and a maximum of 500 mW EIRP allowed. Broadcasters on these frequencies are required to cease operations if they interfere with other, licensed broadcasters and have no protection from interference from other licensed or unlicensed broadcasters. Contact details must also be broadcast every hour.

One licensee may operate two transmitters anywhere (close together), but a third transmitter must be at least 25 km away from at least one of the first two transmitters. Radio Inspectors regularly monitor and make random unannounced visits to broadcasters, and will impose fines for violations of the regulations. New broadcasters are also subject to an initial compulsory inspection. The high cost of frequencies in Auckland, Wellington and Christchurch makes low-power broadcasting particularly popular in these markets.

Radio markets
Radio stations in New Zealand include some network stations and a number of predominantly low-power stations that operate in a single market. Auckland, Wellington and Christchurch are the largest commercial radio markets, surveyed four times a year by GfK New Zealand. Between 1991 and 2015, the survey was conducted by TNS New Zealand. Smaller markets like Waikato receive four surveys a year as well, but the data is an average of the past four quarters, as opposed to isolated quarterly results in the major markets.

Radio New Zealand networks do not participate in commercial market surveys, meaning they are not included in listener numbers and are not counted in market share. However, a Nielsen Media Research survey commissioned by Radio New Zealand suggests its National and Concert stations reach a combined audience of 563,000 unique listeners. The National programme reaches 503,000, or 14 percent of the 15+ population, giving it 10.2 percent station share. The Concert programme reaches 138,000 or 4 percent of the 15+ population, with an estimated market share of 1.4 percent. Commercial radio surveys, by comparison, are based on listeners 10+.

Auckland
Auckland is the country's largest radio market. Surveys are conducted four times a year to garner the listener habits of more than 1.2 million people who live in Auckland's urban centres. Due in part to high levels of peak hour commuter traffic congestion, 74.6 percent listen to the radio on a weekly basis. Newstalk ZB has maintained a long-running first place in the ratings under successive breakfast hosts Paul Holmes and Mike Hosking, with a 13.4 percent station share and a weekly cumulative audience of 178,000 listeners in the latest Q2-14 survey for August to September 2014.

The Edge has 7.7 percent share and 169,200 listeners; ZM has 4.5 percent share and 136,900 listeners; The Breeze has 7.8 percent share and 136,200 listeners; Mai FM has 5.2 percent share and 126,200 listeners; and Coast has 7.8 percent share and 105,400 listeners. Radio Live, The Hits, The Sound, The Rock, George FM, More FM, Flava and Radio Hauraki all maintain audiences over 50,000. Radio Sport, the BBC World Service and Hindi station Radio Tarana also have audiences above 30,000.

Wellington
The Wellington market covers an area of around 335,000 people, where 64.1 percent of people listen to commercial radio during the week. Despite the absence of former local breakfast duo Polly and Grant, ZM continues to lead the ratings with around 42,000 listeners each week and 6.7 percent market share.

Newstalk ZB has local news and a local morning programme, has the highest market share at 14.5 percent, and has around 34,000 listeners. Long-running and predominantly local station The Breeze has 12.7 percent station share and over 38,000 listeners. The Hits and The Edge also have more than 30,000 listeners and more than 7 percent market share.

Christchurch
Around 1,500 people are surveyed for the Christchurch market, in which 72.8 percent of the population of 365,000 people are radio listeners. Under breakfast hosts Simon Barnett and Gary McCormick, More FM consistently leads the ratings with around 70,000 listeners. Newstalk ZB maintains the highest market share at 15.3 percent, with nearly 56,000 listeners. Its local news and morning programme provide a particular focus on the issues that have followed the 2010 Canterbury earthquake.

The Breeze has 57,000 listeners and 9.9 percent station share; The Sound has 44,000 listeners and 9.1 percent station share; and The Edge, The Rock and ZM also have more than 30,000 listeners and more than 3 percent station share.

Other survey markets
The largest of New Zealand's provincial markets is Waikato, in which there are 227,000 people and 79.7 percent of people listen to the radio each week. Locally founded The Edge has the most listeners at 47,000, followed by ZM with 44,000 listeners. Partly local The Hits has 12.2 percent market share and 33,000 listeners, just ahead of locally founded The Rock with 12.1 percent market share and 32,000 listeners.

Three other markets also cover the upper North Island. Northland covers 112,000 people, with More FM reaching 27,000 listeners and 17.3 percent market share. Tauranga covers 136 thousand people, with Coast reaching 23,000 listeners and 15 percent market share. Only 47,000 people live in the Rotorua market, where Flava leads with 8,000 listeners and Coast has 16.6 percent market share.

In the central North Island, Taranaki includes a population of 84,000 people, with The Edge attracting 21,000 listeners and The Hits securing 13.8 percent market share. The Hawke's Bay market includes 107,000 people, with 23,000 listeners tuning into The Edge and Newstalk ZB maintaining 15.6 percent market share. Manawatu has a radio market of 97,000, with 18 thousand listening The Edge and 15 percent of market share going to The Rock.

On the South Island, the Nelson market includes 61,000 people, with 15,000 people listening to The Edge and 15 percent of market share going to Coast. Dunedin includes 102,000 people, with 19,000 listening to The Edge, 16,000 listening to The Hits and Radio Dunedin maintaining a 14.8 percent market share. Southland covers 68,000 people, including 14,000 listening to The Edge. Market share is heavily contested with Coast securing around 16.5 percent and The Rock securing 15 percent.

Non-survey markets
There are several radio markets that are not recognised by commercial surveys, but in which there is still competition between commercial radio stations such as Newstalk ZB. These include Tokoroa and Taupō in the Waikato and the Kāpiti Coast in Wellington. Others include Blenheim in Marlborough, Greymouth on the West Coast, Ashburton and Timaru in Canterbury, and Oamaru, Alexandra, and Queenstown in Otago.

title: Radio in New Zealand


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User:SkunkHunt

Hello. SkunkHunt is my alias, screen-name, handle, and nickname. (on AOL add SkunkHunt to your list of friends)

= Who I Am = My real name is Gavin D McCall, and I am an Independent Researcher, Musician (Guitarist), Graphic Artist, 3D Animator, Cartoonist, resident Comedian, I was initiated (as of June 2007) into the Scottish Rite Society of Freemasonry, and I am an adept of Kabbalah.

I've been playing guitar since 1994, mostly self-taught, with instruction by friend, Markus Daimeion I, Vocalist/Bass Guitarist of Forever's End, before that band asked me to join them in September of 2003. I joined the band shortly after Kiyoshi "The Six String Samurai" Morgan joined the band as Lead Guitarist. I was deemed "Rhythm Guitarist", a title I am fond of and respect as a crucial part of our Heavy Metal quartet.

Origin of SkunkHunt (alias)
It all started about 5 years ago, I was living in this apartment complex next to Hamilton Air Force Base in Novato, CA. Everday, as the day became night, we, the neighborhood kids, and adults would go outside and play glow in the dark football. We just passed the football to each other on the street.

One fateful night, a strange smell consumed every corner and crevice and we knew what was upon us...SKUNKS! A family of skunks decided to spray around our street and stink up the neighborhood. It got so bad that we couldn't play our football !

During a meeting I decided it would be a good idea to grab the water guns we use to soak each other and use them against the Skunks! After a few nights I had all the neighborhood kids trained in the art of moving with stealth at night while carrying their heavy supersoaker equipment. We used hand signals to communicate and whenever possible I took the initiative to keep them from being sprayed.

Not one of us was sprayed. Not once ever was I sprayed, and I learned alot about Skunk behavior and what cold water can do to them. :) they definetly do not like it. One of the kid's dad's called me "The SkunkHunter" and so I would come over and say, "time for a SkunkHunt" and that's how I got the nickname, "SkunkHunt"

The Skunks never came back around there, and if they ever did, we took care of them in just a night or two.

= My Website = You can find links to my cartoons, artwork, and just about everything else I am interested in on my website: http://www.thevampireclub.com/gavin/

= My Humble Contributions =
 * Toas - a martial science, an applied strategy of life
 * True Heavy Metal - a sub-genre of Heavy Metal that avoids dilution into other non-metal genres
 * Phartcore - a category of music genres with similar properties, primarily based on Punk rock but with deficiencies in performance quality. Phartcore elitists often do not know they fall into this category of music.

= Unwanted Contributions = For very unjust reasons a handful of critics can get your entries deleted quite easily. These are contributions that were DELETED, in my opinion unlawfuly. That's okay, because I know I can bring these entries back, you just have to play ball with these people.

Phartcore
Phartcore is characterized by low tuned (drop-tuned) instruments, sometimes guitars with more than 6 strings (but fewer than 4 are actually used), similar to Punk music (easy to play for someone who just bought a guitar), but lacking the original Punk spirit and attitude, often replaced with aggressive and beligerent vocals and behavior. Audibly, Phartcore is distinguishable by angry-sounding lyrics, cookie-monster style vocals that provoke violence in people of lower-than-average intelligence.

Origin of Genre
Phartcore was coined by Kiyoshi Morgan, in 2004 to describe a previously undefined category of music that involves many genres.

Purpose of Genre
It seems like almost every band in the world has their own genre. There are many bands that can be grouped together and categorized as Phartcore. Instead of providing a list of those bands here, we suggest you should inspect your CD collection for the following:

 * If you can read it on the CD case he's probably ranting about something, calling someone 'bitch', while claiming to be unpretentious, believes that anyone who can actually play is below them.
 * String sections are usually as percussive as the drummer and armed with a variety of two-fingered "fifth" chords, or additionally streamlined by tuning the entire guitar to an open chord.
 * Mostly all notes (if any) are power-chords! Example: A phartcore guitar solo has a commonly included (if any) impressive juggling of stomp box distortion and effects pedals, visually resembling an Irish Jig, or in another case, the guitarist simply removes the cable from the guitar and rubs it on the strings.
 * Innovative, or bad gimick? You decide.

Example Genres

 * Hardcore
 * Grindcore
 * Hip-Hop Metal
 * Rapcore

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

title: User:SkunkHunt


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Robert Kahn

Robert Kahn may refer to:
 * Robert Kahn (composer) (1865–1951), composer and music teacher
 * Robert Louis Kahn (1918–2019), psychologist and social scientist
 * Robert Ludwig Kahn (1923–1970), professor of German studies and poet
 * Robert Kahn (computer scientist) (born 1938), Internet pioneer
 * Bob Kane (born Robert Kahn, 1915–1998), the co-creator of the comic book superhero Batman

title: Robert Kahn


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User:Canjo

I like learning.

title: User:Canjo


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User talk:Canjo

I disagree with this page strongly! -Canjo

What are you talking about? It is perfectly accurate. -Canjo

I recommend this page be placed under editting-lock! Way too much POV! -Canjo

No, it is perfectly objective, you fool! -Canjo

Hello Canjo. -Drew

Wow I just noticed that this site has users and profiles and all that. How keen. And also hi...!!! -Spacecow

New law of wikipedia: all users who post in my profile are obligated to go to jail for 6 years. -Canjo

R.I.P.
We miss you! -- Eclipsed Moon 18:17, 15 June 2006 (UTC)

???????????????????????????????????????? --Canjo

title: User talk:Canjo


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PRK

PRK can refer to:

 * North Korea's ISO 3166-1 alpha-3 code
 * Photorefractive keratectomy, laser eye surgery
 * Phase reversal keying, a form of phase-shift keying
 * People's Republic of Korea, short-lived 1945 government
 * People's Republic of Kampuchea, 1979-1989
 * Port Kent (Amtrak station), New York, US station code
 * Phosphoribulokinase, an enzyme
 * Puneeth Rajkumar, an Indian Kannada-language film actor

title: PRK


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Uhlanga

In Zulu mythology, Uhlanga is the marsh from which humanity was born, and is the Zulu word for "reed" that was also a synonym for "societal custom".

Myths
Myths about Uhlanga are linked to myths about Unkulunkulu and Umvelinqangi, and there are different, conflicting mythical traditions about all three.

According to Jacob Olupona, Umvelingangi wedded himself to Uhlanga, likely because of Uhlanga's multiple-colored reeds. Umvelingangi used the reeds to create men and women called Unkulunkulu, who each founded a tribe.

title: Uhlanga


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Kuch Kuch Hota Hai

Kuch Kuch Hota Hai is a 1998 Indian Hindi-language musical romance film written and directed by Karan Johar and produced by his father Yash Johar under Dharma Productions. It stars Kajol, Shah Rukh Khan, and Rani Mukherji, along with Salman Khan and Sana Saeed in supporting roles. The plot combines two love triangles set years apart. The first half covers friends on a college campus, while the second tells the story of a widower's young daughter who tries to reunite her dad with his old best friend.

Filmed in India, Mauritius, and Scotland, this was Johar's directorial debut. One of his goals for the film was to set a new level for style in Hindi cinema. The music was composed by Jatin–Lalit, which was the biggest seller of the year. Kuch Kuch Hota Hai was released on 16 October 1998, worldwide and received positive reviews from critics who praised the setting, music, direction, cinematography, screenplay, performances and overall presentation. The film was successful in India and abroad, becoming the highest-grossing Indian film of the year and the third highest-grossing Indian film at that time. Outside India, the film was the highest-grossing Hindi film ever until its record was broken by Karan Johar's next directorial, Kabhi Khushi Kabhie Gham... (2001).

The film received various accolades, including the National Film Award for Best Popular Film Providing Wholesome Entertainment and Best Film at the Filmfare Awards, Screen Awards, Zee Cine Awards and Bollywood Movie Awards. Kuch Kuch Hota Hai won 8 Filmfare Awards and was the only film to win all four acting awards (Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress) until Gully Boy (2019).

Plot
The film tells the story of Rahul Khanna and two girls from his life. The first one is Anjali Sharma, his best friend from college. Rahul and Anjali used to spend most of their time together, until the arrival of Tina Malhotra. Tina is the pretty daughter of the principal, and Rahul is immediately smitten. Soon, the two start going out. Anjali, secretly in love with Rahul, is devastated at this turn of events. She decides to leave college, and though she and Rahul bid farewell to each other, they fail to keep in touch in the following years.

Tina feels guilty at having come in the way of Anjali's love for Rahul. Nevertheless, she and Rahul get married, and are about to become parents as Tina is pregnant. Complications arise in her pregnancy and she starts bleeding internally. Left with little time to live, Tina writes eight letters to her newborn daughter, asking that each be given to her on her birthday, so that she might know the story of her mother. Tina dies and Rahul names their daughter Anjali, after Tina's last wish.

Over the next eight years, Anjali Khanna grows up under the care of Rahul, who never re-marries. On her eighth birthday, she reads her mother's final letter to her, which details the story of Rahul's friendship with the other Anjali (Sharma). In the letter, Tina asks her daughter to reunite Rahul with Anjali Sharma, believing that the two were always meant to be together. Anjali Khanna traces the older Anjali to a summer camp in Shimla, where she is the music and dance instructor. She immediately enrolls and leaves for the camp, against the wishes of her father who is unaware of the letter and of Anjali's new mission.

At the camp, the two Anjalis meet and bond with each other. Rahul is a protective father and shows up at the camp in Shimla, only to be shocked at seeing Anjali Sharma there, after nearly a decade. The two are initially awkward around each other, but soon end up resuming their old friendship. Rahul starts to realize he feels more than platonic love for Anjali. Before he can do anything, though, Anjali's fiance, Aman, shows up at the camp. Anjali, who cannot decide between Rahul and Aman, decides to return home mid-way through the camp. She also asks for the wedding to be moved ahead from its original date.

Rahul realizes that he is about to lose Anjali again and is heartbroken. He and his daughter visit Anjali's residence on the eve of the wedding. Finding Anjali alone in an upstairs room, Rahul professes his love for her, even though she is about to be married. Anjali, who had never forgotten her crush on Rahul, falters at the wedding altar. Aman knows that Rahul was Anjali's first love, and that she still feels strongly for him. He decides to step down as the groom, allowing Rahul and Anjali to get married in the same ceremony. As the festivities take place, Anjali Khanna feels content at having fulfilled her mother's last wish from her letter.

Cast

 * Kajol as Anjali Sharma
 * Shah Rukh Khan as Rahul Khanna
 * Rani Mukherji as Tina Malhotra
 * Salman Khan as Aman Mehra (special appearance)
 * Sana Saeed as Jr. Anjali Khanna
 * Farida Jalal as Mrs. Khanna
 * Anupam Kher as Mr. Malhotra
 * Reema Lagoo as Mrs. Sharma
 * Archana Puran Singh as Ms. Braganza
 * Himani Shivpuri as Rifat Bi
 * Johnny Lever as Colonel Joshua Almeida
 * Parzan Dastur as Jasdeep Singh, the sikh Kid who count stars
 * Neelam Kothari as Neelam (special appearance)
 * Nikkhil Advani in Neelam's talk show segment (special appearance)
 * Manish Malhotra as a college student sitting on the steps of college when Anjali Sharma wears feminine clothing (special appearance)
 * Farah Khan in Neelam's talk show and sitting on the steps of college when Anjali wears feminine clothing (special appearance)
 * Geeta Kapoor in the song "Tujhe Yaad Na Meri Aayee" (special appearance)

Story
After the experience of assisting and acting in Aditya Chopra's directorial debut, the romantic drama Dilwale Dulhania Le Jayenge (1995), Karan Johar was encouraged to try his own hand at directing. With Kuch Kuch Hota Hai, he chose to pair up the same lead actors, Shah Rukh Khan and Kajol, for his own romance film. During the filming of Dilwale Dulhania Le Jayenge, Khan had also encouraged Johar to make his own film, and said that he would be willing to star in it. They were signed by producer and his father Yash Johar in early 1997. Yash Johar officially announced the film in October 1997 at Mehboob Studios in Bandra.

Johar first wrote a story, which was a love triangle between a tomboy, a very pretty girl, and a slightly insensitive boy, but he shelved the idea because he was not very satisfied with it. Then he wrote another plot about a widower and his child, which he shelved as well. Eventually, he decided to merge the two stories into one. He explained in an interview with Rediff.com: "It was about the trauma of a widower and his little child. How the child really wants a mother and how she brings her mother into her father's life. Then I thought: Why not bring a youth aspect to the story? Why not a flashback? That's how the story got made." The story also includes a "personal desires vs. parental loyalties" theme and has some "East meets West" themes, but instead of the characters going abroad, it creates a virtual West inside India.

Development
Karan Johar was certain from the beginning that he wanted to cast Shah Rukh Khan and Kajol in the lead roles, having observed them during the making of Dilwale Dulhania Le Jayenge. It took longer to fill the role of Tina. The role was written with Twinkle Khanna in mind, but she turned it down. Other actresses such as Urmila Matondkar, Tabu, Shilpa Shetty, Aishwarya Rai, Raveena Tandon and Karisma Kapoor were offered the role but also turned it down. Aditya Chopra and Shah Rukh Khan noticed Rani Mukherji's acting in Raja Ki Aayegi Baraat (1996), and suggested her to Karan Johar. He thus signed her, giving a boost to her career. Saif Ali Khan and Chandrachur Singh were initially offered the role of Aman, but they both turned it down, thus prompting Johar to rope in Salman Khan.

Johar, who is also a costume designer, wanted to set a new level for style in Hindi cinema with this film. He and his friend Manish Malhotra, the film's costume designer, made trips to London for costumes, much to the chagrin of his father and producer Yash Johar, who was concerned about the budget. Many of the costumes in the film prominently displayed logos from designers such as DKNY and Polo. In addition to the designer fashions, Johar also created a somewhat fantastical world where the students speak Hinglish and enjoy a pristine college campus, where there is no crime or hate, and traditional Hindu values are pervasive. Johar admitted that the look and feel of the college scenes in the film were patterned after Beverly Hills 90210, saying, "The art, the costumes, tilt toward the West, but the soul of the film is Indian." He hired Sharmishta Roy as art director, and told her to produce something similar to Riverdale High School of the Archie Comics, with some 90210 influence as well. Johar said of the outcome, "If you see KKHH, Shahrukh plays Archie, Rani Mukherji plays Veronica, and Kajol played Betty. It was exactly that. And the principal looked like Weatherbee, and Ms. Grundy was Archana Puran Singh." Johar also hired Farah Khan to do the choreography, Jatin–Lalit to provide the music, Santosh Thundiyil as cinematographer, and Nikhil Advani as his associate director. Shabina Khan assisted Manish Malhotra with costume design.

Filming
Filming began on 21 August 1997. The crew was young and inexperienced to the point where Shah Rukh Khan had to explain basic technicalities of filming. Khan later said, "Karan makes no bones of the fact that his technical knowledge of filmmaking was not at its peak when he made the biggest hit of the decade." The entire film was shot in nine and half months with a substantial part of it shot in Mauritius. The title song was filmed over a ten-day period. in several picturesque locations in Scotland, including Eilean Donan, Glen Coe, Loch Lomond and Tantallon Castle with the nearby Bass Rock as a backdrop in one scene. The scenes from the summer camp in Shimla were filmed at Wenlock Downs in Ooty, Tamil Nadu.

During the bicycle sequence in the song "Yeh Ladka Hai Deewana", Kajol lost control of her bike, fell flat on her face, and was knocked unconscious while also injuring her knee. During the promotional Making of Kuch Kuch Hota Hai TV special, Kajol stated that the accident was her most memorable part of shooting the film because she doesn't remember it. During preparation for the reunion scene where the two leads met after more than 8 years apart, the director told them to improvise and rehearse the reactions that they might use, but he secretly taped them and was so happy with the result that it was put into the film.

Soundtrack
The soundtrack for Kuch Kuch Hota Hai was composed by Jatin–Lalit and the lyrics were penned by Sameer. This is the first collaboration of the duo with Karan Johar. It was released by the Sony Music label on 19 August 1998. While the film was still untitled, Javed Akhtar was signed to write the lyrics, and even wrote and recorded one song (Koi Mil Gaya). However, when the movie was titled Kuch Kuch Hota Hai, he found the title mediocre, obscene, and vulgar and decided to quit the project. Akhtar later regretted leaving the film, as he found it decent and could see that the title has become quite a buzzword, realizing that he was the only one who disliked the title.

The album became the best-selling Bollywood soundtrack of the year, with 8 million units sold in India. The title song remained on the Indian music charts for over a year, and the album peaked at number #2 on the Malaysian albums chart (RIM) in 1999. Sony Music Indonesia also sold 300,000 copies in Indonesia, for a combined million copies sold in India and Indonesia.

Mukul Deshpande of Planet Bollywood rated the soundtrack 8.5 out of 10 stars, although he did not like all of the songs. In 2012, it was voted as the most popular film song of the previous decade by NDTV. The soundtrack was #69 on the list of "100 Greatest Bollywood Soundtracks of All Time", as compiled by Planet Bollywood. The full soundtrack came in second place in a similar poll conducted by the BBC, the first place being taken by Dilwale Dulhania Le Jayenge, an album which was also composed by Jatin–Lalit.

On 2002, Sony Music India also released Kuch Kuch Hota Hai in Telugu version.

Critical reception
While comparing the film to Dil To Pagal Hai (1997), Nikhat Kazmi of The Times of India gave Kuch Kuch Hota Hai 3.5 out of 5 stars. She especially liked the performance of Kajol, and thought that the film would appeal to young and romantic viewers primarily for its "MTV ambience" and "Valentine's Day flavours". On the negative side, she said "The second half, however, gets drowned in a sea of emotions. Too many people begin to cry a bit too much." Anish Khanna of Planet Bollywood rated the film 9.5 out of 10 stars, calling it "pure escapist cinema at its best." He praised the cinematography, choreography, set decoration, and also raved over Kajol's performance, along with her onscreen chemistry with Shah Rukh Khan. Overall, he said, "Karan Johar makes an impressive directorial debut, has a good script sense, and knows how to make a film with S-T-Y-L-E." In contrast to these views, the reaction of Sujata C J, writing for Rediff.com, was that the film was very disappointing, with many cliches and a bad storyline, though Santosh Thundiyil and Sharmishta Roy were praised for their camerawork and art direction, respectively. Nandita Chowdhury in a review for India Today, said that Karan Johar was almost able to rekindle the Khan-Kajol magic of Dilwale Dulhania Le Jayenge, and that overall the film was "a good distraction".

In January 2023, IndieWire ranked Kuch Kuch Hota Hai as the world's best romantic comedy (rom-com) on Netflix, above Scott Pilgrim vs. the World (2010) at number two and Notting Hill (1999) at number three. IndieWire writers Kate Erbland and Alison Foreman called Kuch Kuch Hota Hai "a love triangle for the ages" and said it is "a bittersweet and bubbly story of young love, missed opportunity, and female friendship" with "what’s quite possibly the most romantic gazebo scene of all time."

Box office
There were great expectations for Kuch Kuch Hota Hai leading up to its premiere, because it re-united the Dilwale Dulhania Le Jayenge team of Shah Rukh Khan and Kajol, and specifically concerning the debut of Karan Johar, whether he would be in the same league as Aditya Chopra as a first-time writer/director.

According to Box Office India, the film grossed inr 801200000 in India and $6.3 million (₹26.61 crore) in other countries, for a worldwide total of inr 1060000000, against its inr 100000000 budget. It became the third film to gross over inr 1000000000 worldwide in the 1990s, after Hum Aapke Hain Koun..! (1994) and Dilwale Dulhania Le Jayenge. It had a worldwide opening weekend of inr 80600000, and grossed inr 151300000 in its first week. It is the highest-grossing Bollywood film of 1998 worldwide. It also became the third highest-grossing Indian film then, behind Hum Aapke Hain Koun..! and Dilwale Dulhania Le Jayenge.

India
It opened on Friday, 16 October 1998, across 240 screens, along with Bade Miyan Chote Miyan, and earned inr 8700000 nett on its opening day. It grossed inr 27400000.000000004 nett in its opening weekend, and went on to record the second-highest first week of the year with collections around inr 56400000 nett, after Bade Miyan Chote Miyan which grossed inr 63300000 nett. The film earned a total of inr 468600000 nett, plus a distributor share of inr 298800000, and was declared an "All-Time Blockbuster" by Box Office India. It is the highest-grossing film of 1998 in India.

Overseas
It had an opening weekend of $800,000 (₹3.38 crore) and went on to gross $1.3 million (₹5.49 crore) in its first week. It became the first film to cross $5 million mark outside India, and became the highest grosser at that time. According to Box Office India, the film earned a total of $6.3 million (₹26.61 crore) overseas. According to the book Global Bollywood, the film grossed US$8 million in overseas markets outside India. It became the second Bollywood film to break into the UK box office top 10 after Dil Se.. which was released the same year, and went on to gross $2 million. It was a bigger box office success than Titanic when it was screened in Indonesia. Overseas, It is the highest-grossing Bollywood film of 1998.

Accolades
Kuch Kuch Hota Hai received a leading 18 nominations at the 44th Filmfare Awards and won a leading 8 awards, including a sweep in all the major categories. It was the third film to win the four major awards (Best Film, Best Director, Best Actor and Best Actress) at Filmfare. Others include Guide (1965), Dilwale Dulhania Le Jayenge (1995) (also starring Shah Rukh Khan & Kajol), Devdas (2002), Black (2005) and Gully Boy (2019).

Home media
A few years after its release, Sony purchased satellite rights for the film for ₹4 crore. The film was also released on VHS, DVD, and eventually Blu-ray. Now Kuch Kuch Hota Hai, along with Johar's second film Kabhi Khushi Kabhie Gham... (2001), often play on television to consistently high ratings. Johar said, "It's gratifying to know that they've aged well and passed the test of time."

Legacy

Kuch Kuch Hota Hai was the subject of reviews and critical analysis following its initial release. Subhash K Jha called the film "a simple stylish, sensuous and ambrosial love story," further adding that the chemistry between the lead pair was unbeatable. A reviewer for Timeout Film Guide, while commenting that the second love triangle went on too long, liked most of the film, saying that "its performances, camerawork, storytelling and extensive musical numbers [are] all energetically colourful." In 2004, Meor Shariman of The Malay Mail called the film a "must-watch" for Bollywood fans, and also for those seeking an introduction to Bollywood. The film has also been criticized for creating unreal worlds and characters, to which Johar has said that this was part of his vision of escapism.

One of the best examples of the iconic status of Kuch Kuch Hota Hai was the 2012 film Shirin Farhad Ki Toh Nikal Padi. Farah Khan and Boman Irani re-created scenes and characters from KKHH for posters to promote their film, and also paid homage in one of the songs, "Ramba Mein Samba". In 2010, Kuch Kuch Hota Hai was selected by Time as one of their "Five Essential Bollywood movies to Netflix". It was also mentioned in critic and author Shubhra Gupta's book, 50 Films That Changed Bollywood, 1995–2015. In 2018, Johar celebrated the 20-year anniversary of the film by hosting an event with the lead cast.

Koochie Koochie Hota Hai is an animated remake of the original, directed by Tarun Mansukhani. Shah Rukh Khan, Kajol, Rani Mukerji, Anupam Kher are reprising their roles as Rahul a.k.a. Rocky, Anjali a.k.a. Angie, Tina, and the Principal. New cast members include Uday Chopra, Riteish Deshmukh, Sanjay Dutt and Simi Garewal. The story will have an anthropomorphic animal cast. As of October 2012, Karan Johar has placed the project on permanent hold. He said, "Animation films are not working nowadays, so as of now I have kept it on stand-by."

title: Kuch Kuch Hota Hai


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Naylor Road station

Naylor Road station is an island-platformed Washington Metro station in Hillcrest Heights, Maryland, United States. The station was opened on January 13, 2001, and is operated by the Washington Metropolitan Area Transit Authority (WMATA). Providing service for only the Green Line, the station is located between Naylor Road, Branch Avenue, and Suitland Parkway.

Groundbreaking for the final segment of the Green Line occurred on September 23, 1995, and the station opened on January 13, 2001. Its opening coincided with the completion of approximately 6.5 mi of rail southeast of the Anacostia station and the opening of the Branch Avenue, Congress Heights, Southern Avenue, and Suitland stations. The station won an award from the Portland Cement Association for its use of concrete.

Station layout
The station has an elevated island platform southeast of the intersection between Suitland Parkway and Naylor Road. A parking lot is located south of the platform.

title: Naylor Road station


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Suitland station

Suitland station is an island platformed Washington Metro station in Suitland, Maryland, United States. The station was opened on January 13, 2001, and is operated by the Washington Metropolitan Area Transit Authority (WMATA). The station is located at Silver Hill Road and Suitland Parkway, providing service for only the Green Line,.

Groundbreaking for the final segment of the Green Line occurred on September 23, 1995, and the station opened on January 13, 2001. Its opening coincided with the completion of approximately 6.5 mi of rail southeast of the Anacostia station and the opening of the Branch Avenue, Congress Heights, Naylor Road and Southern Avenue stations.

Station layout
The station has an island platform located in an open cut northeast of the interchange between Suitland Parkway and Silver Hill Road. A parking garage is located east of the station.

Notable places nearby

 * United States Census Bureau
 * Washington National Records Center

title: Suitland station


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José Escobar (baseball)

José Elías Escobar Sánchez (born October 30, 1960) is a former Major League Baseball shortstop and right-handed batter who played for the Cleveland Indians (1991).

Escobar hit .200 (3-for-15) with one run batted in in 10 games.

Personal life

 * Escobar is the father of pitcher Edwin Escobar, as well as the uncle of shortstop Alcides Escobar, outfielder Ronald Acuña Jr., and pitchers Kelvim Escobar and Vicente Campos.

title: José Escobar (baseball)


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Branch Avenue station

Branch Avenue station is an island-platformed Washington Metro station in Suitland, Maryland, United States. The station was opened on January 13, 2001, and is operated by the Washington Metropolitan Area Transit Authority (WMATA). The station presently serves as the southeastern terminus for the Green Line, with the Branch Avenue rail yard lying just beyond this station. The station is located near the intersection of Auth Road and Old Soper Road.

This is also the station closest to Andrews Air Force Base.

History
Plans for a station as the southeastern terminus of the Green Line initially appeared in the original 1968 route map. However, by 1978 the Prince George's County Council, after initially supporting the Branch Avenue alignment, changed their support to moving the terminus to a location adjacent to the Rosecroft Raceway. Metro followed suit and pursued the Rosecroft alignment instead of Branch Avenue in 1980. By May a group of citizens filed suit against Metro stating that the route was improperly changed and failed to conform to the plan adopted by county voters in 1968. In February 1981, the court ruled in favor of the plaintiffs in stating the routing to Rosecroft could not be undertaken until it went through public review. After further appeal, in March 1982 the judge ruled that none of the proposed Green Line along the Rosecroft alignment could start construction until it went through the entire planning process again. After deciding to not file an appeal, in December 1984 Metro voted to change the southeastern terminus back to Branch Avenue thus allowing for construction to commence on the Green Line towards Prince George's County.

Groundbreaking for the final segment of the Green Line occurred on September 23, 1995. The station opened on January 13, 2001. Its opening coincided with the completion of approximately 6.5 mi of rail southeast of the Anacostia station and the opening of the Congress Heights, Naylor Road, Southern Avenue and Suitland stations. This represented the completion of the system as originally planned.

Station layout
Branch Avenue station has an island platform in an open cut between Auth Way and Capital Gateway Drive. Parking lots are located both east and west of the station platform. Constructed adjacent to the station is a 37 acre rail yard with the capacity to store 116 cars.

title: Branch Avenue station


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Jack Austin (politician)

Jacob Austin (born March 2, 1932) is a former Canadian politician and former member of the Senate of Canada. He was appointed to the upper house by Prime Minister Pierre Trudeau on August 8, 1975 and represented British Columbia. At the time of his retirement he was the longest-serving senator.

Life and career
Austin was born in Calgary, Alberta. Prior to entering the Senate, Austin had careers as a lawyer and as a senior civil servant. He graduated from the University of British Columbia (BA, LLB) and Harvard Law School (LLM). In the 1950s, Austin was a legal partner of Nathan Nemetz, who later served as chief justice of the British Columbia Court of Appeal. Nemetz recruited Austin to join the Liberal Party.

In the early 1960s, Austin's political career began when he served as executive assistant to Arthur Laing while he was Minister of Northern Affairs and National Resources. While he was in Ottawa, Paul Martin Sr. asked him to serve on the legal team that negotiated the Columbia River Treaty on behalf of the government.

Austin's only attempt to win an election was as the Liberal candidate in Vancouver Kingsway in the 1965 federal election, at which time it was an open seat. He came second to Grace MacInnis, who held the constituency on behalf of the New Democratic Party.

In 1970, he was appointed deputy minister of Energy, Mines and Resources and was part of the first Canadian trade mission sent to the People's Republic of China. He also played a key role in the establishment of Petro-Canada and Expo 86 in Vancouver.

In 1974, Prime Minister Pierre Trudeau appointed Austin to be his chief of staff. In 1975, on Trudeau's recommendation, Governor General Jules Léger appointed him to the Senate. During Pierre Trudeau's final mandate as prime minister, Austin served as a Minister of State in the cabinet from 1981 to 1982 and then Minister of State for Social Development until Trudeau's retirement in 1984. He returned to the Cabinet of Canada in 2003 when Prime Minister Paul Martin appointed him Leader of the Government in the Senate, in which capacity he served until the Liberal defeat in the 2006 election. He took mandatory retirement from the Senate on March 2, 2007, his seventy-fifth birthday.

He received the Order of the Aztec Eagle from the Government of Mexico in 2000. He was also inducted into the Order of British Columbia in 2010.

He has three daughters: Barbara, Edith and Sharon.

title: Jack Austin (politician)


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Cris Colón

Cristóbal Colón (born January 3, 1969) is a Venezuelan former professional baseball player. He played in Major League Baseball as a shortstop for the Texas Rangers (1992). He was a switch-hitting batter.

Colón was born in La Guaira, Vargas State, Venezuela. A nephew of former major league player Chico Carrasquel, Colón was named in honor of Christopher Columbus, by his father.

Colón was a career .167 hitter (6-for-36) with one RBI and five runs in 14 games.

title: Cris Colón


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Studebaker Golden Hawk

The Studebaker Golden Hawk is a two-door pillarless hardtop personal luxury car produced by the Studebaker Corporation of South Bend, Indiana, between 1956 and 1958.

Styling
The last automobile until the Avanti to have styling influenced by industrial designer Raymond Loewy's studio, the Golden Hawk took the basic shape of the 1953–55 Champion/Commander Starliner hardtop coupe but added a large, almost vertical eggcrate grille and raised hoodline in place of the earlier car's swooping, pointed nose, and was introduced as the Studebaker Speedster. At the rear, a raised, squared-off trunklid replaced the earlier sloped lid, and vertical fiberglass tailfins were added to the rear quarters. The Golden Hawk was two inches shorter than the standard Hawk at 153.6 inches.

Power
The raised hood and grille were added to allow space for a larger engine, Packard's 352 in³ (5.8 L) V8, which delivered 275 bhp. This comparatively large, powerful engine in such a light car gave the Golden Hawk an excellent power-to-weight ratio (and thus performance) for the time; of 1956 American production cars, the Golden Hawk was second only to Chrysler's 300B by that measure — and the Chrysler, which cost considerably more, was essentially a road-legal NASCAR racing car. The Golden Hawk, like the Chryslers, is a precursor to the muscle cars of the 1960s.

The heavy engine gave the car a reputation for being nose-heavy; the supercharged Studebaker engine that replaced the Packard engine in 1957 was heavier. Road tests of the time, many of which were conducted by racing drivers, seldom mentioned any handling issues in spite of the heavy front end. Speed Age magazine of July 1956 tested the Golden Hawk against the Chrysler 300B, Ford Thunderbird, and Chevrolet Corvette, finding that the Golden Hawk could out-perform the others comfortably in both 0-60 mph acceleration and quarter mile times. The fastest 0-60 reported in magazine testing was 7.8 seconds, while top speeds were quoted as 125 mph plus. The 1956 model powered by a Packard engine entered the famous Mille Miglia race in Italy.

Options
A wide variety of colors (including two-tone paint schemes) were available. Two-tone schemes initially involved the front upper body, the roof, and a panel on the tail being painted the contrast color, with the rest of the body in the base color. Later 1956 production had the body above the body trim line, including the trunk, in the contrast color with the tail panel, roof, and the body below the body trim line being in the base color. The interior included an engine turned dash.

An increased options list and reduced standard equipment were used to keep base price down compared to the previous year's Studebaker Speedster, which the Golden Hawk replaced. Even turn signals were an option.

The Golden Hawk was matched with three other Hawk models for 1956, and was the only Hawk not technically considered a sub-model within one of Studebaker's regular passenger car lines; the Flight Hawk coupe was a Champion, the Power Hawk coupe was a Commander, and the Sky Hawk hardtop was a President.

1957–1958: The Golden Hawk

The Golden Hawk was continued for the 1957 and 1958 model years, but with some changes. Packard's Utica, Michigan, engine plant was leased to Curtiss-Wright during 1956 (and eventually sold to them), marking the end of genuine Packard production. Packard-badged cars were produced for two more years, but they were essentially rebadged Studebakers, including Packard Hawk – the restyled Golden Hawk. The Packard V8, introduced only two years earlier, was therefore no longer available. It was replaced with the Studebaker 289 in³ (4.7 L) V8 with the addition of a McCulloch supercharger, giving the same 275 hp output as the Packard engine. This improved the car's top speed, making these the best-performing Hawks until the Gran Turismo Hawk became available with the Avanti's R2 supercharged engine for the 1963 model year.

The Golden Hawks were 203.9 in long. A padded dash was standard.

Styling also changed somewhat. A fiberglass overlay on the hood was added, which covered a hole in the hood that was needed to clear the supercharger, which was mounted high on the front of the engine. The tailfins, now made of metal, were concave and swept out from the sides of the car. The fins were outlined in chrome trim and normally were painted a contrasting color, although some solid-color Golden Hawks were built.

Halfway through the 1957 model year, a luxury 400 model was introduced, featuring a leather interior, a fully upholstered trunk, and special trim. Only 41 of these special cars were produced, and very few of the 41 exist today. One of them, the first production model, is housed at the Studebaker Museum in South Bend.

For 1958, the Golden Hawk switched to 14-inch wheels instead of 15-inch wheels, making the car ride a little lower. The 15-inch wheels, however, were available as an option. Other styling changes included a new, round Hawk medallion mounted in the lower center of the grille, and the available contrasting-color paint was now applied to both the roof and tailfins. One unique feature was a vacuum gauge on the instrument panel. Padded dash boards were standard.

Several minor engineering changes were made for '58, including revisions to the suspension and driveshaft that finally allowed designers to create a three-passenger rear seat. Earlier models had seating for only two passengers in the rear because the high driveshaft "hump" necessitated dividing the seat; a fixed arm rest (later made removable because of customer requests) was placed between the rear passengers in earlier models.

In January 2011, Barrett-Jackson auctions sold a 1957 Studebaker Hawk for a final hammer price of $99,000.

Discontinuation
Like many more expensive cars, Golden Hawk sales were heavily hit by the late-1950s recession, and the model was discontinued after only selling 878 examples in 1958. The Silver Hawk remained the only Hawk model; it was renamed simply the Studebaker Hawk for the 1960 model year.

title: Studebaker Golden Hawk


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Willie Cañate

Emisael William Cañate Librada (born December 11, 1971) is a Venezuelan former Major League Baseball left fielder and right-handed batter who played for the Toronto Blue Jays in 1993. The Blue Jays went on to win the World Series that season. Cañate was a career .213 hitter (10-for-47) with one home run and three RBI in 38 games.

After the 1993 season, Cañate played at the AA and AAA levels in 1994 and 1995, played one season in the Mexican League and five more seasons in Italy before retiring.

title: Willie Cañate


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Pedro Castellano

Pedro Orlando Castellano Arrieta (born March 11, 1970), is a Venezuelan former Major League Baseball third baseman/first baseman and right-handed batter who played for the Colorado Rockies (1993, 1995–1996). He also played one season in Japan for the Yomiuri Giants in 1997.

Castellano was a career .161 hitter (15-for-93) with three home runs, nine RBI, 13 runs, two doubles and one stolen base in 51 games. Castellano played for the Tecolotes de Nuevo Laredo of the Mexican League in 2010.

title: Pedro Castellano


text:
User talk:24.189.3.230

Proposed deletion of Caribbean South America

The article Caribbean South America has been proposed for deletion because of the following concern: "WP:UNSOURCED since creation in 2004. Not mentioned in any Google Books source, so likely fails WP:GNG."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. NLeeuw (talk) 13:43, 19 April 2024 (UTC)

Proposed deletion of Andean states

The article Andean states has been proposed for deletion because of the following concern: "WP:UNSOURCED since creation. Fails WP:GNG (no mention in any recent Google Books). It's an ambiguous term without universal definition, and differing inclusion criteria ranging from 3 to 7 countries. All geographic issues can be explained in Andes; all political issues can be explained in Andean Community."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. NLeeuw (talk) 14:00, 19 April 2024 (UTC)

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

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article until the discussion has finished. NLeeuw (talk) 18:35, 25 April 2024 (UTC)

title: User talk:24.189.3.230


text:
Eduardo Zambrano

Eduardo "Eddie" José Zambrano (born February 1, 1966) is a Venezuelan former professional baseball player. He played parts of two Major League Baseball (MLB) seasons for the Chicago Cubs (1993–94), playing four different positions. He batted and threw right-handed.

He was the American Association MVP in 1993, leading the league with 32 home runs and 115 runs batted in. In the majors, Zambrano was a career .263 hitter (35-133), with six home runs, 20 RBI, 18 runs, seven doubles, and two stolen bases in 75 games.

Zambrano's nephew, Rougned Odor, plays in MLB.

title: Eduardo Zambrano


text:
Robert Pérez (baseball)

Robert Alexander Pérez Jiménez (born June 4, 1969) is a Venezuelan former professional baseball outfielder who played for the Toronto Blue Jays, Seattle Mariners, Montreal Expos, New York Yankees and Milwaukee Brewers of Major League Baseball (MLB) in parts of six seasons spanning 1994–2001. Listed at 6' 3", 205 lb., he batted and threw right handed.

Career
Born in Ciudad Bolívar, Pérez started his professional baseball career in the Venezuelan League as a 19-year-old rookie during the 1988–1989 season. He was signed by the Blue Jays organization as an amateur free agent in 1989.

In a six-season career, Pérez posted a batting average of .254 (126-for-497) with eight home runs and 74 runs batted in in 221 games, including 49 runs, 19 doubles, one triple and three stolen bases.

In 2007 and 2008 Pérez played in the Mexican League, batting over .300 both years. He also spent time in Nippon Professional Baseball (NPB) and Korea Baseball Organization (KBO) while playing for the Orix BlueWave (1999) and the Lotte Giants (2003–2004, 2007), respectively, and played with the Novara United of the Italian Baseball League during the 2011 season. In 2003, he tried to make a comeback to the majors by signing a minor league deal with the Seattle Mariners, was released at the end of spring training.

Besides, Pérez spent his entire 27-season career in the Venezuelan League with the Cardenales de Lara club between the 1989-90 and 2014-15 tournaments to become a living legend in his country, where he is nicknamed El Hombre Historia (The History Man). Such a nickname comes from the fact he set several all-time records in Venezuelan baseball history, including for the most home runs (125), RBIs (738), doubles (222) extra-base hits (382) and game appearances (1,300).

title: Robert Pérez (baseball)


text:
British Columbia Highway 7A

Highway 7A, known locally and on street signs as the Barnet Highway, Barnet Road, St. Johns Street, Inlet Drive and Hastings Street, was Highway 7's original 1941 route between the harbour in Vancouver and Port Moody. The highway gained the 7A designation around 1953 due to Highway 7 being re-designated along Lougheed Highway through Maillardville and Central Burnaby and was disestablished on April 1, 1999.

Route details
The 26 km long Highway 7A largely followed a parallel route alongside the Canadian Pacific Railway. The highway started off in the west at Seymour Street in Downtown Vancouver, and went 8 km along Hastings Street, passing its junction with Highway 1 en route, until it reached Boundary Road, where the highway crossed into Burnaby. Highway 7A continued east along Hastings Street in Burnaby for 5 km before turning northeast via Inlet Drive onto Barnet Highway. Once Hastings Street terminates the road narrows from 6 lanes to four, and the speed limit is upped from 50 to 80 km/h (from 31 to 50 mph). Barnet Highway carried Highway 7A on a winding 9 km long route on the south shore of Burrard Inlet through Burnaby and into Port Moody, where it meets an intersection with St. John's Street. Highway 7A then travelled 5 km east along St. Johns Street to its junctions with Dewdney Trunk Road and Ioco Road, after which it bears the street name Barnet Highway again, before terminating at its junction with Highway 7 in Coquitlam.

History
Historically speaking, the route that Highway 7A took consisted of three distinct roads: the Dewdney Trunk Road, the Barnet Highway and Hastings Street. All of these roads have existed for well over a century. Dewdney Trunk road was once the principal route for traffic north of the Fraser and Hastings Street had been established early on in the history of Vancouver and Burnaby as municipalities. Both Barnet and Dewdney were completed around the turn of the 20th century

In 1941, a province-wide highway numbering scheme came into effect, with Hastings, Barnet, St. Johns and Dewdney Trunk becoming part of Highway 7. In 1952, Dewdney Trunk lost its highway designation as a new segment of Highway 7 from Shaughnessy Street to today's intersection of St. Johns and Dewdney Trunk Road was completed. This included the building of a new overhead crossing the Canadian Pacific Railway tracks.

At some point in the early 1950s (possibly 1953) Highway 7 was rerouted to the newer Lougheed Highway through Maillardville and Central Burnaby. This finally gave Hastings, Barnet Highway and St. Johns Street the Highway 7A designation. During the mid-50s multiple improvements were made along the Barnet Highway section. In 1959, a study conducted by the Technical Committee for Metropolitan Highway Planning suggested the building of a series freeways throughout Vancouver. The committee looked at the possibility of a freeway over Burnaby Mountain which would be a bypass the Barnet over Burnaby Mountain, but ultimately rejected it. Different proposals called for a freeway bypass of Port Moody, a freeway through the Coquitlam Chines and others. None of these plans ever came to fruition.

Barnet Highway remained a two lane highway until the 1990s, when the province began to recognize that congestion was starting to build throughout the overall length of highway 7A. Using the concept of HOV lanes as a means to lessen single occupancy vehicle use and reduce said congestion, the province began to design the Barnet/Hastings People-Mover Project. The project started in 1991 and saw various layouts be considered. However, it was ultimately decided that Hastings would be widened to six lanes and the Barnet highway be finally upgraded into a four-lane facility. The right hand lanes in each direction along the two segments would operate as HOV lanes from 6:00 AM to 8:30 AM towards Vancouver and from 3:30 PM to 6:00 PM towards Port Moody. The improvement also saw the addition of an HOV lane going westbound on St. Johns Street and Clarke St. in Port Moody. The project was completed on September 4, 1996, at a cost of $105 million (equivalent to $161,811,024 in 2020). Counterintuitively, the project led to an increase in travel times on certain stretches of the route.

As part of the creation of TransLink, a major road network was to be created and maintained. The province had also decided to handover hundreds of kilometres of roadways to municipalities throughout the province. Highway 7A's component routes were a part of the handover, and so on the April 1, 1999, Highway 7A ceased to be.

The Burnaby section of this road has been renamed to Barnet Road.

title: British Columbia Highway 7A


text:
Upholstery

Upholstery is the work of providing furniture, especially seats, with padding, springs, webbing, and fabric or leather covers. The word also refers to the materials used to upholster something.

Upholstery comes from the Middle English word upholder, which referred to an artisan who makes fabric furnishings. The term is equally applicable to domestic, automobile, airplane and boat furniture, and can be applied to mattresses, particularly the upper layers, though these often differ significantly in design. A person who works with upholstery is called an upholsterer. An apprentice upholsterer is sometimes called an outsider or trimmer. Traditional upholstery uses materials like coil springs (post-1850), animal hair (horse, hog and cow), coir, straw and hay, hessians, linen scrims, wadding, etc., and is done by hand, building each layer up. In contrast, today's upholsterers employ synthetic materials like dacron and vinyl, serpentine springs, and so on.

History
Upholder is an archaic term used for "upholsterer", but it appears to have a connotation of repairing furniture rather than creating new upholstered pieces from scratch (cobbler v. cordwainer).

In 18th-century London, upholders frequently served as interior decorators responsible for all aspects of a room's decor. These individuals were members of the Worshipful Company of Upholders, whose traditional role, before the 18th century, was to provide upholstery and textiles and the fittings for funerals. In the great London furniture-making partnerships of the 18th century, a cabinet-maker usually paired with an upholder: Vile and Cobb, Ince and Mayhew, Chippendale and Rannie or Haig.

In the US, Grand Rapids, Michigan, and Hickory, North Carolina, are centers for furniture manufacture along with Long Eaton, Nottinghamshire (England), and many of the best upholsterers can still be found there. Nottinghamshire is also home to Webs Training Ltd, a furniture training company specializing in training apprentices in the furniture manufacturing industry. These artisans continue to create or recreate many antique and modern pieces of furniture.

Furniture reupholstery continues to thrive in the UK, with several small and large businesses providing these services.

Traditional
Traditional upholstery traces its roots back to ancient civilizations, where the need for comfort and functionality led to the creation of padded seating surfaces. From ancient Egypt to ancient Rome, early upholstery was primarily concerned with cushioning and supporting chairs, seats, and sofas. However, it was during the Renaissance period in Europe that upholstery flourished as an art form in its own right. Skilled artisans painstakingly handcrafted upholstery using techniques passed down through generations. One of the defining characteristics of traditional upholstery is its reliance on manual craftsmanship. Upholsterers, or "upholsterists", as they are sometimes called, possess unique skills that enable them to transform raw materials into exquisite furniture pieces.

Traditional upholstery is a craft that evolved over centuries for padding and covering chairs, seats, and sofas before the development of sewing machines, synthetic fabrics, and plastic foam. Using a solid wood or webbed platform, it can involve the use of springs, lashings, stuffings of animal hair, grasses, coir, wools, hessians, scrims, bridle ties, stuffing ties, blind stitching, top stitching, flocks and wadding all built up by hand.

In the Middle Ages, domestic interiors were becoming more comfortable, and upholstery was essential in interior decoration. The decorations consisted mainly of what we would now consider as "soft furnishings". However, there were simple platforms of webbing, canvas, or leather for stools, chairs, and elaborately decorated coverings that already demonstrated the rudimentary beginnings of upholstered furniture. By the start of the 17th century, chair seats were being padded, but this upholstery was still fairly basic. All sorts of stuffings from sawdust, grass, and feathers to deer, goat, or horsehair were used, although, in England, the Livery Company forbade goat and deer hair and imposed fines for misdemeanors. The stuffing was heaped on a wooden platform and held in place with a decorative top fabric and nails. This produced a simple dome shape sloping towards the seat. Only towards the end of the 17th century did upholsterers start developing techniques to distribute and shape the stuffing into more controlled shapes. Curled horsehair was used more consistently for stuffing, making it easier to hold in place with twine stitches developed from saddlery techniques. Thus, layers of stuffing could be distributed evenly and secured to stay in place. On a basic level, squab cushions were made more stable using tufting ties. Stuffed edge rolls appeared on seat fronts, providing support for cushions to be retained and later for deeper stuffing to be held in place under a fixed top cover.

What we now consider "classic" upholstery shapes and techniques flourished in the 18th century. Frames of elegant line and proportion were sympathetically matched by expertly executed upholstery. By now, the upholsterers' technical knowledge meant that stuffing could be controlled along upright and sloping lines, giving new comfort levels and a stated elegance. Later in the century, the border was replaced by a single piece of linen or scrim, which took over the stuffed seat and tacked to the frame. At the same time, the locked blind stitch and top-stitching combination (pulling the side and top surfaces together and bringing the stuffing up to make a firm top edge) evolved.

In the Victorian era, fashions of luxury and comfort gave rise to excesses of stuffing and padding. Mass production techniques made upholstered furniture available in large quantities to all sections of society. The availability of better-quality steel springs and the development of lashing techniques enabled upholstery to be built up on seats, backs, and arms independently of the frame shape. Stuffings became even more complex, edges became elaborately shaped into rolls and scrolls, and fabrics were folded into soft padded shapes using buttoning.

Modern
Modern furniture is more likely to be partly or wholly made with cellular Polyurethane foam. This foam provides structure, resilience (recovery from loading), and, most importantly, lightweight. It is then covered with an outer decorative textile. The synthetic polymer will age and lose performance within a "reasonable" time and be significantly lighter than the traditional fillings. (In this context, foam is graded by its weight per cubic metre. 50 kg per cubic metre or 5% mass is typical). It is also relevant to include a reference to the way furniture has evolved with regard to recreational use, e.g., television watching. Lower cost allows more regular change to take account of such issues as design, moving accommodation, and deterioration due to the way it is used. Bed Mattresses may be considered the same way, with appropriate allowance for different usage, although the amount of time in use is probably higher. This has significant implications for the end of life of the materials used in manufacture and the end value of the materials. It is also worth noting that the above includes a high availability of air within the article, leading to ignition risk concerns and the introduction of the UK Furniture Fire Regulations (FFR).

While modern advancements have introduced new materials and techniques to the world of upholstery, the artistry and attention to detail that define traditional upholstery remain unparalleled. Although sewing machines and synthetic foams have expedited the manufacturing process, they have not replaced the skill and expertise of the upholsterer. Traditional upholstery continues to thrive as a niche craft, appreciated by discerning individuals who seek timeless beauty and unparalleled comfort in their furniture.

Automobile

An automotive upholsterer, also known as a trimmer, coach trimmer, or motor trimmer, shares many of the skills required in upholstery and can work with carpets.

The term coach trimmer derives from the days when car frames were produced by manufacturers and delivered to coach builders to add a car body and interior trimmings. Trimmers would produce soft furnishings, carpets, soft tops, and roof linings often to order to customer specifications. Later, trim shops were frequently an in-house part of the production line as the production process was broken down into smaller parts manageable by semi-skilled labor.

Many automotive trimmers now work in automotive design or with aftermarket trim shops carrying out repairs, restorations, or customer conversions directly. A few high-quality motor car manufacturers still employ trimmers, for example, Aston Martin.

Commercial
This is the type of upholstery work offered to businesses. Examples would be restaurant seating consisting of booth seats, dining room chairs, bar stools, etc. Also, churches, including but not limited to pews and chairs for the congregation, hospitals, and clinics consisting of medical tables, chiropractic tables, dental chairs, etc. Also common to this type of upholstery would be lobby and waiting-area seating. Upholstered walls are found in some retail premises.

Marine
Upholsterers may be called upon to repair or replace seating, cushions, cabin furnishings, headliners, and boat carpeting.

Marine upholstery differs in that one has to consider dampness, sunlight, and hard usage. Many sources now offer marine-grade vinyl, such as Spradling and Morbern, in hundreds of colors and styles.

Each style of marine-grade vinyl is rated according to cold crack, rub counts, and mold resistance. Stainless steel hardware, such as staples and screws, must be used to prevent rust and early breakdown of hardware and fasteners. The newest products for fastening vinyl in marine applications are Tenara thread and Monel staples. Any wood used must be of marine quality.

Usually, a high-resiliency, high-density plastic foam with a thin plastic film is used to keep out water that might get by the seams. Closed-cell foam is used on smaller cushions, which can sometimes double as flotation devices.

The evolution of boat seating reflects a journey of creative adaptation and technological advancement. Initially, boaters made do with simple wooden benches or flat surfaces. The advent of more resilient materials like plastic and vinyl in the 20th century revolutionized seat design, offering greater durability and water resistance. This change enabled more diverse and ergonomic designs. In the 21st century, technological progress has ushered in high-end features such as padded cushions, UV-resistant fabrics, and adjustable settings, enhancing comfort. Some contemporary seats even boast luxury features like in-built heating or massaging systems, signifying the transformation of boat seating from a fundamental element to a sophisticated, comfortable experience.

Related tools

 * Chalk (upholsterer's chalk or tailor's chalk)
 * Goggles
 * Needle guards
 * Rubber mallet
 * Scissors
 * Sewing machine
 * Staple gun
 * Staple knocker (staple puller)
 * Upholstery hammer
 * Upholstery needles (round point curved needles and button needles)
 * Upholstery regulator
 * Webbing stretcher

Materials

 * Buttons
 * Dunlop & Talay Natural Latex Foam|Recycled/Rebond (Flexible foams for cushioning and mattresses)
 * Fabric
 * Vegan Leather
 * Engineered Hardwood|Plywood|Wood Polymer Composite
 * Adhesive (industrial PU spray adhesives, wood glues, natural and renewable alternatives)
 * Springs (Sinuous Springs, Coil Springs, Proprietary designs, etc.)
 * Webbing (Strapping) (synthetic elastic webbing, natural jute webbing, etc.)
 * Feathers (soft cushion stuffing, down/feathers, etc.)
 * Fiber Batting (densified polyester fiber batting - common brand names Kodel and Dacron, Recycled Fiber batting, Wool & Cotton batting, etc.)
 * Upholstery Staple|Framing Staples
 * Brad Nail|Tacks (upholstery tacks, various sizes)
 * Hook & Loops

Skills

 * Cutting
 * Sewing

title: Upholstery


text:
Wikipedia:Articles for deletion/Sacix

This page is an archive of the discussion surrounding the proposed deletion of the page entitled Sacix.

This page is kept as an historic record.

The result of the debate was to keep the article.

~Delete. Garbage - Pedro 01:35, 19 May 2004 (UTC)
 * Keep. Over-condensed article, but not garbage. Or do you mean the software itself is garbage? Mikkalai 20:29, 19 May 2004 (UTC)
 * It seems Pedro loves to delete... but why Sacix would be garbage? (unsigned comment at 22:26, May 19, 2004 by User:Leandrod)
 * Really... you dont like people to touch your POV. Sacix is just an add. I'm amazed and not understanding why you didnt created an article about yourself. Or there is one? As we say, and ask, in Portugal "when an article about 'santa cona dos assobios' will be written?" --Pedro 17:56, 22 May 2004 (UTC)
 * I don't know why I kept passing this by. So I stopped, looked...and just kept looking at this article.  Frankly, I don't know why this was put up for deletion.  There are even plenty of Wikis to back up the terminology.  Even if the software really is garbage, keep. - Lucky 6.9 23:37, 19 May 2004 (UTC)
 * The software is not garbage. its the article! Now wikipedia is a database of Software? -Pedro 23:55, 19 May 2004 (UTC)
 * Yeah, the article could be better. But it's a pretty good stub about what seems to be an important project in one of the world's largest cities.  There have been a lot of arguments lately about posting subroutines and Linux commands as articles.  Personally, I feel they don't belong here.  This, IMO, does belong.  A little cleanup wouldn't hurt, but I think it's serviceable as is. - Lucky 6.9 00:10, 20 May 2004 (UTC)
 * Keep, and hope somebody builds on it. Denni 00:23, 2004 May 25 (UTC)

This page is now preserved as an archive of the debate and is no longer 'live'. Subsequent comments on the issue or the deletion should be placed on other relevant 'live' pages. Please do not edit this page.

title: Wikipedia:Articles for deletion/Sacix


text:
Amen (disambiguation)

Amen is a declaration of affirmation found in the Hebrew Bible and New Testament.

Amen may also refer to:

Film and television

 * Amen., a 2002 historical drama film
 * Amen (2010 film), an Indian short film
 * Amen (2011 film), a South Korean drama
 * Amen (2013 film), a Malayalam film
 * Amen (TV series), an American sitcom 1986–1991

Performers

 * Amen (American band)
 * Amen (Peruvian band)
 * Amen (musician) (Jussi Sydänmaa, born 1972), a Finnish guitarist

Albums

 * Amén, a 2000 album by Azúcar Moreno
 * Amen!, a 1958 album by Della Reese
 * Amen (Amen album), 1999
 * Amen (Paula Cole album), 1999
 * Amen (Rich Brian album), 2018
 * Amen (Salif Keita album), 1991
 * Amen (So Be It), a 1999 album by Paddy Casey

Songs

 * "Amen" (gospel song), a traditional song, popularized by The Impressions with their 1964 version
 * "Amen" (Ana Soklič song), the Slovenian entry in the Eurovision Song Contest 2021
 * "Amen" (Drake song), 2023
 * "Amen" (Edens Edge song), 2011
 * "Amen" (For King & Country song), 2021
 * "Amen" (Francesco Gabbani song), 2015
 * "Amen" (Halestorm song), 2015
 * "Amen" (Kid Rock song), 2007
 * "Amen" (Meek Mill song), 2012
 * "Amen" (Vincent Bueno song), the Austrian entry in the Eurovision Song Contest 2021
 * "Amen", a song by Sepultura, from Chaos A.D.
 * "Amen", a song by Kid Cudi from Speedin' Bullet 2 Heaven
 * "Amén", a song from Amén (Azúcar Moreno album)
 * "Amen", a song from Behemoth, from The Satanist
 * "Amen", a song by Beyoncé from Cowboy Carter
 * "Amen", a song from Decapitated, from Anticult
 * "Amen", a song by Enigma from the 2016 album The Fall of a Rebel Angel
 * "Amen", a song by Falz from Moral Instruction
 * "Amen", by Todrick Hall from Haus Party, Pt. 1
 * "Amen", a song by Jme from the 2015 album Integrity>
 * "Amen", a song by Liora, the Israeli entry in the Eurovision Song Contest 1995
 * "Amen", a song by Mike Posner from his 2019 album A Real Good Kid
 * "Amen", a song by Pusha T from the 2011 album Fear of God II: Let Us Pray
 * "Amen!", a song by Bring Me the Horizon from the 2024 album Post Human: Nex Gen

People

 * Amen Brown (born c. 1987), American politician
 * Amen Santo, athlete and actor
 * Amen Ogbongbemiga (born 1998), American football player
 * Amen Edore Oyakhire (born 1945), Nigerian government official
 * Daniel Amen (born 1954), American celebrity doctor
 * Irving Amen (1918–2011), American artist
 * Jeanne Amen (1863–1923), French painter
 * John Amen (1898–1960), chief Interrogator during the Nuremberg War Trials
 * José Amén-Palma (born 1926), Ecuadorian surgeon and medical researcher
 * Paul Amen (1916–2005), American athlete and banker
 * Robert Amen (born 1950), American businessman
 * Woody van Amen (born 1936), Dutch artist

Other uses

 * Amen (website), a defunct social network
 * Amen, Netherlands, a village
 * Amen: The Awakening, a game
 * Amun or Amen, an Ancient Egyptian deity

title: Amen (disambiguation)


text:
User:E David Moyer

A newbie to the Wikipedia, I am a former Computer Science major at Wright State University. Though I may write some articles eventually, right now, I am learning the ropes by being a WikiGnome.

One thing that I am considering doing is writing some biographies of notable people I know and adding them. A compendium of human knowledge would not be complete without the knowledge of people. And the lives of ordinary people are interesting -- especially to historians. And who knows, some of those people may not be ordinary after all.

title: User:E David Moyer


text:
User:Archer1742

Userspace pages:

User:Archer1742/Oracle Certified Associate

User:Archer1742/Userbox Sandbox

User:Archer1742/Ashes of the Singularity

title: User:Archer1742