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Talk:Megadeth

Defining Megadeth
I've gone through some other Megadeth biographies published by respectable media. I've noted that the majority of them explain Megadeth as thrash metal band, rather than heavy metal, as Wikipedia does. Here are some extracts:
 * AllMusic: One of the most popular and important thrash metal bands, led by Dave Mustaine, with music that contains strong social and political messages.
 * Billboard: After he left Metallica in 1983, guitarist/vocalist Dave Mustaine formed the thrash metal quartet Megadeth.
 * The Guardian: Megadeth is an American thrash metal band led by founder, frontman, guitarist, and songwriter Dave Mustaine.
 * Rolling Stone: When guitarist Dave Mustaine was booted out of Metallica early in its career, he formed Megadeth, which continued his former group's thrash-metal style with even more speed and intensity.

Sure, there are also reliable references indicating heavy metal, but the most professional ones classify them as thrash. I didn't include MVT, VH1, BBC Music, Metal Storm and Consequence of Sound because their biographies are copied from the ones I've already mentioned. Please post your opinion bellow.--Вик Ретлхед (talk) 13:47, 21 August 2013 (UTC)

 * I have no problem with how the lead is currently worded, nor how the genres appear on the infobox (although I do think hard rock should be taken out). Megadeth has not consistently played thrash since the 1980s up until Rust in Peace, after which remnants of their thrashier days have only showed up sporadically in a few songs. Nowadays it's just straightahead heavy metal, albeit a bit heavier than Iron Maiden and the like. Mac Dreamstate (talk) 16:02, 21 August 2013 (UTC)
 * I see your point. You assume that the reader might be confused reading "Risk is studio album by thrash metal band Megadeth" with the genres being heavy metal/hard rock. While I agree with your propose to exclude hard rock, I still think that we should stick to the official biographies made by professional editors. Anyway, lets wait for additional comments.--Вик Ретлхед (talk) 16:58, 21 August 2013 (UTC)

Merge proposal for an album page
Due to the fact that is is very unlikely that Still Alive... And Well? is A) unsourced; and B unlikely to ever be anything more than a stub, should we possibly look at merging it into one of the other articles? perhaps The World Needs a Hero or Rude Awakening (Megadeth album) (or even the main discography page, as per Maximum Megadeth)? Whichever page it gets merged to, if any, there should still be mention of this release.--L1A1 FAL (talk) 00:23, 15 September 2013 (UTC)

 * Support I think we should start some serious cleaning on the Megadeth articles (songs in particular) if we want to candidate these articles for good topic on Wiki. Since the article contains no references, I believe it should be a redirect to the discography page.--Вик Ретлхед (talk) 10:53, 15 September 2013 (UTC)

Any other comments?--L1A1 FAL (talk) 15:26, 28 September 2013 (UTC)

Upcoming changes
Hello, just to inform that I'll change the prose significantly in the upcoming period. The article will suffer some info removal because some of its information is overlapping with the album articles. However, before I get to that, I want to propose cutting Panic (non-existing article), Alice Cooper (not significantly connected with the band) and Eidolon (same as Alice Cooper) from the associated acts in the infobox. Another proposal will be trimming the genres, ex. removing hard rock since no sources describe the band as hard rock act.--Вик Ретлхед (talk) 21:37, 15 November 2013 (UTC)

 * I would leave Eidolon, just based on the fact that a current member was in that band. Doesn't need to be the first thing mentioned, but still should be listed, IMO. Cooper is irrelevant at this point though. All other changes seconded.--L1A1 FAL (talk) 08:16, 16 November 2013 (UTC)
 * Removed the bands; will remove hard rock when I'm almost finished working on the article, because that will probably attract edit warring. However, I wanted to ask if somebody is able to create a table featuring the band members, like on other featured articles?--Вик Ретлхед (talk) 17:59, 16 November 2013 (UTC)

Mustaine and Hanneman
Hello. I noticed a little controversy about Mustaine saying that the death of Jeff Hanneman gave him a sense of mortality. That quote was picked from Ultimate Guitar. However, while interviewing Mustaine, the journalist from Phoenix New Times must have looked at Wikipedia and asked him about this. Mustaine confusedly responded that he must have been misinterpreted, which I guess caused uncomfortable situation. What others think, should it be removed?--Вик Ретлхед (talk) 10:48, 15 December 2013 (UTC)

What to list in the genre sidebar
Hi. Because there is another editor who disagrees with me on this issue, I open a discussion in order to reach general consensus on this topic. Sources for genres such as thrash metal, speed metal, heavy metal, extreme metal, hard rock and punk rock can easily be found on Google Books, so voice your opinion on what should be included.--Вик Ретлхед (talk) 10:46, 26 January 2014 (UTC)

 * The currently listed genres (thrash metal and heavy metal) seems to cover things fine. I wouldn't particularly be against speed metal and hard rock, but thrash metal and heavy metal should definitely stay. Both are supported by many sources, with some being cited here and in the album articles. Honestly, I've never even seen them referred to as punk rock. 97.83.67.162 (talk) 11:04, 26 January 2014 (UTC)
 * "Megadeth, a thrash-metal band producing fast aggressive music with roots in punk" (from Google Books). My word is, to avoid pointless and biased listing of genres, to include the one that reflects the opinion of critics and musicologists, not ours. From what I've seen during re-building the article, speed metal is way more supported than heavy metal, which implies that that its inclusion is questionable at least.--Вик Ретлхед (talk) 11:21, 26 January 2014 (UTC)
 * It being "rooted in punk" does not necessarily equal it being punk rock. But anyway, both genres already do reflect that. And as for speed metal, I already said I wouldn't be opposed to it being added. But just because you didn't find as many sources for heavy metal as speed metal, doesn't mean more of them don't exist. 97.83.67.162 (talk) 18:26, 26 January 2014 (UTC)
 * Yes, yes, we perfectly understood your opinion. Allow other editors to comment.--Вик Ретлхед (talk) 19:59, 26 January 2014 (UTC)

I am not a regular listener of Megadeth, I usually use AllMusic for a starting point when querying genre's, Thrash metal (Megadeath is one of the four bands listed there) was my first thought, and seems to cover it for me, and of course any sub's/branches can be handled in prose. Mlpearc ( open channel ) 17:54, 26 January 2014 (UTC)

 * I believe thrash metal should be genre #1 and heavy metal #2. If speed metal has to be added, then at least put it in brackets—"speed metal (early)"—like at the article for White Zombie. IMO the only time they've played anything that could be classed as speed metal was KIMB. Anything after that is either pure thrash, or thrash'ified heavy metal; by the latter I mean, besides Hidden Treasures, Megadeth have never played straight-up bog standard traditional heavy metal like Iron Maiden. Even on a 'softer' album like Risk, it was always a kind of 'next level up' style more closer to thrash metal; same with how Guns N' Roses was often bordering on the 'near-heavy metal' scale of hard rock, compared to softer bands of the same genre like Poison or Bon Jovi. Mac Dreamstate (talk) 21:38, 26 January 2014 (UTC)
 * Mac is right about Killing is my Business. There is that review by CMJ New Music Report who called Megadeth's debut "a representative of the golden age of speed metal", but other than that, quite a few critics rank the band in that league (Jeff Wagner is the only one who comes in mind). As for heavy metal, considering that nearly half of their discography is listed under that genre (from Youthanasia to The System Has Failed + Super Collider) we might include it in order to be all-inclusive.--Вик Ретлхед (talk) 23:22, 26 January 2014 (UTC)

Things to work on
Let's continue here what was unfinished at the FAC:

 * "I think a lot of us were inconsistent [on the 1988 tour] because of the guy we were waiting for after the show.": We all know who that "guy" is, but in an encyclopaedia it's best to be explicit. Curly Turkey ⚞¡gobble!⚟ 04:04, 28 May 2014 (UTC)
 * Is it me, or I just can't figure out who "the guy" is?
 * "the guy" is the drug dealer. Curly Turkey ⚞¡gobble!⚟ 20:30, 4 June 2014 (UTC)
 * Ah, so much of my high rated IQ. That would basically be paraphrasing the entire quote.
 * Or just cut the quote entirely and simply state that drug issues interfered with the tour. Curly Turkey ⚞¡gobble!⚟ 23:06, 4 June 2014 (UTC)

 * their jeans and t-shirts for a more conscious appearance: can we get brief examples of what they did wear? Curly Turkey ⚞¡gobble!⚟ 06:33, 28 May 2014 (UTC)
 * Not possible since the source doesn't state that.
 * Are there other sources that talk about it? Curly Turkey ⚞¡gobble!⚟ 20:30, 4 June 2014 (UTC)
 * You won't believe it, but when you type "Megadeth Richard Avedon" on Google, this is all you get.
 * Oh, aren't they pretty! Not much you can do, I guess. Curly Turkey ⚞¡gobble!⚟ 23:06, 4 June 2014 (UTC)

 * While rehearsing for the tour, drummer Nick Menza left the band: the last we heard about Menza, he'd been kicked out of the band already.
 * Drummer Shawn Drover stated that Mustaine had saved many riffs over the years and that some recent material is based on those demo recordings.: "recent" as of when?
 * That is not explicitly stated in the interview. Judging from the Allmusic biography, I assume Drover meant the last two albums.

 * Mustaine is described as rhythm guitarist, and then Pillsbury calls Friedman "Megadeth's other lead guitarist". Can we find a better way to transition into this?
 * The key phrase is early days. "During the band's early days, Mustaine was the rhythm guitarist" We can drop lead from the quote and then we'll have "Megadeth's other guitarist, Marty Friedman".
 * You can't alter the quotes, but you can paraphrase, or quote snippets. Curly Turkey ⚞¡gobble!⚟ 23:08, 4 June 2014 (UTC)

 * Ellefson suing Mustaine: how is "profits" different from "merchandise and publishing royalties"?
 * Profit can be made of various things (records, equipment, etc.), not just merchandise and author's rights.
 * Then how about, "profits, including "merchandise and publishing royalties"? Curly Turkey ⚞¡gobble!⚟ 20:30, 4 June 2014 (UTC)
 * Excuse my slow resourcefulness, but you want the sentence to be: "Ellefson alleged that Mustaine short-changed him on profits including merchandise and publishing royalties"?--Вик Ретлхед (talk) 20:59, 4 June 2014 (UTC)
 * Right. Curly Turkey ⚞¡gobble!⚟ 22:56, 4 June 2014 (UTC)

 * Still need to add a source on Mustaine's heroin addiction.

Curly Turkey ⚞¡gobble!⚟ 20:30, 4 June 2014 (UTC)

 * Billboard reported that Megadeth sold 9.2 million albums in the US during the Nielsen SoundScan era (1991-onwards). Any idea where should we place this and is it suitable for the lead?--Вик Ретлхед (talk) 22:37, 4 June 2014 (UTC)
 * So that doesn't included pre-1991 sales? Curly Turkey ⚞¡gobble!⚟ 22:54, 4 June 2014 (UTC)
 * No, only those after March 1991.--Вик Ретлхед (talk) 22:55, 4 June 2014 (UTC)
 * That's annoying. I might put it in a footnote, then.  Definitely not in the lead. Curly Turkey ⚞¡gobble!⚟ 23:10, 4 June 2014 (UTC)
 * Some general comments:
 * I think a lot of the exact dates are too detail-y at this scope—for instance, —I might shorten it to just "March 2006" or even just "2006", unless a more exact date is relevant. It's not because it's "wrong", but I think it drags down the prose.  People who want the exact details can click through to find them—or you could throw in the release dates in the list albums.
 * Similarly, there's a lot of type of stuff that, again, I think is too detail-y.  All these details will be in the album articles, so unless something truly dramatic or otherwise important happened during recording, I'd drop this kind of thing and get to the point—that a new record was release at such-and-such a time.  For instance, I think  is fine—it's telling the story of the band—but stuff like  I think is overdone—the important details could be compressed to a single sentence.  I think that would make for a more enjoyable read.
 * Curly Turkey ⚞¡gobble!⚟ 23:21, 4 June 2014 (UTC)

 * I completely agree with you. Reading the article, I was also surprised to see so many dates (added by previous editors). I will reduce them step by step, as they doesn't appear to be that important.--Вик Ретлхед (talk) 22:46, 5 June 2014 (UTC)

 * Note: Megadeth sold 50 million records worldwide; those numbers include studio albums, DVDs, video albums, compilations, etc. The lead incorrectly states that the sales are solely from studio albums.--Вик Ретлхед (talk) 23:04, 5 June 2014 (UTC)
 * Well, you could "fix" it by stating it includes DVDs, video albums, etc, but most people just want the album sales. I think normally that would include live albums and compilations; if it doesn't, you should be saying they sold XX million copies of the studio albums.  Also, I'd avoid calling them "records" in 2014.  Either "albums", or "recordings" if the numbers include singles. Curly Turkey ⚞¡gobble!⚟ 23:20, 5 June 2014 (UTC)
 * I came across this—do you think it's worth including? Curly Turkey ⚞¡gobble!⚟ 01:47, 6 June 2014 (UTC)
 * You meant to include that in Sad Wings of Destiny (as far as I can read the Google search field), right? If it has some worthy information, why not? After all, it's written from a Rolling Stone journalist.--Вик Ретлхед (talk) 09:35, 6 June 2014 (UTC)
 * I came across it when looking for stuff for Sad Wings (and added it there), but I thought it was interesting as Mustaine claims it was the moment he decided to became a metal musician. Curly Turkey ⚞¡gobble!⚟ 10:32, 6 June 2014 (UTC)
 * I'll add it for sure when I get to work on Mustaine's article (if it's not already there). Ellefson had mentioned Kiss' Destroyer as the record that convinced him to begin career in heavy metal. My point is that we might be citing something that is not directly connected with Megadeth as a band. But, aside from that, I wanted to ask is it necessary to say that Vic Rattlehead was revamped for the second album by artist Ed Repka?--Вик Ретлхед (talk) 10:44, 6 June 2014 (UTC)
 * Looking at some images, it doesn't look to me like it was a radical revamp. It wouldn't hurt to add it, I suppose, but I wouldn't call it necessary. Curly Turkey ⚞¡gobble!⚟ 11:03, 6 June 2014 (UTC)
 * I have omitted quite a dates I consider not important, plus I've added some info about the band in 2013. I'll see if there's anything else to add regarding the group's early years. It would have been great if we had an image of the lineup from the 1990s, but there's nothing much I can do about it. Anything else that needs attention before the second nomination?--Retrohead (talk) 10:14, 12 June 2014 (UTC)
 * Well, I'd like to find the time to do one last thorough copyedit. I've added a few more images—though the image situation is still far from ideal.  The article won't be archived over image issues, though, as long as they're appropriate and appropriately licensed.  We just have to ensure the prose is high enough quality, and that the article is well balanced (comprehensive yet focused).  By the way, what happened to the mention of Mustaine's heroin addiction? Curly Turkey ⚞¡gobble!⚟ 07:00, 13 June 2014 (UTC)
 * I wrote only "drug addiction" because I don't have a source which says what kind of drug Mustaine used. Thinking about it, it is not that important.--Retrohead (talk) 13:09, 13 June 2014 (UTC)

 * How on Earth are the photos added "off the topic"? They're all directly related to the text they were placed directly beside.  And why remove the caption identifying Vic Rattlehead?  You also removed some copyediting. Curly Turkey ⚞¡gobble!⚟ 12:43, 13 June 2014 (UTC)
 * Apology for removing the copyedit and the caption in the infobox, didn't notice it was added. As for the pictures, placing Orwell here seems like the band plays music in his honor; less than 3% of the songs were inspired by his work. Also, photos of Jeff Hanemann and Metallica's logo are irrelevant in a Megadeth page. Haven't seen an image of Megadeth at their respective Wiki articles.--Retrohead (talk) 13:18, 13 June 2014 (UTC)

Oh, wanted to ask is it appropriate to incorporate the logo in the infobox, like the Russian edition? Apart from shortening Dimebag Darrell's name and dropping "American" from the opening sentence, is there any other edit on the prose that I unknowingly reverted?--Retrohead (talk) 18:42, 13 June 2014 (UTC)
 * Mustaine's relation to Metallica's a pretty big deal. It's not hard to see why there are no Megadeth images in the Metallica article—Mustaine started in Metallica, not the other way around.  Metallica's been a shadow hanging over Megadeth for Megadeth's entire career, and Mustaine makes a point of bringing it up.  Maybe Orwell was too much, but why remove the Iron Maiden picture?  Or Megadeth's own logo? (the Metallica article has the logo prominently placed). Curly Turkey ⚞¡gobble!⚟ 13:44, 13 June 2014 (UTC)
 * Iron Maiden influenced Megadeth's sound, not the band's image. Showing a photo (visual item) of Iron Maiden adds nothing to understanding the sonic traces of Maiden in Megadeth's music. A photo of Avedon is also unnecessary here. Photographing the band for booklet purposes is the least important aspect of the section, and besides that, it is Megadeth's only collaboration with that person. If you ask me, an image of Max Norman would fit ten times better. Metallica's logo is also redundant. If we got a picture of Mustaine with the other Metallica members at the time, fine, but what information is the reader supposed to obtain by seeing a logo with no obvious association to this band?--Retrohead (talk) 14:52, 13 June 2014 (UTC)
 * Showing a photo (visual item) of Iron Maiden adds nothing to understanding the sonic traces of Maiden in Megadeth's music.: It was intended to be representative of the NWOBHM influence, as the caption indicated, and which is a pretty common way to illustrate articles.
 * an image of Max Norman would fit ten times better: as I said, the image situation is not ideal. We work with what we have.  A Norman image would be ten times better, but an Avedon image is better than section after section of no images.
 * what information is the reader supposed to obtain by seeing a logo with no obvious association to this band?: which is why images have captions.
 * If you can find better images, that would be awesome. I strongly believe having these images is far better than scrolling through nothing but text. Curly Turkey ⚞¡gobble!⚟ 21:12, 13 June 2014 (UTC)
 * It would be awesome if we could, but there's no "|logo=" parameter in the infobox on the English Wikipedia. I thought I had made more copyedits, but I can't see them. Curly Turkey ⚞¡gobble!⚟ 21:12, 13 June 2014 (UTC)

Wikiquote page?
The Megadeth Wikiquote page has been cleaned and improved and is now in presentable condition. However, when I added the missing link to the Wikiquote page to this article, it was soon removed without any explanation. It's my understanding that links to Wikipedia's sister projects are supposed to be there. Is there a reason why the Wikiquote link is not tolerated in this article? Why is the Wikimedia Commons link okay, but not the Wikiquote link? If there is no problem, and it was a mistake, could someone please add the link at some point?--DarkPsalms (talk) 18:21, 23 July 2014 (UTC)
 * No worries, the link was restored.--Retrohead (talk) 16:13, 13 August 2014 (UTC)

Missing controversy
What about the one where dave said Obama was behind mass shootings and it was becoming 'like Nazi America'. That saw significant press. I don't think it's true that most of the Dave controversy has to do Metallica any more either as it saysin the opening sentenceof the controversy section.--Keithramone33 (talk) 13:26, 7 September 2014 (UTC)
 * Keithramone33, that would be more suitable in the Dave Mustaine article. Since he speaks for himself, not for the band, that information has no place here.--Retrohead (talk) 12:29, 11 September 2014 (UTC)
 * Retrohead, I hear you. However, the article section begins with "Mustaine has made numerous inflammatory statements in the press, usually regarding issues with former Metallica bandmates." And I found the article a few days ago when it was enjoying it's status as featured article. So, either the whole section should be deleted on the basis of consensus agreement with your observation (despite not being noticed during it's featured selection process), or I am right about the mentioned controversy deserving inclusion.--Keithramone33 (talk) 17:18, 11 September 2014 (UTC)
 * I see it is already well elaborated in Dave Mustaine.--Retrohead (talk) 20:05, 11 September 2014 (UTC)

Semi-protected edit request on 18 September 2014
You can add on the genre the genre of speed metal and hard rock because megadeth is also a speed metal and hard rock band

NikosMiou (talk) 09:58, 18 September 2014 (UTC)

Genres are particularly difficult area - please see the posts at the top of this page, and in the archives. - Arjayay (talk) 10:12, 18 September 2014 (UTC)
 * Red information icon with gradient background.svg Not done: as you have not cited reliable sources to back up your request, without which no information should be added to, or altered in, any article.

Members Section
I removed the timeline and the incomplete Former Members list because with a page dedicated to that information, it seemed redundant. My edit was reverted and apparently I have to get permission here? Anyway, does anyone agree that we don't need the information in two places? Crispy385 (talk) 07:24, 31 December 2014 (UTC)

Yes definitely. That would be the commonly accepted practice. DLManiac (talk) 20:30, 5 January 2015 (UTC)

Influences and style
the 4th paragraph of this section starts with: "During the band's early days, Mustaine was the rhythm guitarist, while Chris Poland played lead." This is wrong, Poland only plays solo's on 3 out of the 8 songs on their debut album Killing Is My Business all the other solo work is done by Mustaine, There is actually only 1 original song that doesn't feature a solo from Mustaine, and These Boots was also all Poland. Megadeth has always had lead/rhythm - lead/rhythm.

de third paragraph says: "Most of the songs are recorded in standard guitar tuning as Mustaine believes it to provide a superior melody to alternative methods of tuning" maybe add in something like all though the first albums were tuned slightly different so nobody could exactly copy it. this actually was the deal with at least the first 2 albums.

hope I could help, — Preceding unsigned comment added by 94.210.117.83 (talk) 20:00, 2 May 2016 (UTC)

Admin request - Wikidata link editing
Can someone edit the links in this article? The Swedish version was demoted from FA a long time ago.  danny music editor  Speak up! 18:40, 8 November 2016 (UTC)

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Albums sold
This source states Megadeth has sold close to 50 million albums. What's the truth? --HeadsOff (talk) 18:19, 20 November 2017 (UTC)

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Cheers.— InternetArchiveBot  (Report bug) 11:33, 16 December 2017 (UTC)

 * – nice try. 4TheWynne   (talk  •  contribs)  07:14, 20 September 2021 (UTC)

What do you mean nice try? I believe junior shouldn't be included, and that the photos should be updated for modern times. I'm not saying Lomenzo is a permanent band member BoxxyBoy (talk) 15:40, 20 September 2021 (UTC)

I repeat: why is this article full-protected?
The issue came entirely from IP editors. There was a solution available that didn't involve revoking access to perfectly suitable editors like myself. Like, I don't know, semi-protection?  danny music editor  oops 16:17, 21 September 2021 (UTC)

 * I'm not disagreeing, but I don't know why we're discussing it here when the only person who could definitively tell us why the article was full-protected instead of semi-protected (a decision which I, too, am baffled about) was the admin who protected it in the first place – in other words, ask . 4TheWynne   (talk  •  contribs)  23:48, 21 September 2021 (UTC)
 * It takes two to edit war, and as protection should not favour a certain editor it would have been incorrect to use semi. Apologies for the delayed response. Anarchyte  ( talk ) 07:34, 23 September 2021 (UTC)

Edit request (22 September 2021)
Add yes to the protection template. Kleinpecan (talk) 02:39, 22 September 2021 (UTC)
 * this is not how it works. You do not get to request editing perms to edit the page yourself. Sorry.  danny music editor  oops 02:41, 22 September 2021 (UTC)
 * I only asked for the yes parameter to be added to the protection template so that it only shows as a padlock icon and not a giant banner that the average reader does not care about. Kleinpecan (talk) 02:44, 22 September 2021 (UTC)
 * Oh. Not gonna lie, I thought that was default text left there carelessly by someone who wanted edit permissions.  danny music editor  oops 02:46, 22 September 2021 (UTC)

Moot since page is no longer protected. * Pppery * it has begun... 16:13, 22 September 2021 (UTC)

Adding James Lomenzo to Members
James Lomenzo appears on a STUDIO TRACK as of April 1st, 2022. He should be back in the official members now. — Preceding unsigned comment added by BoxxyBoy (talk • contribs) 16:33, 5 May 2022 (UTC)

 * , even if that were true, stop drawing conclusions based off one small detail (which you haven't presented a source for) – Megadeth hasn't announced LoMenzo as a full member of the band, so until that happens, no, he shouldn't. 4TheWynne   (talk  •  contribs)  00:06, 6 May 2022 (UTC)

Here's a preview of what it could look like (and with sources!)

Current members BoxxyBoy (talk) 02:17, 6 May 2022 (UTC)
 * Dave Mustaine – guitars, lead vocals (1983–2002, 2004–present)
 * Kiko Loureiro – guitars, backing vocals (2015–present)
 * Dirk Verbeuren – drums (2016–present)
 * James Lomenzo - bass, backing vocals (2005-2010, 2021-present)

Accurate album sales
dallas observer, fox news radio, and other inaccurate sources have numbers for album sales from 10 million to over 50 million. you can’t look for some local news media that doesn’t use sources for a number to exalt your favorite metal band.

RIAA is a legit source. According to them they have sold slightly under 10 million albums. I added an edit using that source and estimating for sales of singles to be “over 10 million”. This is at least more accurate than the figure has been in years. Someone else with more enthusiasm can be precise.

Again, you wouldn’t use a tabloid for medical information as you wouldn’t use fox news radio for music industry info. Try media outlets with credibility like wall street journal or music industry sources like RIAA. 2600:1012:B1B6:5947:81DF:E40F:C778:C218 (talk) 10:00, 17 August 2022 (UTC)

 * You have not capture the full picture for album sales.
 * RIAA is certification, and does not give the full picture. Any album not reaching GOLD status (500k sold) will not be counted. So all Megadeth albums selling less than 500k in the USA (KIMB, Risk, TWNAH, TSHF, UA, Endgame, 13, Dystopia, all the greatest hits albums, all the live albums) will not factor into the numbers. Also, any album which has sold more than 500k but hasn't hit the next certification will not be counted.... for example, Countdown has sold over 2.5 million, but has the double platinum certification and won't be recertified until reaching 3 million, so the sales above 2 million are not counted. Due to not including this, you are discounting millions of album sales.
 * Furthermore, you are only looking at USA sales. Depending on the band, worldwide sales can double or sometimes triple a bands album sales. Megadeth are a world successful band (shown by charting in many countries and touring in them).
 * You really should not be using RIAA certification alone to inform the total number of album sales for Megadeth. 2A02:C7C:41D:3000:7D53:C28B:573:2EE8 (talk) 17:05, 6 September 2022 (UTC)

I am not missing the full picture. Again, Fox News Sports radio is not a valid source for album sales especially when they don’t provide any source for that figure. And your justification for 10 million as reported by RIAA to being 50 MILLION is the few hundred thousand copies it goes over gold/platinum and worldwide sales? Megadeath was most popular in America like virtually every American metal band. It is absurd to believe they sold three times as many records outside of America i.e. 30 million. Bands much more successful than megadeath with many times more certifications don’t do that well outside of their country. Again, it’s obvious megadeath has a rabid overly devoted fanbase willing to manipulate facts in order to exalt their band that they worship. I can’t find any valid sources that even suggests its possible let alone true they have even sold half of that absurd 50 million figure. If you understand the music industry and how rock bands normally do, 50 million is an extraordinarily figure and would be more widely reported but more than likely its not accurate. Shhsbavavaa (talk) 10:37, 5 October 2022 (UTC)

albums sales source should be RIAA, soundscan, NOT a sports radio station and fox news no less
megadeth has not even sold half of the figure their wiki asserts. Its a ridiculous and embarrassing over-exaggerating by an overzealous fan or a megadeth manager. Fox news radio is NOT A LEGITIMATE SOURCE FOR MUSIC INDUSTRY. Media makes errors all the time and fox news particularly is known for its lack of journalistic ethics and fox sports radio no less as a source for music industry figures? They probably interviewed davids agent and he gave them that ridiculous figure.

I used RIAA official certifications which even includes digital downloads! Megadeth really sold less than ten million records I am still be generous in saying over 10 million to appease the freaks that stalk this page. More importantly its a legitimate source and a rational same figure. 2600:1012:B1C5:43AD:15F1:E461:6E99:9340 (talk) 08:45, 3 September 2022 (UTC)
 * you could've just said " i corrected an error in the album sales and added a better source" instead of going completely apeshit --FMSky (talk) 13:56, 3 September 2022 (UTC)

 * Please calm down (continuing along the "appease the freaks that stalk this page" path will only get you blocked). For starters, you didn't really fix the source, just replaced the URL and otherwise left the reference broken; also, does the RIAA depict worldwide sales, or just in the U.S.? If they're worldwide sales, the album sales in the source total 8.85 million, and that's the only definitive figure from the source, so that's what you would write – you don't just guess "over 10 million"; if they're only U.S. sales, you would either say so or not include the information at all until a better source with a definitive number of the band's worldwide sales can be found. 4TheWynne   (talk  •  contribs)  14:25, 3 September 2022 (UTC)
 * You are not representing album sales in a correct way.
 * Firstly, you are only taking USA derived sales. According to Nielsen SoundScan, Megadeth has sold 9.2 million copies of its albums in the United States as of 2016. This would be over 10 million by now. Importantly to note, Soundscan ONLY FACTORS SALES FROM MARCH 1991. So, the lions share of Killing, Peace, So far and Rust are not counted. ie their output from 85 - early 91. So they would have sold at least 12 - 15 million in the USA alone.
 * Now factor in Worldwide sales and you are probably upto 25 - 30 million albums sold.
 * I will do more research on this and come back to you but, saying "10 million records sold" is a bit misleading really. 2A02:C7C:41D:3000:D8FD:7D22:B879:5994 (talk) 11:57, 6 September 2022 (UTC)

With all that said, that still doesn’t add up to 50 million or even half that. Most american metal bands don’t do that well outside of america, and ither countries do do certifications and megadeath has very few. another ridiculous figure. Im familiar with music industry and pop music history and I can tell you anyone else who is would look at the 50 million figure or even half that suspiciously. Megadeath was successful but they were never on that level to achieve those sales figures you are throwing out there. American sales are well counted for and it is not anything close to 20 million. Nor is the “lion share” of sales happened during the brief five years at the time of release as you claim, sales don’t work like that. These huge figures are only figured through guestimation and if i can be nice about it, also based on scant knowledge of pop music history. I also disagree in using a dubious source like a random sports radio article, that something is better than nothing, that is not a standard that would fly in any academia or encyclopedia communities. Shhsbavavaa (talk) 10:47, 5 October 2022 (UTC)

Six Platinum Albums?
I might be missing something, but the RIAA website only lists five of their albums getting platinum (Peace Sells to Youthanasia), with Cryptic Writings only have Gold. The discography page lists CW as having Platinum too. Even if by now CW sold enough to get to the platinum threshold, the source cited still says it's only Gold.GenerallyAcceptable (talk) 00:35, 12 September 2022 (UTC)

it used to say they sold over 60 million. at least its more than halfway to the truth id say. Shhsbavavaa (talk) 11:07, 23 January 2023 (UTC)

Kiko's status
Kiko should not be listed as a member. Teemu is the new guitarist, as the website shows.

~ 81.166.107.145 (talk) 81.166.107.145 (talk) 18:30, 29 November 2023 (UTC)

 * The Megadeth website isn't the best source, but I did find a Blabbermouth article that talks about Kiko leaving the band. David O. Johnson (talk) 21:18, 29 November 2023 (UTC)

Risk did not go Gold.
Despite this, Risk was certified gold in the United States. [125]

Also The link says nothing About Megadeth at all. 51.37.206.57 (talk) 18:27, 14 April 2024 (UTC)

Years active for the band
Can you explain your rationale? This edit war is getting old. David O. Johnson (talk) 23:36, 25 May 2024 (UTC)
 * Yes. Basically Megadeth were formed in 1983 and have been active the whole time. Someone decided to (without sources) claim they were inactive 2002-2003. That may be so, but why mention it? They have been inactive for longer periods considering two or more years passing since studio albums were recorded and no touring activity. --Will come will see (talk) 00:23, 26 May 2024 (UTC)
 * There's no other time the band has been inactive, looking at the List of Megadeth band members article. David O. Johnson (talk) 12:20, 29 May 2024 (UTC)

title: Talk:Megadeth


text:
The Minstrel

The Minstrel (11 March 1974 – 3 September 1990) was a Canadian-bred, Irish-trained Thoroughbred racehorse and sire. Bred in Ontario, he was sold as a yearling and exported to Europe, where he was campaigned in Ireland and the United Kingdom. As a two-year-old The Minstrel was unbeaten in three races, including the Dewhurst Stakes, but lost two of his first three starts in 1977. He was then moved up in distance and won his remaining three races: the Epsom Derby, the Irish Derby and the King George VI and Queen Elizabeth Stakes.

These performances led to The Minstrel becoming horse of the year in the UK and later being inducted into the Canadian Horse Racing Hall of Fame. The Minstrel spent his stud career in the United States, where he had considerable success as a sire of winners.

Background
The Minstrel, a "stocky" chestnut colt with a white blaze, four white stockings and a gentle disposition, was foaled at E. P. Taylor's Windfields Farm in Oshawa, Ontario, Canada. He was the son of Northern Dancer out of Fleur, a daughter of Victoria Park. The horse was a three-quarter-brother to the 1970 English Triple Crown champion Nijinsky (who was by Northern Dancer out of Flaming Page, the dam of Fleur).

The Minstrel was purchased for $200,000 ($ million inflation adjusted) at the 1975 Keeneland Sales yearling auction by the British Bloodstock Agency (based in Ireland), acting on behalf of a group headed by Robert Sangster (1936–2004). The colt was shipped to Ireland under trainer Vincent O'Brien and ridden by champion jockey Lester Piggott.

1976: two-year-old season
As a two-year-old The Minstrel won the six furlong Moy Stakes at the Curragh on his debut and then moved up in class to win the Group Three Larkspur Stakes over seven furlongs at Leopardstown. In October he was sent to England to contest the Dewhurst Stakes at Newmarket. Ridden by Piggott, he started 6/5 favourite against ten opponents and won by four lengths from Saros. In the Free Handicap, a rating of the best two-year-olds to race in Britain, he was given a rating of 123 pounds, eight pounds below the top-rated J O Tobin.

1977: three-year-old season
In the spring of 1977, The Minstrel was campaigned over one mile. He won the 2000 Guineas Trial on heavy ground at Ascot Racecourse on 2 April. Four weeks later, he started 6/5 favourite for The 2000 Guineas Stakes but after recovering from a poor start he appeared to be beaten for speed in the closing stages as he finished third of the eighteen runners behind Nebbiolo and Tachypous. In the Irish 2000 Guineas at the Curragh on 14 May he finished strongly to reverse the form with Nebbiolo but was beaten a short head by Pampapaul. Despite two classic defeats, Piggott retained his belief in the colt and told O'Brien and Sangster that "If you run The Minstrel in the Derby, I'll ride him."

The Minstrel was then moved up in distance to contest the 198th running of the Derby over one and a half miles at Epsom Downs Racecourse. Ridden as usual by Piggott, he started at odds of 5/1 in a field of twenty-two runners, with the French-trained Blushing Groom being made 9/4 favourite. Vincent O'Brien, as usual, left nothing to chance, stuffing cotton wool in the horse's ears until he got to the start – the first recorded example of this calming influence being used. The Minstrel was not among the early leaders but moved forward to take third place at the turn into the straight. Approaching the final quarter mile he moved up to challenge the leader Hot Grove, ridden by Willie Carson. The two colts raced side by side throughout the closing stages before The Minstrel gained the advantage in the last strides and prevailed by neck. Blushing Groom was five length further back in third. The Minstrel's success was a fifth in the race for Vincent O'Brien and a record eighth for Piggott. At the end of the month The Minstrel followed up with a win in the Irish Derby at the Curragh, beating Lucky Sovereign by one and a half lengths and surviving an objection by the rider of the runner-up.

In July The Minstrel raced against older horses for the first time in Britain's most prestigious all-aged race, the King George VI and Queen Elizabeth Stakes over one and a half miles at Ascot. The race attracted a strong international field including Bruni, Exceller, Crystal Palace (Prix du Jockey Club) and Crow (St Leger). Piggott settled the colt in the middle of the field before moving up on the outside in the straight to challenge for the lead. He caught the British-trained five-year-old Orange Bay inside the final furlong and held on by a short head in a photo finish as Orange Bay rallied strongly.

In August a half-share in the colt was sold back to his breeder for $4,500,000. The threat of import restrictions following an outbreak of metritis in Europe led to The Minstrel's owners abandoning plans to run him in the Prix de l'Arc de Triomphe and he was sent to the United States almost immediately.

By the end of his racing career, out of his nine starts The Minstrel won seven races, finishing second and third once each.

Assessment and honours
In the 1977 poll organised by the Racegoers' Club, The Minstrel took twenty-six of the thirty-seven votes to win the title of British Horse of the Year. In the same year he was given a rating of a 135 by the independent Timeform organisation, making him the second highest-rated horse in Europe, two pounds behind his stable companion Alleged. In their book A Century of Champions, John Randall and Tony Morris rated The Minstrel a "superior" Derby winner and the sixteenth best Irish racehorse of the 20th century.

Stud record
The Minstrel was re-acquired by Windfields Farm and syndicated for $9 million to stand at stud in Maryland. After the sale of Windfields Farm's Maryland division in 1988, The Minstrel was sent to Overbrook Farm in Lexington, Kentucky.

The Minstrel's son Palace Music won the Champion Stakes in 1984 and had an international impact at stud, siring the U.S. Racing Hall of Fame inductee Cigar and the leading Australian runner Naturalism.

A daughter of The Minstrel, Zaizafon, was the dam of Zafonic who won the 2000 Guineas in 1993.

Other Group One winners sired by The Minstrel included:

 * L'Emigrant, foaled 1980 (won Poule d'Essai des Poulains)
 * Treizieme, 1981 (Grand Critérium)
 * Bakharoff, 1983 (William Hill Futurity)
 * Minstrella, 1984 (Phoenix Stakes, Moyglare Stud Stakes, Cheveley Park Stakes)
 * Melodist, 1985 (Oaks d'Italia, Irish Oaks)
 * Silver Fling, 1985 (Prix de l'Abbaye)
 * Musical Bliss, 1986 (1000 Guineas)
 * Opening Verse, 1986 (Breeders' Cup Mile)

The Minstrel was euthanised at a veterinary clinic in Lexington on 3 September 1990 and buried at Overbrook Farm.

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

title: The Minstrel


text:
Neoclassical metal

Neoclassical metal is a subgenre of heavy metal that is heavily influenced by classical music and usually features very technical playing, consisting of elements borrowed from both classical and speed metal music. Deep Purple's Ritchie Blackmore and Jon Lord pioneered the subgenre by merging classical melodies and blues rock. Later, Yngwie Malmsteen became one of the most notable musicians in the subgenre, and contributed greatly to the development of the style in the 1980s. Other notable players in the genre are Randy Rhoads, Luca Turilli, Michael Romeo, Jason Becker, Tony MacAlpine, Vinnie Moore, Alexi Laiho, Jani Liimatainen, Uli Jon Roth, Stéphan Forté, Wolf Hoffmann, Timo Tolkki, and Marty Friedman.

Although the genre is mainly associated with guitarists (especially lead guitarists), keyboardists like Jens Johansson, Michael Pinnella, Alex Staropoli and Janne Wirman are also found playing in this style, with Jon Lord as an early influence on the genre.

Definition
Neoclassical metal takes its name from a broad conception of classical music. In this it is a concept distinct from how neoclassicism is understood within the classical music tradition. Neoclassical music usually refers to a movement in musical modernism which developed roughly a century after the end of the Classical period and peaked during the years between the two World Wars.

On the other hand, neoclassical metal music does not restrict itself to a return to classical aesthetic ideals, such as equilibrium and formalism. Its influences include both the Romantic musical period and the Baroque period of the seventeenth and first half of the eighteenth centuries. The music of late Baroque composers such as Vivaldi, Handel and Bach was often highly ornate. Neoclassical metal musicians such as Yngwie Malmsteen and Joshua Perahia are inspired by this aspect of Baroque music and also by later composers such as the violinist Niccolò Paganini in using runs and other decorative and showy techniques in their performances. Neoclassical metal music thus looks to classical music as broadly understood by the general public and not to the more specialist technical definition used within classical circles.

History of the genre and influences
In the 1960s and 1970s, there were many works that influenced this subgenre, Deep Purple's Concerto for Group and Orchestra being the most important one. Other bands, like Rainbow, also featured neoclassical influences. Early classical influences within hard rock and heavy metal are most notably found in the playing of Jon Lord, Keith Emerson, Ritchie Blackmore, Uli Jon Roth and Randy Rhoads. But it was in the 1980s when neoclassical metal became a distinct subgenre.

Heavy metal guitar technique developed rapidly from its late-1960s beginnings to its late-1980s peak, but before the 1980s, few metal guitarists displayed the advanced technical proficiency which is a hallmark of the neoclassical metal style. The popularization and growth of neoclassical metal is closely related to the ascension of the guitar "shredding" movement.

The "golden age" of neoclassical metal in the middle to late 1980s revolved around the sizeable roster of flashy electric-guitar soloists who recorded mostly instrumental albums for Mike Varney's Shrapnel Records label. Swedish guitarist Yngwie Malmsteen, widely regarded as the originator and still-reigning king of neoclassical metal, was brought to the United States by Varney to sign with Shrapnel Records in 1982.

Many subsequent Shrapnel artists, including Tony MacAlpine, Vinnie Moore, Joey Tafolla, Michael Angelo Batio, Paul Gilbert, David T. Chastain, Jason Becker, and Marty Friedman, emerged in the latter 1980s as exemplars of the neoclassical style.

In recent years, appreciation of the neoclassical metal oeuvre has been largely confined to guitarists in more of an underground setting, as the style is not well known beyond the realm of guitarists. Today, there are many more bands that contribute as a whole as opposed to the "solo" musicians in the past.

A common practice in the genre is to transcribe classical pieces and play them in a rock/metal band format or as a solo artist such as Tina Setkic. The Baroque and Classical periods have been particularly influential to the genre because of their unique sound and techniques that blend into a rock setting effectively.

Styles and theory
A common feature of neoclassical metal is the diminished seventh chord. It can be a useful tool for modulation, as it's possible to move by minor thirds through the chord, then use the diminished 7th as a leading tone to resolve to the tonic. Pentatonic scales are also prevalent (as in the vast majority of rock and metal styles). A scale often used by neoclassical metal musicians is the harmonic minor scale, which is similar to the natural minor, but has a raised 7th (in the case of E, the D goes to D♯).

Modes are also used on occasion.

title: Neoclassical metal


text:
Melodic death metal

Melodic death metal (also referred to as melodeath) is a subgenre of death metal that employs highly melodic guitar riffs, often borrowing from traditional heavy metal (including New Wave of British Heavy Metal). The genre features the heaviness of death metal but with highly melodic or harmonized guitar riffs and solos, and often features high-pitched shrieked vocals (differing from traditional death metal) alongside the low-pitched growls commonly featured in traditional death metal. Pioneered by the English heavy metal band Carcass with their 1993 album Heartwork, melodic death metal developed further in Sweden (developed by bands like At the Gates, Dark Tranquillity, and In Flames) in the mid-1990s. The Swedish death metal scene did much to popularise the style, soon centering in the "Gothenburg metal" scene. At the Gates' Slaughter of the Soul, Dark Tranquillity's The Gallery, and In Flames' The Jester Race, all released in the mid-1990s, were highly influential albums in melodic death metal, with At the Gates and In Flames being the two most common influences on North American 2000s heavy metal bands. Many American heavy metal bands emulated At the Gates' sound, resulting in the usage of the phrase "At the Gates worship".

In the late 1990s and early 2000s, many melodic death metal bands emerged, including Children of Bodom, Arch Enemy, Amon Amarth, The Black Dahlia Murder, Insomnium, and Soilwork. In the 2000s decade, melodic death metal achieved popularity among heavy metal fans, starting with the release of In Flames' 2002 album Reroute to Remain, which showed a change to a more eclectic sound while retaining the band's melodic death metal sound. Many other melodic death metal bands quickly had chart success.

In the mid-2000s, melodic metalcore, a subgenre of metalcore that combines the genre with melodic death metal, achieved popularity with the chart success and sales success of bands like Killswitch Engage, All That Remains, and As I Lay Dying. Deathcore bands during this time period like Bring Me the Horizon and Through the Eyes of the Dead also were influenced by melodic death metal and achieved popularity.

Musical characteristics
Melodic death metal combines death metal with elements of traditional heavy metal ranging as far as the New Wave of British Heavy Metal, especially melodic or harmonized guitar riffs, with the heavily distorted guitars, fast double-bass drum patterns and occasional blast beats of death metal. The vocal style typically features either high-pitched shrieks screaming (differing from traditional death metal) or low-pitched growling (similar to traditional death metal) and can feature clean sung vocals.

Origins (early–mid 1990s)
Much of the origin and popularity of melodic death metal can be attributed to the bands At the Gates, In Flames, and Dark Tranquillity, whose mid 1990s music releases (namely Slaughter of the Soul, The Jester Race, and The Gallery, respectively) defined the genre and laid the foundation for the Gothenburg metal scene. Writer Gary Sharpe-Young considered the Gothenburg scene the commercial salvation of death metal: "Gothenburg became the new Tampa and the genre received a new lease on life." The titular melodic elements can be traced to traditional Scandinavian musical motifs. Another pioneer was the English band Carcass, which performed grindcore on its first two releases but morphed into death metal and an increasingly melodic style on the Necroticism – Descanting the Insalubrious (1991) and Heartwork (1993). Death's 1995 album Symbolic is also considered to be influential in the development of the genre. Ceremonial Oath and Eucharist also are early melodic death metal bands; however, they never gained much attention outside of their own scene.

In Flames' The Jester Race combined death metal with guitar riffs heavily influenced by bands like Iron Maiden and Judas Priest. The album's sound heavily contrasted with traditional death metal, and made Swedish death metal more accessible to more people compared to other Swedish death metal albums that pioneered a new sound, including the death 'n' roll of Entombed's Wolverine Blues. At the Gates' Slaughter of the Soul influenced many American metal bands, especially metalcore bands who used guitar riffs and vocals emulating At the Gates' music. The vocals also were noted by AllMusic for being more decipherable than other death metal vocals, resembling high-pitched shrieks that foreshadowed 2000s American screamo bands. The album brought At the Gates underground popularity, including rotation on MTV's Headbanger's Ball, a nomination at the Swedish Grammys, and American tours with Morbid Angel and Napalm Death.

Expansion (Late 1990s and early 2000s)

In the late 1990s and early 2000s, melodic death metal quickly expanded with many bands emerging, including Amon Amarth, The Black Dahlia Murder, Arch Enemy, Soilwork, Insomnium, and Children of Bodom. Additionally, other genres would begin using melodic death metal as an influence, including melodic metalcore and melodic black/death. Stewart Mason claims that melodic metalcore has become very popular in the United States, using the term "Swedecore" to describe Scandinavian-style metal as played by non-Nordic bands. Many melodic death metal and metalcore bands (especially after melodic metalcore band Killswitch Engage rose in popularity) were heavily influenced by Slaughter of the Soul by At the Gates and had an influence of them in their music. Many heavy metal bands in the mid-2000s, in turn, were labeled "At the Gates worship".

Popularity and emergence of melodic metalcore (2000s)

In the 2000s, melodic death metal became popular among heavy metal fans. In 2002, In Flames' album Reroute to Remain peaked at number 10 on the Top Heatseekers chart. The album, retaining the band's melodic death metal sound, showed a diverse mix of different musical genres, including occasional electronica and hip hop synthesizers and occasional clean singing. This helped gain the band a new amount of fans while alienating fans of In Flames' early work. In Flames' next two albums, Soundtrack to Your Escape (2004) and Come Clarity (2006), peaked at numbers 145 and 58 on the Billboard 200, respectively, with the latter album giving In Flames a Swedish Grammy Award. The Black Dahlia Murder, Arch Enemy, Children of Bodom, and Amon Amarth also enter the Billboard 200 during the 2000s decade. In the mid–late 2000s, melodic metalcore became one of the most popular heavy metal genres, with bands like Killswitch Engage, Unearth, Bullet for My Valentine, All That Remains, Shadows Fall and Atreyu achieving success, headlining major festivals and selling a lot of records. Melodic metalcore combined melodic death metal elements like melodic guitar riffs and screaming with elements of the original style of metalcore like breakdowns. At the Gates and In Flames were major influences on these bands. Killswitch Engage are often credited as the band that brought melodic metalcore into the mainstream among heavy metal fans. Some deathcore bands during this time, such as Through the Eyes of the Dead and Bring Me the Horizon, combined deathcore with melodic death metal.

Subgenres
Many melodic death metal bands began being inspired by black metal and European romanticism. This style has been referred to as blackened melodic death metal, melodic blackened death metal and melodic black-death. However, unlike most other black metal, this take on the genre would incorporate an increased sense of melody and narrative.

Melodic metalcore is a fusion genre, incorporating elements of metalcore and melodic death metal, with a heavy emphasis on melodic instrumentation, blast beats, metalcore-stylized breakdowns and clean singing. These bands often take influence from the guitar riffs and writing styles of Swedish melodic death metal bands, especially At the Gates, In Flames, Arch Enemy and Soilwork.

title: Melodic death metal


text:
Janet Murray

Janet Horowitz Murray (born 1946) is an American professor in the School of Literature, Media, and Communication at the Georgia Institute of Technology. Before coming to Georgia Tech in 1999, she was a Senior Research Scientist in the Center for Educational Computing Initiatives at MIT, where she taught humanities and led advanced interactive design projects since 1971. She is well known as an early developer of humanities computing applications, a seminal theorist of digital media, and an advocate of new educational programs in digital media.

Work and contributions
Janet Murray designed projects include a digital edition of the Warner Brothers classic, Casablanca. In addition she directs an eTV Prototyping Group, which has worked on interactive television applications for PBS, ABC, MTV, Turner, and other networks. She also works extensively as a member of Georgia Tech's Experimental Game Lab and is an advisor to Georgia Tech's Mobile Technology Group.

Murray's major book is Hamlet on the Holodeck: The Future of Narrative in Cyberspace, which asks whether the computer can provide the basis for an expressive narrative form, just as print technology supported the development of the novel and film technology supported the development of movies (originally published in 1997 and updated in 2017). She provides an optimistic answer. Murray’s analysis rests on an understanding of the computer as a medium of representation with a distinct set of properties. She argues that the computer is procedural, participatory, encyclopedic, and spatial, and that it affords three characteristic (but not unique) pleasures: immersion, agency, and transformation. She defines interactivity as the combination of the procedural and the participatory property which together afford the pleasure of agency. She connects research work on artificial intelligence with cultural forms such as games, movies, literature, and television. Murray’s main point is that the new computer formats expand the possibilities of expression available for storytelling. To her, "digital transmission has opened up the possibility of long-form storytelling, since audiences can view whole seasons after their original broadcast date, and they can follow story over multiple seasons."

Murray was a guest writer for Noah Wardrip-Fruin and Nick Montfort The New Media Reader, an anthology of articles on the new media which Janet was the first of the two introduction in the book called "Inventing the Medium."

Murray’s work has been referenced by game designers, interactive television producers, filmmakers, and journalists. It has been criticized from opposing directions, by writer Sven Birkerts as a threat to print culture (in HotWired magazine and in a televised debate) and by ludologists as an inappropriately literary approach to games (Game Studies vol. 1 no. 1). Murray has been descried as a narratologist as she advocates for storytelling in gameplay.

Murray also has an active role in developing two new degree programs at Georgia Tech which were launched in 2004: the Ph.D. in digital media and the B.S. in Computational Media. She was a member of the Peabody Awards Board of Jurors from 2007 to 2013.

Accomplishments

 * Spring of 2000, American Film Institute named Janet Murray their Trustee as she is also a mentor AFI Digital Content Lab.
 * Her projects from digital media curricula, interactive narrative, story/games, interactive television, to large-scale multimedia information spaces.have been funded by IBM, Apple Computer, Annenberg-CPB Project, the Andrew W. Mellon Foundation, the National Endowment for the Humanities, and the National Science Foundation.
 * Next Generation Magazine named her one of the top 100 Most Influential Women in Games in 2006

title: Janet Murray


text:
Extreme metal

Extreme metal is a loosely defined umbrella term for a number of related heavy metal music subgenres that have developed since the early 1980s. It has been defined as a "cluster of metal subgenres characterized by sonic, verbal, and visual transgression".

The term usually refers to a more abrasive, harsher, underground, non-commercialized style associated with the speed metal, thrash metal, black metal, death metal, and doom metal genres. Hardcore punk has been considered an integral part of the development of extreme metal in song structure and speed, apart from the case of doom metal.

Definitions
Extreme metal acts set themselves apart from traditional heavy metal acts, such as Iron Maiden, Judas Priest and Motörhead, by incorporating more abrasive musical characteristics such as higher tempos, increased aggression and a harsher extremity. In the majority of the world, extreme metal does not receive much radio-play or achieve high chart positions.

Extreme metal's sonic excess is characterized by high levels of distortion (also in the vocals – growling, gargling or screaming), less focus on guitar solos and melody, emphasis on technical control, and fast tempos (at times, more than 200 beats per minute). Its thematic transgression can be found in more overt and/or serious references to Satanism and the darker aspects of human existence that are considered out of bounds or distasteful, such as death, suicide and war. "Visual transgression [can include] ... medieval weaponry [and] bloody/horrific artwork."

According to ethnographer Keith Kahn-Harris, the defining characteristics of extreme metal can all be regarded as clearly transgressive: the "extreme" traits noted above are all intended to violate or transgress given cultural, artistic, social or aesthetic boundaries. Kahn-Harris states that extreme metal can be "close to being ... formless noise", at least to the uninitiated listener. He states that with extreme metal lyrics, they often "offer no possibility of hope or redemption" and lyrics often reference apocalyptic themes. Extreme metal lyrics often describe Christianity as weak or submissive, and many songs express misanthropic views such as "kill every thing". A small number of extreme metal bands and song lyrics take radical (left or right) political stances; for example, the Swedish black metal band Marduk has commonly referenced the Nazi Panzer tanks, which can be seen in works such as Panzer Division Marduk (1999).

History
The British band Venom are one of the first bands to venture into extreme metal territory, due to their ideological shift into themes of evil, the devil and hell. Their first two albums, Welcome to Hell (1981) and Black Metal (1982), were a major influence on thrash metal and extreme metal in general. This early work by Venom, in combination with bands like Discharge, the Exploited and Amebix, as well as American hardcore punk, brought integral elements into the budding extreme metal landscape at the time.

In 1983, Metallica would release their debut album Kill 'Em All, which fused elements of the new wave of British heavy metal with hardcore punk and the style of Motörhead, becoming the first thrash metal album, and would eventually be certified triple platinum. A few months later, Slayer would release their own thrash metal album Show No Mercy, influenced by the sounds of Venom, Judas Priest, Iron Maiden, and Mercyful Fate.

When extreme metal band Hellhammer first began making music, it was generally panned by critics, leading to the members forming Celtic Frost in its place, which proved very influential on the progression of the genre. During this period, the line between extreme metal genres were blurred, as thrash metal bands such as Slayer, Sepultura, Sodom, Destruction and Kreator were integral to the first wave black metal scene. The front cover of the Sarcófago's 1987 debut album, I.N.R.I., was a major influence on black metal's corpse paint style make-up. That record is also considered one of the first wave black metal albums that helped shape the genre. Their second album, The Laws of Scourge, was one of the first technical death metal records to be released.

Primary genres

 * Black metal
 * Death metal
 * Doom metal
 * Speed metal
 * Thrash metal

Subgenres of primary genres

 * Subgenres of black metal
 * Ambient black metal
 * Folk black metal
 * Industrial black metal
 * National Socialist black metal
 * Post-black metal
 * Blackgaze
 * Psychedelic black metal
 * Raw black metal
 * Symphonic black metal
 * Unblack metal
 * Subgenres of death metal
 * Brutal death metal
 * Industrial death metal
 * Melodic death metal
 * Old school death metal
 * Slam death metal
 * Symphonic death metal
 * Technical death metal
 * Subgenres of doom metal
 * Epic doom
 * Traditional doom

Fusions between primary genres

 * Black-doom
 * Depressive suicidal black metal
 * Blackened death-doom
 * Blackened death metal
 * Melodic black-death
 * War metal
 * Blackened thrash metal
 * Death-doom
 * Funeral doom
 * Deathrash

Fusions with punk rock styles

 * Crossover thrash
 * Crust punk
 * Blackened crust
 * Red and Anarchist black metal
 * Crack rock steady
 * Crustcore
 * Neo crust
 * Grindcore
 * Blackened grindcore
 * Deathgrind
 * Electrogrind
 * Goregrind
 * Noisegrind
 * Pornogrind
 * Metalcore
 * Deathcore
 * Easycore
 * Electronicore
 * Mathcore
 * Melodic metalcore
 * Nintendocore
 * Nu metalcore
 * Progressive metalcore
 * Sludge metal
 * Sludgecore

Fusion with other rock styles

 * Black 'n' roll
 * Death 'n' roll
 * Gothic-doom
 * Progressive doom
 * Stoner metal
 * Desert rock

Fusions with other musical styles

 * Drone metal
 * Pagan metal
 * Viking metal

Derivatives
Genres influenced by extreme metal but usually not considered extreme themselves:
 * Avant-garde metal
 * Beatdown hardcore, influenced by thrash metal;
 * Dungeon synth, influenced by black metal;
 * Funk metal, influenced by thrash metal;
 * Gothic metal, influenced by death-doom and doom metal;
 * Groove metal, influenced by thrash metal and death metal;
 * Grunge, influenced by sludge metal and thrash metal;
 * Hyperpop, influenced by metalcore;
 * Neoclassical metal, influenced by speed metal and thrash metal;
 * Nu metal, influenced by thrash metal;
 * Post-metal, influenced by doom metal and later by black metal;
 * Power metal, influenced by speed metal and thrash metal;
 * Sass, influenced by grindcore and metalcore.

title: Extreme metal


text:
User talk:Tajinder

Are you currently editing Bathinda?

If not, why do you presently have a message at the top?--OldakQuill 18:14, 3 May 2004 (UTC)

Yes I'm editing Bathinda and I was the one who created it.

Which massage are you talking about? The one in bathinda? --Tajinder 16:26, 4 May 2004 (UTC)

title: User talk:Tajinder


text:
Cropping

Cropping may refer to:

 * Cropping (punishment), the removal of a person's ears as a punishment
 * Cropping (animal), cutting the ears of an animal shorter, usually trimming to shape the pinnae
 * Docking (animal), cutting a part of an animal tail, less commonly used in reference to ears
 * Cropping (image), removing unwanted outer parts of an image
 * Scrapbooking, also called cropping, the creation of cards and or scrapbooks in unique and creative ways as a hobby

It may also mean:
 * Crop farming

title: Cropping


text:
Arghul

The arghul (أرغول or يرغول), also spelled argul, arghoul, arghool, argol, or yarghul, is a musical instrument in the reed family. It has been used since ancient Egyptian times and is still used as a traditional instrument in Egypt, Palestine, Syria and Jordan.

Basic characteristics
(From Edward William Lane's An Account of the Manners and Customs of the Modern Egyptians.) Modern Arghul, 3 ft. 2½ in. long.

The arghul is a double-pipe, Single-reed woodwind instrument that consists of two tubes: a melody pipe with between five and seven holes and a longer drone (Arabic ardiyya, "ground") pipe. Its tone is similar to that of a clarinet, although a bit more reed-like. Unlike the similar mijwiz, the arghul has fingering holes on only one of the instrument's pipes (the melody pipe), and the drone pipe has a detachable length that allows the player to alter the pitch of the drone.

In the illustration above all three lengths are shown in use. An arghul belonging to the collection of the Conservatoire Royal at Brussels, described by Victor Mahillon in his catalogue (No. 113), gives the following scale: —

Arghuls are used in Egypt and other Arab nations as an accompaniment to belly dancing, Dabke, and other types of Arabic musical performances. Circular breathing is an important part of the playing of the instrument.

There are three varieties of arghuls: the small arghul (arghoul alasghar), the medium arghul (arghoul alsoghayr), and the large arghul (arghoul alkebir).

Çifte
Çifte is a Turkish folk instrument of the wind type. It is made by tying two reed pipes side by side. Two small reed pieces which produce the sound are added to the ends of both reeds. These two small reeds are taken into the mouth cavity and it is played by blowing the air into both at the same time.

There are two çifte types known as Demli Çifte and Demsiz Çifte. In demli çifte one of the reeds does not have any pitch keys and it just produces a drone. There are melody keys on the other reed and the main melody is played through them.

Çifte is also known as Argun, Argul, Kargın or Zambır at different regions.

In Turkish, the word "çifte" also refers to a double-barreled shotgun, no doubt because of the barrels' resemblance to the wind instrument.

Dozaleh

 * See main article: Dozaleh

The dozaleh is one of the old folk wind instruments of Iran which is used in mirth celebrations. Abu Nasr Farabi had called it Mezmarol-Mosana or Mozdavadg [mozdavej] ("married"). The dozaleh has a sound like Ney-anbān [neianbAn] (bagpipe), but to some extent more clear and lower. It is played in Khorasan [xorAsAn], Kermanshah [KermAnSAh], and mostly in Iran. In some different dialects it is called Zanbooreh [zanbureh].

Listening

 * Arghul audio

title: Arghul


text:
United Front Work Department

The United Front Work Department (UFWD) is a department of the Central Committee of the Chinese Communist Party (CCP) tasked with "united front work." It gathers intelligence on, manages relations with, and attempts to gain influence over elite individuals and organizations inside and outside mainland China, including in Hong Kong, Taiwan, and in other countries.

The UFWD focuses its work on people or entities that are outside the CCP, especially in the overseas Chinese diaspora, who hold political, commercial, or academic influence, or who represent interest groups. Through its efforts, the UFWD seeks to ensure that these individuals and groups are supportive of or useful to CCP interests and that potential critics remain divided.

History
The United Front Work Department was created during the Chinese Civil War, and was reestablished in 1979 under paramount leader Deng Xiaoping. Since 2012, the role and scope of the UFWD has expanded and intensified under CCP general secretary Xi Jinping.

Civil war and gaining power
United front policies were most used in two periods before the Chinese Communist Revolution, namely from 1924 to 1927, and from 1936 to 1945, when the CCP cooperated with the Nationalist Party ostensibly to defeat the Japanese. The simplest formulation of united front work in the period was to "rally as many allies as possible in order to...defeat a common enemy."

In the early years, the CCP also used united front policies to cooperate with "disaffected warlords, religious believers, ethnic minorities, overseas Chinese, and minor parties and groups," in order for the CCP to appear democratic and to persuade key groups that the Nationalists were "illegitimate and repressive while the CCP embodied progress, unity, and democracy."

After seizing power, the CCP continued to deploy united front strategies to train intellectuals, "and, using thought reform based on criticism, began the transformation of the old society intellectuals." This involved violent elimination of what were termed "bourgeois and idealistic political beliefs," to instill faith in "class struggle and revolutionary change."

Cultural Revolution
During the Cultural Revolution, the UFWD was accused of being "capitulationist" and forced to shut down.

Reform-era
In the late 1970s the policy was used for the common cause of economic reform. From there the CCP expanded the scope of its work internationally during the reform era, and again following the 1989 Tiananmen Square protests and massacre. The department includes a bureau tasked with handling Hong Kong, Macau, Taiwan, and overseas affairs, and articulates the importance of using overseas Chinese populations to promote unification.

In 1980, the CCP Central Committee approved a request by the UFWD to create a national conference for religious groups. The participating religious groups were the Catholic Patriotic Association, the Islamic Association of China, the Chinese Taoist Association, the Three-Self Patriotic Movement, and the Buddhist Association of China.

It played an important role in building support for "One country, two systems" in Hong Kong during the 1980s and 1990s, operating under the name of the "Coordination Department." The UFWD has been critically described as serving to co-opt non-Communist community leaders outside China, and "using them to neutralize Party critics," sometimes coercively.

Scholar of Chinese political history John P. Burns presents in his book The Chinese Communist Party's Nomenklatura System excerpts from internal party documents demonstrating the role of the UFWD. The UFWD is to "implement better the party's united front policy and to assess and understand patriotic personages in different fields... so that we can arrange for correct placements for them and fully mobilize and bring into play their positive role in the Four Modernizations and to accomplish the return of Taiwan to the motherland so as to fulfill the cause of uniting the whole country, and to carry forward and solidify the revolutionary, patriotic united front."

The UFWD was used in the early years of PRC rule "to guarantee CCP oversight" over groups that were not directly associated with the Party and government. Those groups, including NGOs, were brought under the authority of the UFWD, whose job it was to “continuing to play its part in mobilizing and rallying the whole people in common struggle” after the Liberation in 1949. When the CCP "shifted its focus from the 'mass line' to 'class struggle', the real united front disappeared. While the United Front Department still existed, its duties of uniting with all forces for the 'common struggle' shifted mainly to serving the Party's leadership and 'consolidating the proletarian dictatorship'," according to Brookings Institution visiting fellow Zhang Ye. According to Roger Faligot, the aftermath of the 1989 Tiananmen Square protests and massacre led to the "growing use of party organizations, such as the United Front Work Department and friendship associations, as fronts for intelligence operations." Based on their actions in Taiwan and elsewhere the United Front Work Department appears to be used as a cover to conduct intelligence operations against targets of interest to the CCP.

Xi administration
In 2018, the United Front Work Department went through a reorganization in which it absorbed the State Administration for Religious Affairs (SARA) and the Overseas Chinese Affairs Office (OCAO) to become two internal bureaus. As part of the "one institution with two names" system, the UFWD retains OCAO and SARA (also called National Religious Affairs Administration) as external nameplates. The UFWD also assumed direct control of the National Ethnic Affairs Commission. With the reorganization, the UFWD effectively became China's main agency overseeing and managing ethnic, religious and overseas Chinese affairs. The State Religious Affairs Commission and the State Council Overseas Chinese Office were also merged within the United Front Work Department.

Structure
The UFWD is reported to have over 40,000 personnel and does not disclose its budget. It oversees and directs eight minor and subordinate political parties and the All-China Federation of Industry and Commerce.

Between 2015 and 2018, the UFWD grew to 12 bureaus:
 * General Office (办公厅): Oversees the functioning of the department, including its finances, security, assets, and work with other government and Party bodies.
 * Policy and Theory Research Office (政策理论研究室): Handles ideological and policy research, internal propaganda, and the drafting of important documents. Works with other government agencies to develop propaganda efforts abroad.
 * First Bureau—Party Work Bureau (一局，党派工作局): Governs affairs related to the eight minor, non-Communist parties legally allowed to operate in China.
 * Second Bureau—Minority and Religious Work Bureau (二局，民族工作局): Researches and recommends policy on minorities in the country, and liaises with other government agencies in their related work. Also supervises religious work.
 * Third Bureau—Hong Kong, Macau and Taiwan United Front Work Bureau (三局，港澳台统战工作局): Coordinates and communicates with friendly figures in Hong Kong, Macau, and Taiwan.
 * Fourth Bureau—Non-public Economic Work Bureau (四局，非公有制经济工作局): Coordinates with figures from the private sector.
 * Fifth Bureau—Independent and Non-Party Intellectuals Work Bureau (五局，无党派、党外知识分子工作局): Liaises with intellectuals not formally affiliated with the Communist Party.
 * Sixth Bureau—New Social Class Representatives Work Bureau (六局，新的社会阶层人士工作局): Focuses on the "new social class", i.e., the rising Chinese middle class.
 * Seventh Bureau (七局): Responsible for ethnic minority and religious work, particularly as it relates to Tibet.
 * Eighth Bureau (八局): Responsible for ethnic minority and religious work, particularly as it relates to Xinjiang.
 * Ninth Bureau—Overseas Chinese Affairs General Bureau (九局，侨务综合局): Coordinates and communicates with friendly figures in overseas Chinese affairs. The UFWD's Ninth Bureau runs the China Overseas Friendship Association (COFA). COFA and the China Overseas Exchange Association (COEA) merged in 2019.
 * Tenth Bureau—Overseas Chinese Affairs Bureau (十局，侨务事务局): Coordinates and communicates with friendly figures in overseas Chinese affairs.
 * Eleventh Bureau—Religious Work General Bureau (十一局，宗教综合局): Researches and recommends policy on religious affairs in the country, and liaises with other government agencies in their related work.
 * Twelfth Bureau—Religious Work Bureau (十二局，宗教业务局): Researches and recommends policy on religious affairs in the country, and liaises with other government agencies in their related work.
 * Department Party Committee (机关党委)
 * Retired Cadre Office (离退休干部办公室): responsible for the welfare of retired employees of the department.

Internal and overseas operations
The UFWD uses several methods in pursuit of its goals to appeal to its targets. Its primary method involves outreach, including holding events, trainings, media tours and other similar activities. This includes examples such as inviting members of the "new social class" to attend the "large-scale celebration to commemorate the Shenzhen Special Economic Zone’s 40th anniversary" or inviting members of the private sector to attend a multi-week training course. Another method it uses is to providing good and services, including issuing tenders for infrastructure and development projects, from road improvements to increasing access to drinking water.

The UFWD also plays an active role in the sinicization of non-Han ethnic and religious minorities, particularly in Tibet, Inner Mongolia and of the Uyghurs through the Xinjiang internment camps. In 2020, shortly after the commencement of the 2020 Inner Mongolia protests, the UFWD issued a communique that stressed the need for all ethnic minorities in China to use Standard Chinese. The UFWD has also taken a leading role in antireligious campaigns under the official pretense of "sinicizing religions." Bureaus of the SARA, absorbed into the UFWD in 2018, in some areas of Gansu, Qinghai and Sichuan have brought PRC flags and flagpoles to install in mosques or temples.

Alex Joske has noted that there is no clear distinction between domestic and overseas UFWD activity and often overlap between the two. Scholar Martin Thorley has described the UFWD as being able to call upon a "latent network" of civic, educational, and non-governmental groups and affiliated individuals internally and abroad for its political purposes, especially in times of crisis. For instance, the UFWD uses members of the Chinese People's Political Consultative Conference and other organizations to carry out influence-building activities, often covertly. Researchers from Stanford University's Internet Observatory and the Hoover Institution describe the United Front as "cultivat[ing] pro-Beijing perspectives in the Chinese diaspora and the wider world by rewarding those it deems friendly with accolades and lucrative opportunities, while orchestrating social and economic pressure against critics. This pressure is often intense but indirect, and clear attribution is therefore difficult."

The UFWD and its affiliated front organizations have also served as cover for intelligence agents of the Ministry of State Security. Multiple national intelligence agencies have expressed concern that the mandate and operations of the UFWD can constitute undue interference in other nations' internal affairs. In their book Nest of Spies, de Pierrebourg and Juneau-Katsuya allege that the United Front Work Department "manages important dossiers concerning foreign countries. These include propaganda, the control of Chinese students abroad, the recruiting of agents among the Chinese diaspora (and among sympathetic foreigners), and long-term clandestine operations."

The Chinese People's Association for Friendship with Foreign Countries has been described as the "public face" of the UFWD. Scholar Jichang Lulu noted that the UFWD and its proxy organizations "re-purpose democratic governance structures to serve as tools of extraterritorial influence." An Atlantic writer stated China runs thousands of linked and subsidized pro-government groups across Europe, to "ensure that its overseas citizens, and others of ethnic Chinese descent, are loyal", to "shape the conversation about China in Europe", and to "bring back technology and expertise", and that the UFWD plays a "crucial" role in this project. Scholar Jeffrey Stoff has argued that the CCP's United Front "influence apparatus intersects with or directly supports its global technology transfer apparatus."

In March 2018, it was announced that the Overseas Chinese Affairs Office would be absorbed into the United Front Work Department. With the absorption of the Overseas Chinese Affairs Office, the UFWD gained full control of the country's second largest state-run media apparatus, the China News Service. In 2019, the UFWD partnered with the Cyberspace Administration of China to promote united front work with social media influencers.

In January 2020, UFWD-linked organizations in Canada and other countries were activated to purchase, stockpile, and export personal protective equipment in response to the COVID-19 pandemic in mainland China. UFWD-affiliated groups have also been linked to organized crime in several countries.

Taiwan
The UFWD sponsors paid trips and summer camps to mainland China for Taiwanese youth. The trips are reported to promote pro-Chinese unification sentiment.

Foreign electoral interference allegations
The UFWD has also allegedly interfered in foreign elections, including the 2019 Canadian federal election. Following the 2019 Canadian Parliament infiltration plot, the Privy Council Office warned that election interference by China was "likely to be more persistent and pervasive in future elections" and that "the UFWD’s extensive network of quasi-official and local community and interest groups, allow it to obfuscate communication and the flow of funds between Canadian targets and Chinese officials."

Reaction
A 2018 report by the United States–China Economic and Security Review Commission noted that the UFWD regularly attempts to suppress overseas protests and acts of expression critical of the CCP are a conspiracy against rights. In May 2020, the White House released a report titled "U.S. Strategic Approach to the People's Republic of China". That report stated that "CCP United Front organizations and agents target businesses, universities, think tanks, scholars, journalists, and local, state, and Federal officials in the United States and around the world, attempting to influence discourse and restrict external influence inside the PRC." In June 2020, the Australian Strategic Policy Institute issued a report advocating a multi-dimensional response involving law enforcement as well as legislative reform for greater transparency of foreign influence operations. The same month the Republican Study Committee in the United States called for sanctions on the UFWD and its top leadership.

In January 2022, MI5 issued an "interference alert" for a solicitor in the UK named Christine Lee suspected of political interference on behalf of the UFWD. In a February 2022 ruling, a Canadian court stated that the UFWD's Overseas Chinese Affairs Office "engages in covert and surreptitious intelligence gathering”. In July 2023, a group of U.S. senators asked the United States Department of Justice to investigate "Overseas Chinese Service Centers" with alleged ties to the UFWD that are operating in seven U.S. cities.

U.S. sanctions and prosecution
In December 2020, the United States Department of State imposed visa restrictions on "individuals active in United Front Work Department activities, who have engaged in the use or threat of physical violence, theft and release of private information, espionage, sabotage, or malicious interference in domestic political affairs, academic freedom, personal privacy, or business activity." In January 2021, the head of the UFWD, You Quan, was sanctioned pursuant to Executive Order 13936 as a Specially Designated National by United States Department of the Treasury's Office of Foreign Assets Control.

In May 2023, a U.S. man, Liang Litang, was indicted for acting as an illegal agent of the Chinese government and for surveilling and harassing Chinese dissidents. Liang allegedly passed information to officials of the UFWD and Ministry of Public Security.

Department heads
During two periods the United Front Work Department was without a leader, from 1966 to 1975 during the Cultural Revolution and from the end of 1989 until 22 November 1990 following the 1989 Tiananmen Square protests and massacre. The UFWD has had two female heads, Liu Yandong (2002–2007) and Sun Chunlan (2014–2017).

title: United Front Work Department


text:
Wied-Neuwied

Wied-Neuwied was a German statelet in northeastern Rhineland-Palatinate, Germany, located northeast of the Rhine River flanking the northern side of the city of Neuwied. Wied-Neuwied emerged from the partitioning of Wied. Its status was elevated from county to principality in 1784. It was mediatised to Nassau and Prussia in 1806.

The House of Wied-Neuwied briefly ruled the Principality of Albania in 1914 through William of Albania, the younger son of Prince William. Among other notable members of the family were Prince Alexander Philip Maximilian, the second son of Prince John Frederick Alexander and a famous explorer, ethnologist and naturalist, and Princess Elisabeth, a daughter of Prince Hermann, who married King Carol I of Romania.

Counts of Wied-Neuwied (1698–1784)

 * Frederick William, 1698–1737
 * John Frederick Alexander, 1737–1784

Princes of Wied-Neuwied (1784–1806)

 * John Frederick Alexander, 1784–1791
 * Frederick Charles, 1791–1802
 * John Augustus, 1802–1806

Heads of the House of Wied-Neuwied (1806–present)

 * John Augustus, 3rd Prince (1779–1836) from 1806 to 1836
 * Hermann, 4th Prince (1814–1864)
 * William, 5th Prince (1845–1907)
 * William Frederick, 6th Prince (1872–1945)
 * Hereditary Prince Hermann (1899–1941)
 * Friedrich William, 7th Prince (1931–2000)
 * Prince Alexander (b. 1960) – renounced his rights
 * Carl, 8th Prince (1961–2015)
 * Maximilian, 9th Prince (b. 1999)
 * Prince Friedrich (b. 2001)
 * Prince Wolff-Heinrich (b. 1979)
 * Wilhelm, Prince of Albania in 1914 (1876–1945)
 * Carol Victor, Hereditary Prince of Albania (1917–1977)

title: Wied-Neuwied


text:
Pikveld

Pikveld is a neighbourhood of Coevorden and a hamlet in the province of Drenthe in the Netherlands.

Pikveld was first mentioned in 1600 as Leenert ten Pickvelt, and means "pitch field". In 1840, it was home to 18 people. Nowadays there are about 20 houses in the hamlet. It is also the name of the nearby neighbourhood of Coevorden which is significantly larger.

title: Pikveld