text:
Talk:Real

(Title)
Please move to Brazillian currency. Real has many other meanings. 66.245.95.157 21:44, 20 May 2004 (UTC)

 * I have moved the previous Real page to Real %28currency%29 and created a new disambig page. All links now reflect this change. --VampWillow 01:23, 31 May 2004 (UTC)

("esp.")
"Real, a type of number, esp. in economics;"

Especially in economics???? Phys 19:10, 23 Jul 2004 (UTC)

 * Actually, it was meant to be "especifically". Not my idea, someone else came up with a far too extensive entry for a disambig. page.  Just tried to shorten it a little. Redux 19:10, 24 Jul 2004 (UTC)
 * I'm not going to dogmatically say that "especifically" is not an English word, but here and today is the first time i've met it. Don't take my word for it, Yahoo-answers has been asked, and elicited good answers.]  (More to the point of the original question:)
 * Real, a "type of number", esp[ecially] in economics...
 * is an odd thing for a WP editor to have included in the Dab page Real because it is itself ambiguous! I'll check to see what the Dab page has now, but especially for non-native speakers of English, and for some untrained in economics and/or higher math, that wording is likely to be mysterious. I can imagine three ways to construe the expression in economic contexts:

 * 1) "Real" may make reference to the Spanish word for "royal", and thus to coins that were important during the New World's colonial times. In this context, the abbr "esp." becomes a potential trap, since ESP (in modern times) is derived from and equivalent to Pesata d' España.
 * 2) "Real" in the context of mathematical theory may refer to all the numbers that can be described by a finite series of digits, possibly followed by a decimal point, and (if so followed) also followed by a finite or infinite series of further digits; that sense leads by metaphor to the cybernetic term "Real", describing use of computational algorithms that share with mathematical real numbers the property of handling numbers that have more significant digits and/or are drawn from a broader range of orders of magnitude than those in hand calculations, as may be important in economic calculations.
 * 3) "Real" may be used, in economic contexts, to refer to numbers expressing economic parameters in hypothetical currencies that are subject to neither inflation nor deflation, and thus would more correctly reflect the ability of the output of economic production to meet human needs. --Jerzy•t 11:33, 11 May 2015 (UTC)

Please read before editing
Hi. I've officially lost count of how many times I've cleared up this article because people just keep inserting the exact same links that already exist but using different words. Real number ranks first, if I had left all the entries linking to this article, it would now account for half of an overly extended list. So I have a reasonable request: people, please read the article (and check the links) before addind to the list, this is a typical case of editing without even knowing what's already in the article. And let's remember that the disambiguation page is not supposed to explain the items listed in detail, it's supposed to just direct the reader to the actual "Real" article he may be trying to find, there he will find the detailed information in question. Thanks. Redux 00:54, 7 Sep 2004 (UTC)

 * I'm afraid you'll probably keep changing it until this meaning is more obvious. The "especifically in economics" is especially misleading (is especifically really a word?). Other disambiguation pages don't have the notion that every line has to start with the word, which makes them clearer and more useful. Also there is no point in putting dead links in disambiguation pages. Finally the "important" remark contradicts the manual Manual of Style. Gadykozma 02:54, 7 Sep 2004 (UTC)

 * I'm sorry that you have found the page unclear, but I guess most users disagree, especially since quite a few people have been involved in writing this page. What I have done is eliminate redundant entries and consolidate any new data (as I've done with your Imaginary numbers addition).  The fact that all the entries start with the word being disambiguated would appear to be either a coincidence or a result of people trying to make the article more clear (except maybe in your book), or maybe they were just following the lead of VampWillow, who started the page and wrote the first entries.  I fail to see how writing the same things over and over with different words helps the article to be more clear.  Since you thought that was a problem, I'm afraid you only added to the problem instead of fixing it.  As for the "important" remark, it was inserted as a temporary resort because there were tens of articles in which people used the word "real" as an adjective and mislinked it to the page that used to be here (until VampWillow moved it and created the disambiguation page), instead of linking it to the Reality article (if you had read the page's history, you'd know that).  Dead links are part of disambiguation pages, I've been to some where 80% of the links were red, and I don't see it as being pointless, since the entry points to another meaning of the word that we would otherwise ignore and creates the opportunity for  someone to take an interest and actually write an article approaching that specific meaning of the word.  And finally, concerning the word "especifically", which was the result of yet another anti-redundancy edit, Google it and you'll find quite a few entries for it.  Regards. Redux 12:41, 7 Sep 2004 (UTC)
 * I didn't say that adding duplicate entries makes the article clearer. I said that if the real numbers entry would have read "In mathematics, a real number is...", it would be more useful to readers and less work for you. As for especifically, you will find any mispel in google. Why don't you try http://m-w.com ? Finally, don't assume that anyone who doesn't agree with you it's because he didn't read something. It's just not true. Gadykozma 13:38, 7 Sep 2004 (UTC)
 * Well, any effort to reword for clarity is certainly welcome, the problem is exactly that people are not doing that. However did you conclude that I think that who's not with me is wrong?  Maybe it was I who wasn't clear enough, so here it goes: People keep writing duplicate entries, and that's not my opinion, that's a mere observation of facts;  What I did assume is that the reason why people do that is because they didn't take the time to read the article and check the links, which makes that an honest — although easily avoidable — mistake, and that really has nothing to do with whether or not people agree with any particular opinion of mine.  Otherwise it's just crazy, I mean, they saw that the entry already existed and still wrote another one?  Take your case for instance, you wrote a duplicate entry for Real number, so I suppose that you did it because you didn't notice that it was already there.  That's not the same as rewording, which according to your own line of thought, would have been the way to go if you really felt that the entry was that unclear.  So as I said before, you accidentally added to the problem instead of fixing it (if there's actually a problem).  Finally, the word "especifically" is broadly used and understood, which makes it rather useable according to modern linguistics (just like many terms related to computing and the internet), not a "mispel", which technically would be to write something like "corret" instead of "correct" (the noun "mispel", by the way, is not in the Webster's English Language Dictionary, which certainly doesn't mean that it's not really a word).  Regards, Redux 19:14, 7 Sep 2004 (UTC)

Order of items
Dear Redux. Please state here the reasons for you preferring the Brasilian currency first. I believe the recent edits of Stevertigo are very appropriate and improve this article, and as such, can't just be reverted saying that the issue was "settled before". Thanks. I believe it is better to talk before reverting. Oleg Alexandrov
 * The reasons are stated in the discussion right over this one, right here on the talk page. That is why I said it had already been discussed.  Repeating: There is no particular reason, I was not the one to have listed the Brazilian currency first.  VampWillow started this disambiguation page and she listed articles at random.  Every other enty after that was made at the bottom of the list.  This provides neutrality and [should] prevent constant editing because someone comes along and finds that "something is more important and thus should come first in the list", or "let's list alphabetically, or by bigger article, etc.".  Just now Stevertigo altered the order because he probably felt that something else should me moved up the list.  Similarly, other people might come along who think some other entry is "more important" and should come first, or maybe come up with some other reasoning for altering the list.  It's a potentially neverending switch.  VampWillow had no predilection, and the Brazilian currency was listed first (I believe) simply because it's article was occupying this namespace before and was moved to make room for the disambiguation article.  This probably made it the first one to come to Willow's mind.  Once again, neutrality: the order was defined by chance, so no one can complain about predilections or claim that whatever criteria that could have been used was biased in any way. We cannot start this discussion over and over everytime someone decides that the order should be altered.  I also see no reason to create subsections in a simple disambiguation list, not to mention that opening the disambiguation with one of the possible meanings as if it was a definition (or a standard opening paragraph from a normal article) is completely innapropriate for a disambiguation page.  That will never stand, it's only a question of time until someone changes it back.  I say: stick with the random listing, leave what's already there where they are and add new entries at the bottom, as it's been done all along.  This issue has already generated an unseemly amount of polemics.  Perhaps a second note will have to be added to the article, letting people know that the order of listing is random and should stay as such exactly to avoid polemics and continuous edits/reverts.  Regards, Redux 01:33, 5 May 2005 (UTC)

 * Disagree. This page did not have any attempt at reordering since January 9, when I tried it. My result was quite close to what Stevertigo put now. It is not as if this page is the focal point of all kinds of edits wars (well, except for you reverting any attempts at editing this). Let us leave it this way and see if more people will want to reorder things.

 * Splitting this article into sections is good, now things are better structured. Oleg Alexandrov 02:07, 5 May 2005 (UTC)

 * What I said is that random listing is meant to prevent constant edits aiming at reordering the list. That is exactly what you did.  Think no one is likely to come over and reorganize it as they see fit?  That will happen (you did it yourself, as did Stevertigo).  It could be that any new version manages to stay on for a while, but the point still stands (it will only remain because the page is not all that "visible").  I reverted Stevertigo's edit informing that the issue had been brought up before and had been (I thought) put behind us.  You re-reverted without checking the talk page (since I said it had been discussed).  You didn't read the page, and started a new discussion without realizing that you were doing it right underneath the discussion that had happened on the issue.  If there's a revert problem, I'm sorry but you caused it. As I mentioned, you did not make any point except to say that you think that the order you came up with is better (in your opinion).  That is exactly the problem (that has the potential to generate future issues, sin there's no edit war going on right now) I was talking about: just as you did it, someone else is likely to come along (no matter if one, two or three months from now) and decide to do the same.  Random listing, which provides for neutrality, is the only way to prevent that sort of thing. Finally, this new format you created is not suitable for a disambiguation page: it has an opening paragraph that [appears to] defines "Real" (as something that exists in reality, etc.), as if that was the principal meaning of the word (which is besides the point in a disambiguation page).  Than you opened new sections saying that it "may also refer to".  That is not the point of a disambiguation page.  This is supposed to be a simple list that points for the specific articles with very succinct summaries to the meaning that will be approached in the specific article.  Subdividing the list would only be necessary if the topic was somehow complex or if the list bacame exceedingly long.  Neither one is the case here, at least so far.  Regards, Redux 02:38, 5 May 2005 (UTC)

It was not me who reverted.

I understand some things about this version are not perfect. We can improve on it.

I would suggest we freeze the order the way it is now. Stevertigo is fine with that, I am fine with that. It seems any order is fine with you as long as it is fixed. How about that? Oleg Alexandrov 03:13, 5 May 2005 (UTC)

 * As for the order itself, we may give it a try, but I maintain that neutral (meaning, listing at random) is the less complicated way to go. But even if we maintain this order, there are some details about the format that will need to be adjusted:  There can be no opening paragraph defining "Real" and then subtopics given other meanings, as if they were secondary.  All entries need to be indicated as alternative meanings for the word (with succinct data on what the word refers to — which will not be expanded here, since that's the job of the specific article, to which this one is supposed to point).  Furthermore, as per the organization of the subsections, as it stands right now, "Regional" and "Other" seem to be categories apart from the header that says "it may also refer to", when they are in fact other meanings of "Real".  That would have to be improved.  Regards, Redux 04:05, 5 May 2005 (UTC)

 * I think we are slowly converging towards a solution. Random ordering might be the less complicated way to go, but so far it made others unhappy.

 * So let us see how it goes with the new order. In the future, if other people would like to make changes, we can always talk. That seems to be the only way to go, and not reverting back and forth.

 * I would really appreciate it if you improve of the organization of the page, as you mentioned above. Cheers, Oleg Alexandrov 04:21, 5 May 2005 (UTC)
 * So much argument over a disambiguation page! -SV|t 05:55, 5 May 2005 (UTC)
 * Yeah, but as they say, S**t happens. Redux 17:45, 5 May 2005 (UTC)

note for Wikipedia editors?
Why is the following at the bottom of the real article? It is a note for Wikipedia editors, and one of the Policies and guidelines is Avoid self-references. It is not an explicit self-reference, but it is a comment that only makes sense for Wikipedia editors. Blank Verse  ∅  5 July 2005 20:58 (UTC)

 * I agree the note should not be there. Besides, it is ugly. The editors should be smart enough to figure out what to link to. Oleg Alexandrov 6 July 2005 02:39 (UTC)
 * All right, I was the one who had created the note, so I've taken care of it. I've turned it into one of those visible-only-when-editing notes to editors.  This had only been in the article because, back when this disambiguation page was created, a quick search of the website revealed an overwhealming quantity of mislinks.  Enough time has passed though, and with a disambig page, the problem is likely resolved.  I thought the notice was worth keeping though, although now visible only when editing.  Regards, Redux 6 July 2005 16:55 (UTC)
 * That's called Avoid self-references, aka Self (JftR). And while the situation in question isn't what that guideline addresses, IMO they are indeed in the same spirit, and the outcome of that discussion is good. --Jerzy•t 19:37, 11 May 2015 (UTC)

BTW, the "main" or "article" namespace contains articles, Dabs, and Redirects. (And no main-namespace page is in more than one of those three subdivisions of the namespace.) Thus the accompanying main-namespace page is the Real dab. --Jerzy•t 19:37, 11 May 2015 (UTC)

Sport clubs
While grateful for being informed how many dumb Yanks (i am one of those too, FtR) don't think there's anything odd about Yank teams putting Real in their names, the proper page for that collection of clubs and teams is an SIA (titled, say, Sport organizations evoking "real"): A Dab is not an SIA, nor an SIA a Dab, and while there will probably always be SIA entries on Dab pages, replacing those entries from the accompanying Dab page with a single link is now on my personal to-do list. --Jerzy•t 19:37, 11 May 2015 (UTC)

Singing
This my dream, I hope I can do it well and deal with you Sosopp2006sudan (talk) 00:32, 15 October 2020 (UTC)

Real (manga)
Shouldn't Real be added to this page? 194.223.95.112 (talk) 03:33, 18 November 2023 (UTC)

title: Talk:Real


text:
Talk:Roosevelt, Utah

Untitled
Was this named to honor Theodore Roosevelt or Franklin Roosevelt?? The answer is useful in determining their honor ranks (See Talk:George Washington for what an honor rank is.) 66.245.95.157 21:45, 20 May 2004 (UTC)

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

title: Talk:Roosevelt, Utah


text: User talk:67.33.99.246

title: User talk:67.33.99.246


text:
User talk:Bsparks

Hello and welcome to Wikipedia!

Here are some tips to help you get started:

 * If you haven't already, please add your name to the new user log to let others know a little about yourself.
 * Read the article describing how to edit a page and feel free to experiment in the Sandbox.
 * When editing pages, use the preview button before submitting and try to fill in the summary box for every edit.
 * Eventually, read the Manual of Style and Policies and Guidelines.
 * If you need help, post a question at the Help Desk or ask me on my talk page.
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck! Jrdioko

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type (3 tildes), or, to insert your name and timestamp, use ~ (4 tildes)

Thanks so much for your message. I feel that I have been officially welcomed now. ;-)

I must also say that it is one of the most rewarding things ever to see a legitimate page you created start to grow and evolve...

Bsparks

authors: Template namespace initialisation script

title: User talk:Bsparks


text:
Dynamo Joe

Dynamo Joe was a comic book series published by First Comics from 1986 to 1988. Created, plotted and drawn by Doug Rice, it was scripted first by John Ostrander then by Phil Foglio. Ben Dunn sometimes filled in for Rice on the art.

The series occurred in the future, involving a war in which three star-faring civilizations are being invaded by the alien and seemingly mindless Mellenares, huge green killing machines traveling in a straight line and destroying everything in their path. The brunt of the human defenses are giant, fusion-powered robots ("battle suits") called "Dynamo Class Robosoldiers" and crewed by living individuals. These battle suits can be configured for either planetary or space combat, and contain or use a wide variety of weaponry. Dynamo Joe focuses on the crew of one such suit: Imperium soldier Elanian Daro and Tavitan (humanoid feline) mechanic Pomru Purrwakkawakka, and their critical contributions to the war effort. Dynamo Joe ranged in tone from action-packed space opera to slapstick humor.

Publication history
The series premiered as a back-up in the comic book series "Mars" published by FIRST COMICS, INC., then ran as a staple for the five-issue run of the anthology First Adventures, before moving to its own series. The back-up shorts found in MARS comic issues #10-12 were reprinted (with additional pages added) in "Dynamo Joe Special #1". Dynamo Joe was supposed to be a three-issue limited series, but ended up running for 15 issues, reaching a sort of resolution before cancellation. Rice was a fan of Japanese giant robot adventures, such as Robotech, and the battle suits were designed in that spirit.

(FIRST Comics in which Dynamo Joe appears) Mars #10-12 ("Retreat From Fergusson", "The Key To Survival", "Escape Velocity") First Adventures #1-5 Grimjack #30 Dynamo Joe Special #1 (reprinting the 3 titles (listed above) that appeared in Mars #10-12, plus a cutaway schematic of DJ and other sundry extras) Dynamo Joe #1-15

Elanian Daro
Elanian Daro was once a captain in the Imperium Officer Corp, and for some undisclosed reason was busted down to the rank of sergeant. It is known that the Magna Khan himself takes personal interest in Elanian Daro and considers him to be of great value. When busted out of the Imperium military, he was quickly snatched up by the Earth forces and attained the rank of Over Sergeant and placed in a command position. Elanian once held the temporary rank of general when the asteroid used for a command base was taken over by the "dreamers" that had been taken over by the Mellenares. Daro came to be a personal friend of the base commander, who apparently had more data on Daro than he himself did.

Daro had a sister who was consort to the Imperium prince that oversaw the Imperium fleet. She was killed when the prince attempted to overthrow the Magna Khan.

Pomru Purrwakkawakka
Pomru Purrwakkawakka was given great leniency in modifying the Dynamo Joe battlesuit and was known for pilfering objects and performing frequent modifications, despite the fact that he had clearance to nearly anything he wanted. He figured it was easier to ask forgiveness than permission—he also considered petty larceny to be part of the "fun" involved. Dynamo Joe was the most advanced robosoldier suit on the front line as a result of his ongoing upgrades, many of which were derived from observing/studying the extra-dimensional, sentient battlesuit "Wolf-1", which was operated by a mercenary from the pan-dimensional city of Cynosure.

Human culture
The Earth-based human culture was delineated by Earth-colonized worlds, held together by interstellar travel utilizing hyperspace, and the "Blood Nations", consisting of the Native American diaspora to the stars. The Blood Nations appeared to generally engage in constant warfare and piracy, while the colonized worlds reflected various ethnic settlements and were preyed upon by the Blood Nations.

Previous to the war with the Mellenares, the Earth military forces were engaged with anti-piracy operations against various Blood Nation factions. Upon contact with the planet eating Mellenares the Blood Nations reached an uneasy alliance with the Earth military forces and joined in combat against the mutual enemy.

Imperium culture
The Imperium is ruled by the Magna Khan, who left Earth with his harem in a starship for parts unknown in the 22nd century. The Magna Khan is immortal and uses his various princes and princesses to be his imperial government. As only the Magna Khan is immortal, it is the goal of each citizen to become so famous that the Magna Khan will remember his name, thus sharing in his immortality. Imperium subjects are commanded to be fit both mentally and physically - there are no fat or stupid Imperium citizens. Additionally, the Khan is involved in some sort of breeding/genetics program that appears to involve Elanian Daro, who happens to resemble the Magna Khan a great deal.

The Imperium is extremely advanced in technology and culture, focusing greatly on martial arts training. Imperium citizens are physically distinguished by their hair color (blue, green, white, etc.) and their eyebrows, which are forked as they approach the temple.

Tavitan culture
The Tavitans are a matriarchal society ruled by a "Great Mother". They are also known for some psychic ability as it was a vision by a Tavitan that foretold of the coming of the Mellenares. Young Tavitans are known to be excitable and seek adventure, and it was not unusual for them to go out into the world/galaxy and sow their wild oats before settling down into married life.

Tavitans place great trust in their instincts and are natural mechanics, engineers, and tinkerers, if not great soldiers. The younger they are, the less reliable, patient, and disciplined they tend to be.

The Tavitan Homeworld, Londree, orbits (ironically enough) the "Dog Star", Sirius, in a system of planets also threatened by the Mellenares advance. As a species, the Tavitans are nocturnal, so the culture works "the night-shift", which is something off-worlders who visit Londree find difficult to adjust to.

Apart from being superb engineers (even in null-gravity), other Tavitans in the Alliance have been given duties in Intelligence and Research & Development. Their codes are impenetrable, and they always think "outside-the-box" when designing new hardware. Pvt. Pomru is part of a small contingent of male Tavitans actually part of integrated forward combat units, like the members of the "Lafayette Escadrille" of World War I on Earth.

title: Dynamo Joe


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Lip sync

Lip sync or lip synch (pronounced, the same as the word sink), short for lip synchronization, is a technical term for matching a speaking or singing person's lip movements with sung or spoken vocals.

Audio for lip syncing is generated through the sound reinforcement system in a live performance or via television, computer, cinema speakers, or other forms of audio output. The term can refer to any of a number of different techniques and processes, in the context of live performances and audiovisual recordings.

In film production, lip syncing is often part of the post-production phase. Dubbing foreign-language films and making animated characters appear to speak both require elaborate lip syncing. Many video games make extensive use of lip-synced sound files to create an immersive environment in which on-screen characters appear to be speaking. In the music industry, lip syncing is used by singers for music videos, television and film appearances and some types of live performances. Lip syncing by singers can be controversial to fans attending concert performances who expect to view a live performance.

In music
Lip sync is considered a form of miming. It can be used to make it appear as though actors have substantial singing ability (e.g., The Partridge Family television show), to simulate a vocal effect that can be achieved only in the recording studio (e.g., Cher's Believe, which used an Auto-Tune effects processing on her voice); to improve performance during choreographed live dance numbers that incorporate vocals; to misattribute vocals entirely (e.g., Milli Vanilli, a band which lip synced to recordings made by other singers), or to cover deficiencies in live performance. It is also commonly used in drag shows. Sometimes lip sync performances are forced on performers by television producers to shorten the guest appearances of celebrities, as it requires less time for rehearsals and hugely simplifies the process of sound mixing, or to eliminate the risk of vocal errors. Some artists lip sync because they are not confident singing live and want to avoid singing out of tune.

Because the film track and music track are recorded separately during the creation of a music video, artists usually lip sync their songs and often imitate playing musical instruments as well. Artists also sometimes move their lips at a faster speed than the recorded track, to create videos with a slow-motion effect in the final clip, which is widely considered to be complex to achieve. Similarly, some artists have been known to lip sync backward for music videos such that, when reversed, the singer is seen to sing forwards while time appears to move backwards in his or her surroundings, such as in Coldplay's "The Scientist". Notable exceptions to this trend include Bruce Springsteen's hit "Streets of Philadelphia", which only uses the instruments as a backing track while the vocals were recorded with a microphone attached on the singer, giving a different feel to it.

On American Bandstand and most variety shows of the 1960s, vocals and instrumentals were all (with a few notable exceptions on American Bandstand) synced to pre-recorded music. Since the creation of MTV in the 1980s, many artists have focused on visual effects, rather than singing, for their live shows. Artists often lip sync during strenuous dance numbers in both live and recorded performances.

Complex performance
Artists often lip sync during strenuous dance numbers in both live and recorded performances, due to lung capacity being needed for physical activity (both at once would require incredibly trained lungs). Michael Jackson is an example of this; he performed complex dance routines while lip syncing and live singing. His performance on the television special Motown 25: Yesterday, Today, Forever (1983) changed the scope of live stage show. Ian Inglis, author of Performance and Popular Music: History, Place and Time (2006) notes the fact that "Jackson lip-synced 'Billie Jean' is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip synced made no difference to the audience," thus creating an era in which artists recreate the spectacle of music video imagery on stage.

Chris Nelson of The New York Times reported: "Artists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Edna Gundersen of USA Today comments that the complexity of modern stage show has forced "singing and musicianship into minor roles", citing as example artists such as New Kids on the Block, Milli Vanilli, George Michael, Cher, Paula Abdul and Janet Jackson. Gundersen elaborates: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip-syncs the duet 'Now I'm Following You', while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."

Changing fan expectations
Billboard editor Thom Duffy commented in 1990: "The expectations of fans have changed, and that's the driving force here ... They expect a concert as perfect as what they see on MTV." Rashod D. Ollison of The Baltimore Sun observed in 2004: "Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket."

Using real singing and some lip syncing
Some singers habitually lip sync during live performances, both concert and televised, over pre-recorded music and mimed backing vocals; this is known as singing over playback. Some artists switch between live singing and lip syncing during a performance, particularly during songs that require them to hit particularly high or low notes. Lip syncing these notes ensures that the performer will not be out of tune or strain their voice. Once the difficult portion of the song has passed, the artist may continue to lip sync or may resume singing live. Some artists lip sync choruses during songs but sing the main verses.

Musical theater
The practice of syncing also occurs in musical theater, for much the same purpose as for musicians. A production may include a mix of lip synced and live musical numbers. In long-running shows, this may be done to help protect the performer's voice from strain and damage, as well as to maintain a high caliber of production. A notable example of using lip syncing as a special effect includes performances of The Phantom of the Opera, with swing actors in the same costumes as the lead actors give the illusion of the characters moving around the stage with some mystery.

Parade floats
Artists may also lip sync in situations in which their backup bands and sound reinforcement systems cannot be accommodated, such as the Macy's Thanksgiving Day Parade, which features popular singers lip syncing while riding floats.

Incorrect allegations
Sometimes lip syncing is incorrectly identified by fans sitting in the back of a stadium because of the time it takes sound to carry over distance. Viewers might, for example, see a drummer hit a kit before they actually hear the sound. The delay can be mistaken for poor synchronization of miming artists and a backing track.

It is also possible that fans who are watching a live performance on a large-screen video display, either in the venue or remotely as in a live broadcast, are actually seeing a real lip sync timing error. These can be created by the video signal processing delay that occurs in the electronic video signal path between the on stage camera and the large screen displays. This lip sync error can cause those fans to perceive the performance as less entertaining or possibly negatively, as compared to a performance displayed without the electronically introduced error.

There is a technical solution to this problem, the SMPTE ST-2064 standard, but as of March 2018 it has not been adopted by any television production groups such as those who provide large venue television, or by broadcasters who provide live broadcasts. These video signal processing delays, the negative perceptions that are created and the SMPTE ST-2064 standard are discussed in audio to video synchronization.

Types
"[S]ome of the most talented singers have been caught in the act of lip-synching". Arts journalist Chuck Taylor says that it is considered "an egregious offense", but he points out that when singers are dancing and doing complex stage shows, it is hard to sing live. On some TV show performances, "the singer's microphone is still on. On the parts they're not confident on or if the performance is physically demanding, the artist will sing quieter, and more of the performance [backing] track vocals can be heard." There are "very few artists who [...] completely lip-sync" while a backing track is playing with "full lead vocals", a practice done due to "weather conditions, technical issues, or sickness."

For entertainment and effect
Lip syncing where the audience knows the performer is pretending has also been popular as a form of musical pantomime, in which performers mime to pre-recorded music for the public's entertainment. It is often performed by drag performers (drag queens and drag kings). Iron Maiden and Muse both mocked demands by two music television programs to give mimed performances, by having their band members deliberately swap instruments.

Examples of lip sync performances (sometimes referred to as a lip dub video) have also been popular as viral videos on the internet. An early example, "Numa Numa", a video recorded by Gary Brolsma of him dancing and lip syncing to the song "Dragostea din Tei", was ranked in 2007 by The Viral Factory as the second most-viewed viral video of all time behind the Star Wars Kid.

Various television competition programs have been built around lip sync performances, such as Puttin' on the Hits, and Lip Service. Comedian Jimmy Fallon incorporated similar performances with celebrities as sketches during his late night talk show Late Night with Jimmy Fallon; he oversaw a standalone television series for Spike, Lip Sync Battle, which extended the concept into a competitive format between pairs of celebrities. Owing to their prominence as part of drag culture, the reality competition franchise RuPaul's Drag Race uses lip sync performances as a recurring challenge, particularly to eliminate contestants.

Mobile apps such as Dubsmash and TikTok (which acquired and shut down Musical.ly in 2017), which allow users to record their own lip sync videos to pre-existing audio and song clips for sharing on social networking services or an internal platform, have also been popular.

In 2015, Maine Mendoza — a Filipino content creator who had been nicknamed the "Queen of Dubsmash" — became a cast member of the Filipino variety show Eat Bulaga! She appeared in a recurring sketch as a character named Yaya Dub, whose dialogue consisted exclusively of lip synced audio. Her spontaneous reactions to fellow cast member Alden Richards during a remote broadcast resulted in the creation of an on-air couple known as AlDub, in which the two were portrayed as a couple who never physically meet, and communicated solely via lip syncing. The couple became a major cultural phenomenon in the country, and appeared on-stage for the first time in an October 2015 concert special, Tamang Panahon. A hashtag associated with the special received 41 million posts within 24 hours on Twitter, beating a global record previously set during Brazil and Germany's semi-final match at the 2014 FIFA World Cup.

Legal and ethical aspects
In the Australian state of New South Wales, the government is considering new laws that would require pop singers to print disclaimers on tickets "to alert fans if [the singers] intend on miming throughout their shows". Fair Trading Minister Virginia Judge stated that "Let's be clear – live means live." Minister Judge stated that "If you are spending up to $200 [on concert tickets], I think you deserve better than a film clip". She indicated that "The NSW Government would be happy to look at options, such as a disclaimer on a ticket which would warn consumers a performance is completely pre-recorded."

A writer on ethics calls lip syncing an "affront to all legitimate live performers who risk lyric mistakes and cracking voices to give an authentic performance". The author argues that lip syncing in live concerts will "...destroy our ability to enjoy great live performances the way we once could, thrilling to the certain knowledge that we are witnessing something extraordinary from a great talent". The author argues that this "...makes lip-syncing in public performances wrong. Not only is the audience being lied to; it is being made cynical".

Examples
While Michael Jackson's performance on the television special Motown 25: Yesterday, Today, Forever (1983) changed the scope of live stage show, as he mixed singing and complex dance moves, Ian Inglis, author of Performance and Popular Music: History, Place and Time (2006) states that "Jackson lip-synced 'Billie Jean'" during this TV show. In 1989, a New York Times article claimed that "Bananarama's recent concert at the Palladium", the "first song had a big beat, layered vocal harmonies and a dance move for every line of lyrics", but "the drum kit was untouched until five songs into the set, or that the backup vocals (and, it seemed, some of the lead vocals as well-a hybrid lead performance) were on tape along with the beat". The article also claims that "British band Depeche Mode, ...adds vocals and a few keyboard lines to [a] taped backup [track when they perform] onstage".

In 1989, during a Milli Vanilli performance recorded by MTV at the Lake Compounce theme park in Bristol, Connecticut, what sounded to be a pre-recorded track of the group's song "Girl You Know It's True" jammed and began to skip, repeating the partial line "Girl, you know it's..." over and over. Due to rising public questions regarding the source of singing talent in the group, owner Frank Farian confessed to reporters on November 12, 1990, that Morvan and Pilatus did not actually sing on the records. As a result of American media pressure, Milli Vanilli's Grammy was withdrawn four days later, and Arista Records dropped the act from its roster and deleted their album and its masters from their catalog, taking the album Girl You Know It's True out of print in the process. After these details emerged, at least 26 different lawsuits were filed under various U.S. consumer fraud protection laws. On August 28, a settlement was approved that refunded those who attended concerts along with those who bought Milli Vanilli recordings. An estimated 10 million buyers were eligible to claim a refund.

Chris Nelson of The New York Times reported that by the 1990s, "[a]rtists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Edna Gundersen of USA Today reported: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip syncs the duet "Now I'm Following You", while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."

Similarly, in reviewing Janet Jackson's Rhythm Nation World Tour, Michael MacCambridge of the Austin American-Statesman commented "[i]t seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve."

The music video for Electrasy's 1998 single "Morning Afterglow" featured lead singer Alisdair McKinnell lip syncing the entire song backwards. This allowed the video to create the effect of an apartment being tidied by 'un-knocking over' bookcases, while the music plays forwards.

On October 23, 2004, US pop singer Ashlee Simpson appeared as a musical guest of episode 568 of the live comedy TV show Saturday Night Live. During her performance, "she was revealed to apparently be lip-synching". According to "her manager-father[,]...his daughter needed the help because acid reflux disease had made her voice hoarse." Her manager stated that "Just like any artist in America, she has a backing track that she pushes so you don't have to hear her croak through a song on national television." During the incident, vocal parts from a previously performed song began to sound while the singer was "holding her microphone at her waist"; she made "some exaggerated hopping dance moves, then walked off the stage".

In 2009, US pop singer Britney Spears was "'extremely upset' over the savaging she has received after lip-synching at her Australian shows", where ABC News Australia reported that "[d]isappointed fans ...stormed out of Perth's Burswood Dome after only a few songs". Reuters reports that Britney Spears "is, and always has been, about blatant, unapologetic lip-synching". The article claims that "at the New York stop of her anticipated comeback tour, Spears used her actual vocal cords only three times – twice to thank the crowd, and once to sing a ballad (though the vocals during that number were questionable, as well)". Rolling Stone magazine stated that "Though some reports indicate Spears did some live singing [in her 2009 concerts], the L.A. Times Ann Powers notes that the show was dominated by backing tracks (which granted, is not the same thing as miming)".

Teenage viral video star Keenan Cahill openly lip syncs popular songs on his YouTube channel. His popularity has increased as he included guests such as rapper 50 Cent in November 2010 and David Guetta in January 2011, sending him to be one of the most popular channels on YouTube in January 2011.

The Beatles ran foul of the contemporaneous British law against miming on television in 1967 with their lip synced promo clip to their song Hello, Goodbye. On the 21 November 1967 edition of Top of the Pops, the song was thus played over a series of sequences from the band's 1964 film A Hard Day's Night. On the 7 December edition of the show, a specially-made black and white promo clip was broadcast with the song, which consisted of the band members editing their telefilm Magical Mystery Tour, and (other than the official promo clip in color including miming, which first became commercially available with the 1996 VHS release of The Beatles Anthology) was not released on home video up until appearing as a bonus feature on the 2012 DVD release of Magical Mystery Tour.

Indian cinema relies heavily on lip syncing. Lip syncing by a playback singer is almost exclusively used in Indian cinema, where actors perform song and dance sequences in movies while lip syncing to the song that is sung by playback singers. The playback singers are officially recognised and have gained much fame in their careers. Some notables among them are Lata Mangeshkar, Kishore Kumar, Muhammad Rafi, Asha Bhosle, Sonu Nigam, Shreya Ghoshal, and many more.

 * Gene Pitney was involved in a memorable gaffe on ITV's This Morning in 1989, owing to a "technical mishap". Giving an ostensibly live performance of his track "You're the Reason", Pitney missed his cue and was seen "failing dismally to mime along in time to his backing track"; he tried not to laugh and continued with the song. The incident has been repeated on television over the years, notably on a 2002 episode of BBC One series Room 101, where host Paul Merton described it as a "very funny moment" in which Pitney came in "unbearably late". It was re-aired on the 25th-anniversary edition of This Morning in 2013, where presenter Holly Willoughby "broke out into a cold sweat" while reliving the moment.
 * 50 Cent was caught lip syncing live on stage at the BET awards, watched by millions of people when DJ Whoo Kidd played the instrumental version of the hit song "Amusement Park".
 * During a concert at Madison Square Garden, the R & B singer R. Kelly put down his microphone in the middle of a song and let his recorded vocals keep singing.
 * The Pittsburgh Post-Gazette called Janet Jackson "one of pop's most notorious onstage lip synchers" in a 2001 article on lip syncing.

In an article about Katy Perry, entitled "Lip-Sync Malfunction Forces Katy Perry to Use Her Own Voice to Sing", Gawker stated that while the pop star was "performing her hit song "Roar" at the NRJ Music Awards in Cannes on Saturday, [she] suffered a devastating lip-sync malfunction." Perry was "unable to match the backing track" with her lip movements, causing the host to stop the performance and ask her if she wished to start again. Perry restarted the song, this time without the backing track. The producers issued a statement indicating that it was planned for Perry to sing live, except that a "technical problem" caused staff to play a "bad soundtrack".

Recurring events
The Super Bowl has used lip syncing during singers' performances at the live-to-air sports event. During Super Bowl XLIII, "Jennifer Hudson's performance of the national anthem" was "lip-synched ...to a previously recorded track, and apparently so did Faith Hill who performed before her". The singers lip synced "...at the request of Rickey Minor, the pregame show producer", who argued that "There's too many variables to go live." Subsequent Super Bowl national anthems were performed live. Whitney Houston's rendition of the anthem at the 1991 Super Bowl was also reported to have been lip synced. Such pre-recorded performances for the Super Bowl's halftime shows and national anthem have been commonplace since the 1990s; the NFL has confirmed this as standard practice. In January 1998, singer-songwriter Jewel was criticised for lip syncing the American national anthem at the opening of the Super Bowl XXXII to a digitally-recorded track of her own voice. This was noticeable as the singer missed her cue, and thus, did not sing the first few words of the song. Super Bowl producers have since admitted that they attempt to have all performers pre-record their vocals.

Some Olympics events have used lip syncing. In the 2008 Summer Olympics opening ceremony, the song "Ode to the Motherland" appeared to be sung by Lin Miaoke at the ceremony, but it emerged that she mimed her performance to a recording by another girl, Yang Peiyi, who actually won the audition. It was a last-minute decision to use lip syncing, following a Politburo member's objection to Yang's physical appearance. International Olympic Committee executive director Gilbert Felli defended the use of a more photogenic double.

On February 10, 2006, Luciano Pavarotti appeared during a performance of the opera aria "Nessun Dorma" at the 2006 Winter Olympics opening ceremony in Turin, Italy, at his final performance. In the last act of the opening ceremony, his performance received the longest and loudest ovation of the night from the international crowd. Leone Magiera, the conductor who directed the performance, revealed in his 2008 memoirs, Pavarotti Visto da Vicino, that the performance was prerecorded weeks earlier. "The orchestra pretended to play for the audience, I pretended to conduct and Luciano pretended to sing. The effect was wonderful," he wrote. Pavarotti's manager, Terri Robson, said that the tenor had turned the Winter Olympic Committee's invitation down several times because it would have been impossible to sing late at night in the sub-zero conditions of Turin in February. The committee eventually persuaded him to take part by pre-recording the song.

Protests by artists
On occasion, some vocalists have protested being asked to lip sync on television programs by blatantly drawing attention to the fact they are not singing live. When Public Image Limited singer John Lydon performed on American Bandstand, "instead he sat on the floor of the studio, threw himself into the assembled audience, and stuck his nose into the camera while recordings over his own voice played". When appearing on a TV program in Detroit in 1966, Frank Zappa and his band similarly gathered on a "stage" with items from the station's props department, and asked his band members to perform "a repeatable physical action, not necessarily in sync with (or even related to) the lyrics, and do it over and over until our spot on the show was concluded", leading to a performance Zappa described as "Detroit's first whiff of homemade prime-time Dada."

Morrissey protested a similar policy on the BBC music programme Top of the Pops by singing "This Charming Man" with a fern plant as a "microphone". When appearing on a German music programme in 1986, English metal band Iron Maiden gave a lip synced performance of "Wasted Years" where the band blatantly swapped instruments mid-song, and at one point had three members "playing" the drums at the same time.

Reception and impact
After the Milli Vanilli vocal miming scandal, it "...forever embedded skepticism into the minds (and ears) of the listener." In the fallout of this miming controversy, MTV's Unplugged series was launched, "a showcase for artists wanting to prove they were more than just studio creations". As the show used live performances with singers and acoustic instruments, it required performers to "...display their unembellished voices and ability to perform live." On MTV Unplugged, artists could not use lip syncing, backup tracks, synthesizers, and racks of vocal effects. With Unplugged, authenticity in live performances again became an important value in popular music.

Ellie Goulding and Ed Sheeran have called for honesty in live shows by joining the "Live Means Live" campaign. "Live Means Live" was launched by songwriter/composer David Mindel. When a band displays the "Live Means Live" logo, the audience knows, "there's no Auto-Tune, nothing that isn't 100 per cent live" in the show, and there are no backing tracks.

Film
In film production, lip syncing is often part of the post-production phase. Most film today contains scenes where the dialogue has been re-recorded afterwards; lip syncing is the technique used when animated characters speak, and lip syncing is essential when films are dubbed into other languages. In many musical films, actors sang their own songs beforehand in a recording session and lip synced during filming, but many also lip synced to playback singers, voices other than their own. Rex Harrison was the exception in My Fair Lady. Marni Nixon sang for Deborah Kerr in The King and I and for Audrey Hepburn in My Fair Lady, Annette Warren for Ava Gardner in Show Boat, Robert McFerrin for Sidney Poitier in Porgy and Bess, Betty Wand for Leslie Caron in Gigi, Lisa Kirk for Rosalind Russell in Gypsy, and Bill Lee for Christopher Plummer in The Sound of Music.

Some pre-overdubbed performances have survived, such as Hepburn's original My Fair Lady vocals (included in documentaries related to the film), and Gardner's original vocals in Show Boat were heard for the first time in the 1994 documentary That's Entertainment! III. When songs appear in non-musical films, however, the actors sing live on set, but later dub their voices in ADR using a "better" performance of the song.

Lip syncing is almost always used in modern musical films (The Rocky Horror Picture Show being an exception) and in biopics such as Ray and La Vie en Rose, where the original recording adds authenticity. But some early musicals usually use live recordings.

In the 1950s MGM classic Singin' in the Rain, lip syncing is a major plot point, with Debbie Reynolds' character, Kathy Selden, providing the voice for the character Lina Lamont (played by Jean Hagen). Writing in UK Sunday newspaper The Observer, Mark Kermode noted, "Trivia buffs love to invoke the ironic dubbing of Debbie Reynolds by Betty Noyes on Would You" although he pointed out that "the 19-year-old Reynolds never puts a foot wrong on smashers like Good Morning". Reynolds also later acknowledged Betty Noyes' uncredited contribution to the film, writing: "I sang You Are My Lucky Star with Gene Kelly. It was a very rangy song and done in his key. My part did not come out well, and my singing voice was dubbed in by Betty Royce [sic]".

ADR
Automated dialogue replacement, also known as "ADR" or "looping", is a film sound technique involving the re-recording of dialogue after photography. Sometimes the dialogue recorded on location is unsatisfactory either because it has too much background noise on it or the director is not happy with the performance, so the actors replace their own voices in a "looping" session after the filming.

Animation
Another manifestation of lip syncing is the art of making an animated character appear to speak in a prerecorded track of dialogue. The lip sync technique to make an animated character appear to speak involves figuring out the timings of the speech (breakdown) as well as the actual animating of the lips/mouth to match the dialogue track. The earliest examples of lip sync in animation were attempted by Max Fleischer in his 1926 short My Old Kentucky Home. The technique continues to this day, with animated films and television shows such as Shrek, Lilo & Stitch, and The Simpsons using lip syncing to make their artificial characters talk. Lip syncing is also used in comedies such as This Hour Has 22 Minutes and political satire, changing totally or just partially the original wording. It has been used in conjunction with translation of films from one language to another, for example, Spirited Away. Lip syncing can be a very difficult issue in translating foreign works to a domestic release, as a simple translation of the lines often leaves overrun or underrun of high dialog to mouth movements.

Language dubbing
Quality film dubbing requires that the dialogue is first translated in such a way that the words used can match the lip movements of the actor. This is often hard to achieve if the translation is to stay true to the original dialogue. Elaborate lip sync of dubbing is also a lengthy and expensive process. The more simplified non-phonetic representation of mouth movement in many anime helps this process.

In English-speaking countries, many foreign TV series (especially anime like Pokémon) are dubbed for television broadcast. However, cinematic releases of films tend to come with subtitles instead. The same is true of countries in which the local language is not spoken widely enough to make the expensive dubbing commercially viable (in other words, there is not enough market for it). However, other countries with a large-enough population dub all foreign films into their national language cinematic release. Dubbing is preferred by some because it allows the viewer to focus on the on-screen action, without reading the subtitles.

In video games
Early video games did not use any voice sounds, due to technical limitations. In the 1970s and early 1980s, most video games used simple electronic sounds such as bleeps and simulated explosion sounds. At most, these games featured some generic jaw or mouth movement to convey a communication process in addition to text. However, as games become more advanced in the 1990s and 2000s, lip sync and voice acting has become a major focus of many games. In the 2020s, facial animation provided by companies like FaceFX allows for synchronization more efficiently.

Role-playing games
Lip sync was for some time a minor focus in role-playing video games. Because of the amount of information conveyed through the game, the majority of communication uses of scrolling text. Older RPGs rely solely on text, using inanimate portraits to provide a sense of who is speaking. Some games make use of voice acting, such as Grandia II or Diablo, but due to simple character models, there is no mouth movement to simulate speech. RPGs for hand-held systems are still largely based on text, with the rare use of lip sync and voice files being reserved for full motion video cutscenes. Newer RPGs, have extensive audio dialogues. The Neverwinter Nights series are examples of transitional games where important dialogue and cutscenes are fully voiced, but less important information is still conveyed in text. In games such as Jade Empire and Knights of the Old Republic, developers created partial artificial languages to give the impression of full voice acting without having to actually voice all dialogue.

Strategy games
Unlike RPGs, strategy video games make extensive use of sound files to create an immersive battle environment. Most games simply played a recorded audio track on cue with some games providing inanimate portraits to accompany the respective voice. StarCraft used full motion video character portraits with several generic speaking animations that did not synchronize with the lines spoken in the game. The game did, however, make extensive use of recorded speech to convey the game's plot, with the speaking animations providing a good idea of the flow of the conversation. Warcraft III used fully rendered 3D models to animate speech with generic mouth movements, both as character portraits as well as the in-game units. Like the FMV portraits, the 3D models did not synchronize with actual spoken text, while in-game models tended to simulate speech by moving their heads and arms rather than using actual lip synchronization. Similarly, the game Codename Panzers uses camera angles and hand movements to simulate speech, as the characters have no actual mouth movement. However, StarCraft II used fully synced unit portraits and cinematic sequences.

First-person shooters
FPS is a genre that generally places much more emphasis on graphical display, mainly due to the camera almost always being very close to character models. Due to increasingly detailed character models requiring animation, FPS developers assign many resources to create realistic lip synchronization with the many lines of speech used in most FPS games. Early 3D models used basic up-and-down jaw movements to simulate speech. As technology progressed, mouth movements began to closely resemble real human speech movements. Medal of Honor: Frontline dedicated a development team to lip sync alone, producing the most accurate lip synchronization for games at that time. Since then, games like Medal of Honor: Pacific Assault and Half-Life 2 have made use of coding that dynamically simulates mouth movements to produce sounds as if they were spoken by a live person, resulting in astoundingly lifelike characters. Gamers who create their own videos using character models with no lip movements, such as the helmeted Master Chief from Halo, improvise lip movements by moving the characters' arms, bodies and making a bobbing movement with the head (see Red vs. Blue).

Television transmission synchronization
An example of a lip synchronization problem, also known as lip sync error is the case in which television video and audio signals are transported via different facilities (e.g., a geosynchronous satellite radio link and a landline) that have significantly different delay times. In such cases, it is necessary to delay the earlier of the two signals electronically.

Lip sync issues have become a serious problem for the television industry worldwide. Lip sync problems are not only annoying but can lead to subconscious viewer stress which in turn leads to viewer dislike of the television program they are watching. Television industry standards organizations have become involved in setting standards for lip sync errors. In 2015 SMPTE (the Society of Motion Picture and Television Engineers) adopted Standard ST2064 which provides technology for greatly reducing or eliminating lip sync errors in television programming.

Finger syncing
The miming of the playing of a musical instrument, also called finger-syncing, is the instrument equivalent of lip syncing. A notable example of miming includes John Williams' piece at President Obama's inauguration, which was a recording made two days earlier and mimed by musicians Yo-Yo Ma, Itzhak Perlman. The musicians wore earpieces to hear the playback. During Whitney Houston's performance of "The Star Spangled Banner" with full orchestra, a pre-recorded version was used: "At the game, everyone was playing, and Whitney was singing, but there were no live microphones," orchestra director Kathryn Holm McManus revealed in 2001. "Everyone was lip synching or finger-synching."

title: Lip sync


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Material derivative

In continuum mechanics, the material derivative describes the time rate of change of some physical quantity (like heat or momentum) of a material element that is subjected to a space-and-time-dependent macroscopic velocity field. The material derivative can serve as a link between Eulerian and Lagrangian descriptions of continuum deformation.

For example, in fluid dynamics, the velocity field is the flow velocity, and the quantity of interest might be the temperature of the fluid. In which case, the material derivative then describes the temperature change of a certain fluid parcel with time, as it flows along its pathline (trajectory).

Other names
There are many other names for the material derivative, including:
 * advective derivative
 * convective derivative
 * derivative following the motion
 * hydrodynamic derivative
 * Lagrangian derivative
 * particle derivative
 * substantial derivative
 * substantive derivative
 * Stokes derivative
 * total derivative, although the material derivative is actually a special case of the total derivative

Definition
The material derivative is defined for any tensor field y that is macroscopic, with the sense that it depends only on position and time coordinates, $y = y(x, t)$: $$\frac{\mathrm{D} y}{\mathrm{D}t} \equiv \frac{\partial y}{\partial t} + \mathbf{u}\cdot\nabla y,$$ where $∇y$ is the covariant derivative of the tensor, and $u(x, t)$ is the flow velocity. Generally the convective derivative of the field $u·∇y$, the one that contains the covariant derivative of the field, can be interpreted both as involving the streamline tensor derivative of the field $u·(∇y)$, or as involving the streamline directional derivative of the field $(u·∇) y$, leading to the same result. Only this spatial term containing the flow velocity describes the transport of the field in the flow, while the other describes the intrinsic variation of the field, independent of the presence of any flow. Confusingly, sometimes the name "convective derivative" is used for the whole material derivative $D/Dt$, instead for only the spatial term $u·∇$. The effect of the time-independent terms in the definitions are for the scalar and tensor case respectively known as advection and convection.

Scalar and vector fields
For example, for a macroscopic scalar field $φ(x, t)$ and a macroscopic vector field $A(x, t)$ the definition becomes: $$\begin{align} \frac{\mathrm{D}\varphi}{\mathrm{D}t} &\equiv \frac{\partial \varphi}{\partial t} + \mathbf{u}\cdot\nabla \varphi, \\[3pt] \frac{\mathrm{D}\mathbf{A}}{\mathrm{D}t} &\equiv \frac{\partial \mathbf{A}}{\partial t} + \mathbf{u}\cdot\nabla \mathbf{A}. \end{align}$$

In the scalar case $∇φ$ is simply the gradient of a scalar, while $∇A$ is the covariant derivative of the macroscopic vector (which can also be thought of as the Jacobian matrix of $A$ as a function of $x$). In particular for a scalar field in a three-dimensional Cartesian coordinate system $(x_{1}, x_{2}, x_{3})$, the components of the velocity $u$ are $u_{1}, u_{2}, u_{3}$, and the convective term is then: $$ \mathbf{u}\cdot \nabla \varphi = u_1 \frac {\partial \varphi} {\partial x_1} + u_2 \frac {\partial \varphi} {\partial x_2} + u_3 \frac {\partial \varphi} {\partial x_3}.$$

Development
Consider a scalar quantity $φ = φ(x, t)$, where $t$ is time and $x$ is position. Here $φ$ may be some physical variable such as temperature or chemical concentration. The physical quantity, whose scalar quantity is $φ$, exists in a continuum, and whose macroscopic velocity is represented by the vector field $u(x, t)$.

The (total) derivative with respect to time of $φ$ is expanded using the multivariate chain rule: $$\frac{\mathrm{d}}{\mathrm{d} t}\varphi(\mathbf x, t) = \frac{\partial \varphi}{\partial t} + \dot \mathbf x \cdot \nabla \varphi.$$

It is apparent that this derivative is dependent on the vector $$\dot \mathbf x \equiv \frac{\mathrm{d} \mathbf x}{\mathrm{d} t},$$ which describes a chosen path $x(t)$ in space. For example, if $$ \dot \mathbf x= \mathbf 0$$ is chosen, the time derivative becomes equal to the partial time derivative, which agrees with the definition of a partial derivative: a derivative taken with respect to some variable (time in this case) holding other variables constant (space in this case). This makes sense because if $$\dot \mathbf x = 0$$, then the derivative is taken at some constant position. This static position derivative is called the Eulerian derivative.

An example of this case is a swimmer standing still and sensing temperature change in a lake early in the morning: the water gradually becomes warmer due to heating from the sun. In which case the term $$ {\partial \varphi}/{\partial t}$$ is sufficient to describe the rate of change of temperature.

If the sun is not warming the water (i.e. $$ {\partial \varphi}/{\partial t} = 0$$), but the path $x(t)$ is not a standstill, the time derivative of $φ$ may change due to the path. For example, imagine the swimmer is in a motionless pool of water, indoors and unaffected by the sun. One end happens to be at a constant high temperature and the other end at a constant low temperature. By swimming from one end to the other the swimmer senses a change of temperature with respect to time, even though the temperature at any given (static) point is a constant. This is because the derivative is taken at the swimmer's changing location and the second term on the right $$ \dot \mathbf x \cdot \nabla \varphi $$ is sufficient to describe the rate of change of temperature. A temperature sensor attached to the swimmer would show temperature varying with time, simply due to the temperature variation from one end of the pool to the other.

The material derivative finally is obtained when the path $x(t)$ is chosen to have a velocity equal to the fluid velocity $$\dot \mathbf x = \mathbf u.$$

That is, the path follows the fluid current described by the fluid's velocity field $u$. So, the material derivative of the scalar $φ$ is $$\frac{\mathrm{D} \varphi}{\mathrm{D} t} = \frac{\partial \varphi}{\partial t} + \mathbf u \cdot \nabla \varphi.$$

An example of this case is a lightweight, neutrally buoyant particle swept along a flowing river and experiencing temperature changes as it does so. The temperature of the water locally may be increasing due to one portion of the river being sunny and the other in a shadow, or the water as a whole may be heating as the day progresses. The changes due to the particle's motion (itself caused by fluid motion) is called advection (or convection if a vector is being transported).

The definition above relied on the physical nature of a fluid current; however, no laws of physics were invoked (for example, it was assumed that a lightweight particle in a river will follow the velocity of the water), but it turns out that many physical concepts can be described concisely using the material derivative. The general case of advection, however, relies on conservation of mass of the fluid stream; the situation becomes slightly different if advection happens in a non-conservative medium.

Only a path was considered for the scalar above. For a vector, the gradient becomes a tensor derivative; for tensor fields we may want to take into account not only translation of the coordinate system due to the fluid movement but also its rotation and stretching. This is achieved by the upper convected time derivative.

Orthogonal coordinates
It may be shown that, in orthogonal coordinates, the $j$-th component of the convection term of the material derivative of a vector field $$\mathbf{A}$$ is given by $$[\left(\mathbf{u} \cdot \nabla \right)\mathbf{A}]_j = \sum_i \frac{u_i}{h_i} \frac{\partial A_j}{\partial q^i} + \frac{A_i}{h_i h_j}\left(u_j \frac{\partial h_j}{\partial q^i} - u_i \frac{\partial h_i}{\partial q^j}\right), $$

where the $h_{i}$ are related to the metric tensors by $$h_i = \sqrt{g_{ii}}.$$

In the special case of a three-dimensional Cartesian coordinate system (x, y, z), and $A$ being a 1-tensor (a vector with three components), this is just: $$(\mathbf{u}\cdot\nabla) \mathbf{A} = \begin{pmatrix} \displaystyle u_x \frac{\partial A_x}{\partial x} + u_y \frac{\partial A_x}{\partial y}+u_z \frac{\partial A_x}{\partial z} \\ \displaystyle u_x \frac{\partial A_y}{\partial x} + u_y \frac{\partial A_y}{\partial y}+u_z \frac{\partial A_y}{\partial z}  \\ \displaystyle u_x \frac{\partial A_z}{\partial x} + u_y \frac{\partial A_z}{\partial y}+u_z \frac{\partial A_z}{\partial z} \end{pmatrix} = \frac{\partial (A_x, A_y, A_z)}{\partial (x, y, z)}\mathbf{u} $$

where $$\frac{\partial(A_x, A_y, A_z)}{\partial(x, y, z)}$$ is a Jacobian matrix.

title: Material derivative


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Enzo Biagi

Enzo Biagi (9 August 1920 – 6 November 2007) was an Italian journalist, writer and former partisan.

Life and career
Biagi was born in Lizzano in Belvedere, and began his career as a journalist in Bologna. In 1952, he worked on the screenplay of the historical film Red Shirts. In 1953, he became the editor-in-chief of Epoca magazine.

Active in journalism for six decades and author of some eighty books, Biagi won numerous awards, among which were the 1979 Saint Vincent prize and the 1985 Ischia International Journalism Award. In 1987, he won the Premio Bancarella for his book Il boss è solo, interviewing former Sicilian Mafia boss Tommaso Buscetta, who had turned pentito (state witness). He worked on the Italian national TV channel Rai 1 until 2001.

On 9 May 2001, just two days before the general elections in Italy, during his daily prime time 10-minute TV show Il Fatto, broadcast on Rai Uno, Biagi interviewed the popular actor and director Roberto Benigni, who gave a hilarious talk about Silvio Berlusconi declaring his preference for the other candidate, Francesco Rutelli from the Olive Tree coalition.

Bulgarian Edict
Biagi disappeared from TV screens a few months after Berlusconi's declarations in Sofia named also editto bulgaro, where the then-Prime Minister accused the popular journalist, together with fellow journalist Michele Santoro and showman/comedian Daniele Luttazzi, of having made criminal use of the public television service.

Biagi's defenders argue that a public service should provide pluralism, and that a country where government prevents opposing ideas from being voiced on air is a regime.

The issue of Berlusconi's motives for entering politics in the first place emerged in an interview that he gave with Biagi and Indro Montanelli, stating "If I don't enter politics, I will go to jail and become bankrupt".

Biagi's return on TV and death
On 22 April 2007, 86-year-old Enzo Biagi made his TV comeback on the RAI with RT - Rotocalco Televisivo, a current affairs show which is broadcast on Rai 3. At the opening of the show, he declared: "Good evening, sorry if I am a bit emotional, maybe it is visible. There has been a technical problem, and the break has lasted five years."

Until shortly before his death he was also a columnist for the daily Italian newspaper Corriere della Sera, which he had worked for since the early 1970s.

Awards
1953 – Riccione Prize for "Giulia viene da lontano"

1971 – Premio Bancarella for "Testimone del tempo"

1979 – Saint-Vincent Prize for Journalism

1979 – Gold Medal of Civic Merit from the Municipality of Milan

1993 – Honorary President of the Jury for the "È giornalismo" Prize

2003 – Honorary Citizenship of Fucecchio, the birthplace of Indro Montanelli

2004 – Award for the program "Il Fatto" as the best journalistic program of the first fifty years of Rai

2005 – Ilaria Alpi Television Journalism Career Award

title: Enzo Biagi


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Wikipedia:Articles for deletion/Tutor ventris

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

This page is kept as an historic record.

The result of the debate was to delete the article.

This is not a real classical term--at least as far as I can tell. The Latin does translate literally "guardian of the womb," however, I have consulted the Oxford Classical Dictionary and several other Roman life references I own and found nothing pertaining to this term. It also fails the Google test spectacularly, leading me to believe it is bogus. Delete, unless another classicist with some info wants to intervene. —Ed Cormany 21:50, 20 May 2004 (UTC)
 * Delete. Maximus Rex 22:58, 20 May 2004 (UTC)
 * Delete: I think the term he was looking for is “curator ad ventris". Also, appointing fetal guardians has precedence in modern law, as well. This article should be deleted and - if the author or another is inclined to do so - replaced by one on fetal guardianship - Kael
 * As I write this, the number one google hit for the term is... VfD. Delete. -- Cyrius|&#9998 01:52, May 25, 2004 (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.