text:
Talk:Cognitive dissonance

agreed
I agree that Linux/MS products isn't a good example and would not necessarily appear in a text book.

Dissonance in the brain
I've included a "cognitive dissonance in the brain" section, which might be interesting to some readers. Additions/comments are welcome. --Efb18 5:58, 16 Dec 2009

References section
I've corrected a few minor errors in the references section, and included links to urls for a number of peer-reviewed articles. I've also applied APA style where necessary. Corrections are welcome. --Efb18 3:43, 10 Jan 2010

The Great BYUIdaho Wiki Edit of 2019
The college student who edited this page for his psychology course, user Cranein, is a moron (or is it Mormon? Someone correct my spelling) and writes like he's in the 7th grade. It looks like he vandalised this and several other pages with the knowledge (and consent?) of user Ian, a 'Wikipedia Expert.' How is this acceptable? Is this really how wikipedia works?

Anyway, most of his garbage has been taken out, but someone ought to remove the travesty that is the "Contradictions to the theory" section. And maybe require prospective editors to pass some sort of English test. Thanks, that's all.

Wiki Education assignment: Theories of Persuasion Spring 2024
— Assignment last updated by Lawflower21 (talk) 14:41, 16 February 2024 (UTC)

Peer review
This article looks really well written, and I'm not entirely sure that there is much more to add on. One avenue could be to look into adding another example similar to the ones about smoking, meat eaters, and littering. I didn't see much about the history of cognitive dissonance, and feel as though that might be able to be elaborated on like the theorist and their merit maybe. Seeing that there are so many references I would look for further information through these sources already linked. Plizington (talk) 14:44, 16 February 2024 (UTC)

 * Thank you for the review. I will look more into similar real-world experiences, as well as the theory's history. Those are both great ideas. Some of the subjects I have been thinking of adding include the cognitive dissonance that journalists feel, the effect of interracial relationships, and the relationship between accessible higher education and carbon emissions. Hellomuffin (talk) 16:33, 21 February 2024 (UTC)
 * Thank you for the helpful review. I will look into adding more examples when it comes to cognitive dissonance. I think that I will add examples that are more current to show how cognitive dissonance is prevalent in this time. I will also add a section about the history of cognitive dissonance and the founder of the theory. I have found some sources about that and will use them for the article. Icedcoffee14 (talk) 14:22, 1 March 2024 (UTC)

Cognitive Dissonance in medicine
Are pediatricians or patients more sensitive when facing incommensurate conclusions (vaccines.) 2600:100A:B1C7:F9C3:0:1F:21BA:8B01 (talk) 04:38, 8 March 2024 (UTC)

"Mental gymnastics" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Mental_gymnastics&redirect=no Mental gymnastics] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. Utopes (talk / cont) 06:46, 18 April 2024 (UTC)

title: Talk:Cognitive dissonance


text:
The Teahouse of the August Moon (film)

The Teahouse of the August Moon is a 1956 American comedy film directed by Daniel Mann and starring Marlon Brando. It satirizes the U.S. occupation and Americanization of the island of Okinawa following the end of World War II in 1945.

John Patrick adapted the screenplay from his own Pulitzer-Prize- and Tony Award-winning Broadway play of 1953. The play was, in turn, adapted from a 1951 novel by Vern J. Sneider. The film was entered into the 7th Berlin International Film Festival. The supporting cast features Glenn Ford, Machiko Kyō, Eddie Albert, Paul Ford and Harry Morgan.

Plot
Misfit Captain Fisby (Glenn Ford) is sent to Americanize the village of Tobiki on Okinawa, the largest of the Ryukyu Islands. His commanding officer, Colonel Wainwright Purdy III (Paul Ford), assigns him a wily local, Sakini (Marlon Brando), as interpreter.

Fisby tries to implement the military's plans by encouraging the villagers to build a school in the shape of a pentagon, but they want to build a teahouse instead. Fisby gradually becomes assimilated to the local customs and mores with the help of Sakini and Lotus Blossom, a young geisha (Machiko Kyō).

To revive the economy, he has the Okinawans manufacture small items to sell as souvenirs, but nobody wants to buy them. These include cricket cages and wooden Japanese footwear called geta. Then Fisby makes a happy discovery. The villagers distill a potent sweet potato brandy in a matter of days which finds a ready market in the American army. With the influx of money, the teahouse is built in next to no time.

When Purdy sends psychiatrist Captain McLean (Eddie Albert) to check up on Fisby, the newcomer is quickly won over. This, even after Fisby greets McLean wearing geta, an army bathrobe (which Fisby claims is his kimono) and what Fisby terms an "air-conditioned" straw hat (the latter being headwear worn by Okinawan farmers). McLean later proves to be enthusiastic about organic farming.

When Purdy doesn't hear from either officer, he shows up in person and surprises Fisby and McLean, the latter wearing a yukata (summer-weight kimono). They are leading a rowdy song at a party in full swing in the teahouse. Purdy orders the building and distillery destroyed. In a burst of foresight, the villagers break up old water urns rather than the brandy storage and only dismantle the teahouse, hiding the sections.

The village is chosen by the Supreme Commander of the Allied Powers (SCAP) as an example of successful American-led democratization. This leads to Colonel Purdy's regretting his actions and to reassembling the teahouse.

Cast

 * Marlon Brando as Sakini
 * Glenn Ford as Captain Fisby
 * Machiko Kyō as Lotus Blossom
 * Eddie Albert as Captain McLean
 * Paul Ford as Colonel Wainwright Purdy III
 * Jun Negami as Mr. Seiko
 * Nijiko Kiyokawa as Miss Higa Jiga
 * Mitsuko Sawamura as Little Girl
 * Henry (Harry) Morgan as Sergeant Gregovich

Production
Playing the role of an Okinawan villager was to prove an interesting challenge for Marlon Brando's method acting techniques. He spent two months studying local culture, speech, and gestures and, for the actual shooting, spent two hours daily having make-up applied to make him appear Asian.

The role of Colonel Wainwright Purdy III was to have been played by Louis Calhern, but he died of a sudden heart attack in Nara early in production and was replaced by Paul Ford. Ford had played the part more than a thousand times on Broadway, having been an original cast member, and he would play a similarly bumbling, harassed colonel in Phil Silvers' TV series Bilko.

Ford was not the only actor who went on to be cast in a television series role very similar to his Teahouse character. Like the psychiatrist Captain McLean, Eddie Albert's Oliver Wendell Douglas on Green Acres (1965-1971) was a licensed professional with an advanced degree, who obsessed about the glory of farming and yearned to give up his practice in favor of tending the soil.

The film made use of Japanese music recorded in Kyoto and sung and danced by Japanese artists. Machiko Kyō (Lotus Blossom) had won acclaim for her dramatic performances in Rashomon and Gate of Hell, so this lightly comedic part was a departure for her.

Home media
In November 7, 2006, was released in DVD by Warner Bros. Home Entertainment as part of The Marlon Brando Collection along with Julius Caesar, Mutiny on the Bounty and Reflections in a Golden Eye. In November 20, 2018, was released in DVD, under the label Warner Archive Collection.

Reception
The picture was well received, both at the box-office and critically. The film was MGM's biggest hit of the year, earning $5,550,000 in the US and Canada, and an additional $3,375,000 from a worldwide audience. The film made a profit of $1,507,000. It was nominated for a Golden Globe Award for Motion Picture Promoting International Understanding.

Legacy
Alongside Japanese War Bride (1952) and another Brando film, Sayonara (1957), The Teahouse of the August Moon was argued by some scholars to have increased interracial tolerance in the United States by openly discussing interracial marriages. Other scholars have argued that the movie is one in a long list stereotyping Asian American women as "lotus blossom, geisha girl, china doll, or Suzie Wong" by presenting Asian women as "passive, sexually compliant and easy to seduce" or as downright prostitutes. The movie has been criticized by critical theorists and Brando's performance branded as an example of yellowface casting.

A 1971 musical version of the play, Lovely Ladies, Kind Gentlemen ran only two weeks on Broadway, closing after 19 performances.

In 1980, Michael Medved awarded Marlon Brando's performance a Golden Turkey Award for "Most Ludicrous Racial Impersonation".

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

title: The Teahouse of the August Moon (film)


text:
Marked Woman

Marked Woman is a 1937 American dramatic crime film directed by Lloyd Bacon and starring Bette Davis and Humphrey Bogart, with featured performances by Lola Lane, Isabel Jewell, Rosalind Marquis, Mayo Methot, Jane Bryan, Eduardo Ciannelli and Allen Jenkins. Set in the underworld of Manhattan, Marked Woman tells the story of a woman who dares to stand up to one of the city's most powerful gangsters.

The film was a major success for Warner Bros. and one of Davis' most important early pictures. She had recently filed a lawsuit against the studio, partly because of the inferior quality of roles that she was expected to play. Although she lost the lawsuit, she garnered considerable press coverage, and Marked Woman was her first film upon returning to Hollywood. She was reported to be pleased with the script and the dramatic possibilities that it afforded her. Jack L. Warner was said to be equally pleased by the public's reaction in favor of Davis, which he predicted would increase the appeal and profitability of her films.

Costars Humphrey Bogart and Mayo Methot met on the set of Marked Woman and were married in 1938.

Plot
The notorious underworld czar Johnny Vanning becomes the owner of a gaudy New York night club and renames it Club Intimate. He exploits and mistreats the club's bar girls—Mary, Gabby, Emmy Lou, Florrie, and Estelle—in order to ensure their loyalty and obedience. As part of her job, Mary entices a man into betting and losing more money than he can afford. On the way home, he confides in her that he does not have the money to repay the gambling debt. He feels that it is all a game, but Mary warns him that he is in real danger and must leave town immediately. She is distressed, but not surprised, to learn soon after that the man has been murdered by two of Vanning's henchmen. District Attorney David Graham brings Vanning to trial, feeling that he has a strong case. Mary testifies against them, but Vanning has an airtight alibi concocted for them, and further damages her reputation, so the jury rules they were innocent. Graham believes that Mary lied to him, and she leaves fearing Vanning's retribution.

Mary's younger sister Betty visits for a football game. Unaware of the dangerous situation that she has entered, Betty attends a party at Vanning's club with Mary's roommate Emmy Lou. She meets Vanning's friend Bob Crandall, and after dancing with him, returns to the women's apartment. Mary admonishes her to not to go back to the party, but Betty does it anyway. At the party Betty meets Crandall again, and he tries to get her to go with him. She resists, but Vanning is enraged and slaps her, causing her to tumble down a flight of stairs to her death. Vanning disposes of her corpse in the river.

Mary is panicked that Betty hasn't returned from the party, and threatens to testify against Vanning, but his thugs beat her and scar her face, cutting a cross onto her cheek. Her resolve to testify against Vanning is only strengthened. Aware that they can only be free from Vanning if they stand against him, the other women also agree to testify. They implicate Vanning, breaking up his vice ring. As Graham is congratulated by the press, the five girls walk off into the foggy night.

Cast

Uncredited cast
 * Bette Davis as Mary Dwight/Mary Strauber
 * Humphrey Bogart as District Attorney David Graham
 * Lola Lane as Dorothy "Gabby" Marvin
 * Isabel Jewell as Emmy Lou Eagan
 * Eduardo Ciannelli as Johnny Vanning
 * Rosalind Marquis as Florrie Liggett
 * Mayo Methot as Estelle Porter
 * Jane Bryan as Betty Strauber
 * Allen Jenkins as Louie
 * John Litel as Gordon, Vanning's lawyer
 * Ben Welden as Charlie Delaney
 * Damian O'Flynn as Ralph Krawford
 * Henry O'Neill as District Attorney Arthur Sheldon
 * Raymond Hatton as Vanning's Lawyer
 * Carlos San Martín as Head Waiter
 * William B. Davidson as Bob Crandall
 * Kenneth Harlan as Eddie, a Sugar Daddy
 * Robert Strange as George Beler
 * Archie Robbins as Bell Captain (credited as James Robbins)
 * Arthur Ayelsworth as Sheriff John Truble
 * John Sheehan as Vincent
 * Sam Wren as Mac
 * Edwin Stanley as Detective Casey (credited as playing "Ferguson")
 * Alan Davis as Henchman
 * Allen Mathews as Henchman
 * Guy Usher as Detective Ferguson
 * Gordon Hart as Judge at 1st trial
 * Pierre Watkin as Judge at 2nd trial
 * Herman Marks as Joe
 * Ralph Dunn as Court Clerk at 1st trial

 * Cast notes
 * Eduardo Ciannelli bears a physical resemblance to Lucky Luciano.
 * Hymie Marks, who played the bit part of a gangster named Joe in the film, attracted the attention of executive producer Hal B. Wallis, who felt that he did not look menacing enough, despite the fact that Marks was a former gangster and henchman of Lucky Luciano and had been specifically cast by director Lloyd Bacon because of this connection.
 * Warner Bros. had originally cast Jane Wyman as Florrie.

Background
Despite a disclaimer at the start of the film that asserts that the story is fictitious, Marked Woman is loosely based on the real-life crime-fighting exploits of Thomas E. Dewey, a Manhattan district attorney who became a national celebrity in the 1930s because of his fight against organized crime in New York City. Dewey indicted and convicted several prominent gangsters, and his greatest achievement was the conviction of Lucky Luciano, the organized crime boss of the entire city. Dewey used the testimony of numerous call girls and madams to convict Luciano of running one of the largest prostitution rings in American history. Hollywood studios produced several films about Dewey's exploits, with Marked Woman among the most prominent. Humphrey Bogart's character David Graham is based on Dewey, who went on to twice become the Republican presidential nominee in the 1940s.

Warner Bros. purchased the rights from a Liberty series on Luciano but was forced to make alterations to the story because of censorship concerns, such as changing the women's profession from that of prostitute to nightclub hostess.

Production
Because the Motion Picture Production Code prohibited plots involving brothels or prostitution, the prostitutes in the original Liberty series were changed to nightclub hostesses in the screenplay. Vanning's racket became illegal gambling rather than running a prostitution ring, and the crime became a murder.

Marked Woman entered production on December 9, 1936 at the Warner Bros. studios in Burbank under the working title The Men Behind. Director Michael Curtiz substituted for Lloyd Bacon while Bacon was on his honeymoon.

Bette Davis was unhappy with the minimal bandaging that had been used for her hospital-room scene, so on her lunch break she drove to her personal doctor, described the injuries from the script and asked him bandage her accordingly. When she returned to the studio, a guard at the gate saw her bandages and called executive producer Hal B. Wallis to tell him that Davis had been in an accident.

Warner Bros. rereleased Marked Woman in 1947.

Reception
Writing for Night and Day in 1937, Graham Greene offered a positive review, noting that as a noir film "it's been done before, of course, [...] but it has never been done better than in some of these scenes." Greene praised Ciannelli, who was able to "convey not only corruption but the sadness of corruption," but Green expressed disappointment with Davis' acting, which he claimed "plugs the emotions with dreadful abandonment."

The film is ranked on review aggregator website Rotten Tomatoes at 100% based on reviews by five critics and with an average ranking of 6.5/10.

Awards and honors
Bette Davis won the Venice Film Festival's Volpi Cup for Best Actress in 1937. Director Lloyd Bacon was nominated for the 1937 Mussolini Cup.

title: Marked Woman


text: Category:Monty Python

title: Category:Monty Python


text:
Pershing

Pershing may refer to:

Military

 * John J. Pershing (1860–1948), U.S. General of the Armies
 * MGM-31 Pershing, U.S. ballistic missile system
 * Pershing II Weapon System, U.S. ballistic missile
 * M26 Pershing, U.S. tank
 * Pershing boot, a type of boot used by U.S. soldiers in World War I
 * Pershing Rifles, U.S. college military fraternal organization founded 1894

Companies

 * Pershing, an Italian yachtbuilding company, part of the Ferretti Group as of 2004
 * Pershing LLC, a financial brokerage and custodian, and a subsidiary of the Bank of New York Mellon
 * Pershing Square Capital Management, a US hedge fund

Places

 * France
 * Stade Pershing (Pershing Stadium), a stadium in Vincennes, France
 * United States
 * Pershing, Indiana
 * Pershing, Oklahoma
 * Pershing, Wisconsin, a town
 * Pershing County, Nevada
 * Pershing Center, an arena in Lincoln, Nebraska
 * Pershing Park, a small park in Washington, D.C.
 * Pershing Road (Hudson County), a road along the face of the Hudson Palisades
 * Pershing Township (disambiguation)

Other

 * Andrzej Kolikowski (1954–1999), nicknamed Pershing, a Polish mobster
 * Pershing (album), an album by indie pop/rock band Someone Still Loves You Boris Yeltsin
 * Pershing (doughnut), a type of doughnut
 * General Pershing (motor ship), a five masted bald-headed schooner
 * Pershing High School, Detroit, Michigan
 * Pershing Middle School (San Diego), San Diego, California
 * Louise Pershing (1904–1986), American artist

title: Pershing


text: Category:Middle-earth places

title: Category:Middle-earth places


text:
List of English words of Māori origin

The following English words are loanwords from the Māori language. Many of them concern native New Zealand flora and fauna that were known prior to the arrival of Europeans in New Zealand. Other terms relate to Māori customs. All of these words are commonly encountered in New Zealand English, and several (such as kiwi) are widely used across other varieties of English, and in other languages.

The Māori alphabet includes both long and short vowels, which change the meaning of words. For most of the 20th century, these were not indicated by spelling, except sometimes as double vowels (paaua). Since the 1980s, the standard way to indicate long vowels is with a macron (pāua). Since about 2015, macrons have rapidly become standard usage for Māori loanwords in New Zealand English in media, law, government, and education. Recently some anglicised words have been replaced with spellings that better reflect the original Māori word (Whanganui for Wanganui, Remutaka for Rimutaka).

Flora and fauna
The accepted English common names of a number of species of animal and plant native to New Zealand are simply their Māori names or a close equivalent:

 * huhu : a type of large beetle
 * huia : a recently extinct bird, much prized traditionally by Māori for its feathers
 * kākā : a native parrot
 * kākāpō : a rare native bird
 * kahikatea : a type of large tree
 * katipō : a venomous native spider
 * kauri : large conifer in the Araucariaceae
 * kea : a parrot, the world's only alpine parrot
 * kererū : the native wood pigeon
 * kina : the sea-urchin, eaten as a delicacy
 * kiwi : the bird, a New Zealander, or (but not in New Zealand English) kiwifruit
 * kōkako : a rare type of bird
 * kōwhai : a type of flowering tree
 * kūmara : sweet potato
 * mako : a shark, considered a magnificent fighting game fish
 * mamaku : a type of large tree fern
 * moa : extinct giant flightless bird
 * pāua : abalone
 * pōhutukawa : a type of flowering tree
 * ponga (also spelt punga) : the silver fern, often used as a symbol for New Zealand
 * pūkeko : a wading bird, the purple swamphen
 * rātā : a type of flowering tree
 * rimu : a tree, the red pine
 * takahē : a rare wading bird
 * tarakihi : a common fish, though often mispronounced in English as ‘tera-kee’.
 * toheroa : a shellfish
 * tōtara : an evergreen tree
 * tuatara : rare lizard-like reptile, not closely related to any other living species
 * tūī : the parson bird
 * weka : a flightless bird of the rail family
 * wētā : a large native insect, similar to a cricket
 * whekī : a type of tree fern

Placenames

Thousands of Māori placenames (with or without anglicisation) are now official in New Zealand. These include:

 * Territorial authorities: Waikato, Manawatū, Tauranga, Taranaki, Otago
 * Cities: Porirua, Rotorua, Tauranga, Timaru, Whanganui, Whangārei
 * Tourist destinations: Aoraki / Mount Cook, Tongariro, Manapouri, Moeraki, Wakatipu, Te Anau, Waitomo

Many New Zealand rivers and lakes have Māori names; these names predominantly use the prefixes wai- (water) and roto- (lake) respectively. Examples include the Waikato, Waipa and Waimakariri rivers, and lakes Rotorua, Rotomahana and Rotoiti.

Some Treaty of Waitangi settlements have included placename changes.

A Māori name for New Zealand, Aotearoa, has gained some currency as a more acceptable alternative. It appears in the names of some political parties, e.g. Green Party of Aotearoa New Zealand and Communist Party of Aotearoa.

Other words and phrases

 * aroha : love, sympathy, compassion
 * arohanui : "lots of love", commonly as a valediction
 * haere mai and haere ra: welcome and goodbye (respectively)
 * haka : traditional Māori dance, not always a war dance, often performed by New Zealand sports teams to 'challenge' opponents; see Haka of the All Blacks
 * hāngī : (1) earth oven used to cook large quantities of food (2) the food cooked in the hāngī
 * hapū: clan or subtribe, part of an iwi
 * hīkoi : march or walk, especially a symbolic walk such as a protest march
 * hongi : traditional Māori greeting featuring the pressing together of noses and sharing of breath
 * hui : meeting, conference
 * iwi : tribe
 * kai : food
 * kai moana : sea food
 * kapa haka : a cultural festival or music and dance
 * ka pai : very pleasant, good, fine
 * karakia : sung prayer or welcome
 * kaupapa : policy or principle, credo, methodology or theoretical foundation
 * kāwanatanga : transliteration of the English word "governance," sometimes mistranslated as "sovereignty." See also: tino rangatiratanga and Differences in the Māori and English versions of the Treaty of Waitangi
 * kia kaha : an expression of support, lit. be strong
 * kia ora : a greeting, lit. be healthy
 * koha : gift, present, offering, donation, contribution
 * kōhanga reo : Māori language preschool (literally 'language nest')
 * kōrero : to talk; to speak Māori; story
 * koru : stylised fern frond pattern, used in art
 * Kura Kaupapa Māori: Māori language school
 * mahi : work, employment
 * mahinga mātaitai : traditional seafood gathering place
 * mana : regard in which someone is held; respect of their authority; reputation
 * manaia : guardian spirit, often found in Māori artwork and carving
 * Māoritanga: Māori culture, traditions, and way of life, lit. Māoriness
 * marae : meeting house, the communal or sacred place that serves religious and social purposes in Māori society
 * Matariki : midwinter festival, the Māori new year, lit. the star cluster of the Pleiades
 * mihi : lit. greet, acknowledge; sometimes used for internet board or forum message
 * moko : facial tattoo
 * mokopuna : descendants, young children. Lit. grandchildren
 * Ngaire : woman's name, origin unknown
 * pā : hill fort
 * pakarū: broken, not working; often rendered in New Zealand English as puckeroo or puckerooed
 * Pākehā : New Zealander of non-Māori descent, usually European
 * Papakāinga : land used as housing by a hapu or whanau group
 * poi: A dance art that originated in Māori culture and is now popular in object-manipulation communities
 * pounamu : greenstone, jade, nephrite
 * pōwhiri : ceremony of welcome
 * puku : abdomen, tummy
 * rāhui : a ban or prohibition
 * rohe : homeland, tribal area
 * tangata whenua : lit. "people of the land". The home tribe of a given marae or district; locals; by extension, Māori in the New Zealand context.
 * taniwha:mythical water monster
 * taonga : treasure, especially cultural treasures. Māori usage: property, goods, possessions, effects, treasure, something prized. The term whare taonga ("treasure house") is used in the Māori names of museums
 * tapu : sacred, taboo; to be avoided because of this; (a cognate of the Tongan tabu, origin of the English borrowing of taboo)
 * te reo : the Māori language (literally, 'the language')
 * tiki : stylised representation of a male human, found in Māori artwork and carving
 * tino rangatiratanga : a political term, sometimes translated as "chieftainship," but most accurately rendered as "(complete) sovereign authority", a right promised to Māori in the Treaty of Waitangi
 * tukutuku : traditional woven panels
 * utu : revenge. Māori usage: revenge, cost, price, wage, fee, payment, salary, reciprocity
 * wāhi tapu : sacred site
 * wai : water (often found in the names of New Zealand rivers)
 * waiata : singing, song
 * waka : canoe, transport
 * whakapapa: genealogy, ancestry, heritage
 * whānau: extended family or community of related families
 * whare : house, building

Word list

Many Māori words or phrases that describe Māori culture have become assimilated into English or are used as foreign words, particularly in New Zealand English, and might be used in general (non-Māori) contexts. Some of these are:

 * Aotearoa: New Zealand. Popularly interpreted to mean 'land of the long white cloud', but the original derivation is uncertain
 * aroha: Love, sympathy, affection
 * arohanui: "lots of love", commonly as a complimentary close
 * haere mai: welcome
 * haka: a chant and dance of challenge (not always a war dance), popularised by the All Blacks rugby union team, who perform a haka before the game in front of the opposition
 * hāngī: a method of cooking food in a pit; or the occasion at which food is cooked this way (compare the Hawaiian use of the word luau)
 * hongi: traditional Māori greeting featuring the pressing together of noses
 * hui: a meeting; increasingly being used by New Zealand media to describe business meetings relating to Māori affairs
 * iwi: tribe, or people
 * kai: food
 * kapai: very pleasant; good, fine. From Māori 'ka pai'
 * kaitiaki: guardianship of the environment
 * kaupapa: agenda, policy or principle
 * kia ora: hello, and indicating agreement with a speaker (literally 'be healthy')
 * koha: donation, contribution
 * kōhanga reo: Māori language preschool (literally 'language nest')
 * kōrero: to talk; to speak Māori; story
 * Kura Kaupapa Māori: Māori language school
 * mana: influence, reputation — a combination of authority, integrity, power and prestige
 * Māoritanga: Māori culture, traditions, and way of life. Lit. Māoriness.
 * marae: ceremonial meeting area in front of the meeting house; or the entire complex surrounding this, including eating and sleeping areas
 * Pākehā: Non-Māori New Zealanders, especially those with European ancestry
 * piripiri: clinging seed, origin of New Zealand English 'biddy-bid'.
 * pōwhiri: ceremony of welcome
 * puku: belly, usually a big one
 * rāhui: restriction of access
 * tāngata whenua: native people of a country or region, i.e. the Māori in New Zealand (literally 'people of the land')
 * tapu: sacred, taboo; to be avoided because of this; (a cognate of the Tongan tabu, origin of the English borrowing of taboo)
 * tangi: to mourn; or, a funeral at a marae
 * taniwha: mythical water monster
 * te reo: the Māori language (literally, 'the language')
 * waka: canoe, boat (modern Māori usage includes automobiles)
 * whānau: extended family or community of related families
 * whare: house, building

Other Māori words and phrases may be recognised by most New Zealanders, but generally not used in everyday speech:

 * hapū: subtribe; or, pregnant
 * kapa haka: cultural gathering involving dance competitions; haka team
 * karakia: prayer, used in various circumstances including opening ceremonies
 * kaumātua: older person, respected elder
 * kia kaha: literally 'be strong'; roughly "be of good heart, we are supporting you"
 * Kīngitanga: Māori King Movement
 * matangi: wind, breeze ("Matangi" is the name for a class of electric multiple unit trains used on the Wellington suburban network, so named after Wellington's windy reputation).
 * mauri: spiritual life force
 * mokopuna: literally grandchildren, but can mean any young children
 * pakarū: broken, damaged
 * rangatira: chief
 * rohe: home territory of a specific iwi
 * taihoa – not yet, wait a while
 * tamariki: children
 * tohunga: priest (in Māori use, an expert or highly skilled person)
 * tūrangawaewae: one's own turf, "a place to stand"
 * tutū: to be rebellious, stirred up, mischievous Used in New Zealand English to mean "fidget" or "fiddle" e.g. "Don't tutū with that!"
 * urupā: burial ground
 * utu: revenge (in Māori, payment, response, answer)
 * wāhi tapu: sacred site
 * whaikōrero: oratory
 * whakapapa: genealogy
 * waiata: song
 * wairua: spirit

title: List of English words of Māori origin


text:
John Patrick (dramatist)

John Patrick (May 17, 1905 – November 7, 1995) was an American playwright and screenwriter.

Biography
He was born John Patrick Goggin in Louisville, Kentucky. His parents soon abandoned him, and he spent a delinquent youth in foster homes and boarding schools. At age 19, he secured a job as an announcer at KPO Radio in San Francisco, California, marrying Mildred Legaye in 1925. He wrote over 1,000 scripts for the Cecil and Sally radio program (originally titled The Funniest Things), broadcast between 1928 and 1933. The show's sole actors were Patrick and Helen Troy. In 1937, Patrick wrote adaptations for NBC's Streamlined Shakespeare series, guest-starring Helen Hayes.

Produced on a tight budget, his first play, Hell Freezes Over, directed by Joshua Logan, had a brief run on Broadway in 1935. However, the credit opened the door for him as a Hollywood scriptwriter.

His unpublished play Glory Lane, was premiered in January 1935, at the Golden Bough Playhouse in Carmel-by-the-Sea, California by Ralph Bell.

In 1942, the play, The Willow and I, was produced with Martha Scott and Gregory Peck in the starring roles. Before its first night, Patrick had volunteered for the American Field Service providing medical services in support of the British Army fighting World War II. He served with Montgomery's Eighth Army in Egypt and subsequently saw action in India and Burma where the ideas for his next play The Hasty Heart were germinated. Patrick completed the play on the ship that returned him to the U.S. after the war, and it proved a great commercial success, being adapted for the screen in 1949, with Ronald Reagan as the star and for TV in 1983.

His next two plays, The Curious Savage (1950) and Lo and Behold (1951), fared less well, but it was his 1953 stage adaptation of Vern J. Sneider's novel The Teahouse of the August Moon that marked the height of his fame, winning both the Pulitzer Prize and Tony Award for drama. He adapted the play for the screen in 1956 and for the musical stage under the title Lovely Ladies, Kind Gentlemen in 1970. In 1954, he wrote the screenplay for the movie Three Coins in the Fountain and in 1955, he adapted the autobiographical book A Many-Splendoured Thing by Han Suyin, for the movie Love Is a Many-Splendored Thing.

His next play, Good as Gold (1957), was less well received, and most of the rest of his career was dedicated to a series of successful screenwriting assignments. Following his success with The Hasty Heart, Patrick bought the 65 acre estate Hasty Hill at Suffern, New York. He later moved to Saint Thomas, United States Virgin Islands.

On November 7, 1995, the 90-year-old playwright was found dead in his room with a plastic bag over his head. His death was ruled a suicide. Patrick is now best remembered for his screen work though his plays remain popular with community theatres.

The John Patrick Collection, including the playwright's books, letters, and manuscripts is held at the Rare Book Department of Boston University.

Theatre productions

 * Glory Lane, 1935, Golden Bough Playhouse, Carmel, CA
 * Hell Freezes Over, 28 December 1935, Ritz Theatre, New York, NY
 * The Willow and I, 10 December 1942, Windsor Theatre, New York, NY
 * The Hasty Heart, 3 January 1945, Hudson Theatre, New York, NY
 * The Story of Mary Surratt, 8 February 1947, Henry Miller's Theatre, New York, NY
 * The Curious Savage, 24 October 1950, Martin Beck Theatre, New York, NY
 * Lo and Behold!, 12 December 1951, Booth Theatre, New York, NY
 * The Teahouse of the August Moon, adapted from Vern Sneider's novel, 15 October 1953, Martin Beck Theatre, New York, NY
 * Good as Gold, 7 March 1957, Belasco Theatre, New York, NY
 * Juniper and the Pagans, 10 December 1959, Colonial Theatre, Boston, MA
 * Everybody Loves Opal, 11 October 1961, Longacre Theatre, New York, NY
 * It's Been Wonderful, September 1966, Albuquerque Little Theatre, Albuquerque, NM
 * Scandal Point, September 1967, Albuquerque Little Theatre, Albuquerque, NM
 * Everybody's Girl, September 1968, Albuquerque Little Theatre, Albuquerque, NM
 * Love Is a Time of Day, 22 December 1969, Music Box Theatre, New York, NY
 * A Barrel Full of Pennies, 12 May 1970, Playhouse on the Mall, Paramus, NJ
 * Lovely Ladies, Kind Gentlemen, 28 December 1970, Majestic Theatre, New York, NY
 * Opal Is a Diamond, 27 July 1971, Flat Rock Playhouse, Flat Rock, NC
 * The Savage Dilemma, 19 May 1972, Long Beach Community Theatre, Long Beach, CA
 * The Dancing Mice, June 1972, Berea Summer Theatre, Berea, OH
 * Macbeth Did It, July 1972, Flat Rock Playhouse, Flat Rock, NC
 * The Enigma, 12 June 1973, Berea Summer Theatre, Berea, OH
 * Opal's Baby, 26 June 1973, Flat Rock Playhouse, Flat Rock, NC
 * Roman Conquest, 25 July 1973, Berea Summer Theatre, Berea, OH
 * A Bad Year for Tomatoes, 1974, John Patrick Dinner Theatre at the You Are Cabaret Dinner Theatre, North Royalston, OH
 * Divorce, Anyone?, 1975, John Patrick Dinner Theatre at the You Are Cabaret Dinner Theatre, North Royalston, OH
 * Opal's Husband, 1975, Flat Rock Playhouse, Flat Rock, NC
 * Noah's Animals, 1975, Berea Summer Theatre, Berea, OH
 * Suicide, Anyone?, 1976, Fortuna Theatre Club, St. Thomas, Virgin Islands
 * People!, October 1976, John Patrick Dinner Theatre at the You Are Cabaret Dinner Theatre, North Royalston, OH
 * Opal's Million Dollar Duck, 1979, School of Performing Arts, St Thomas, Virgin Islands
 * Girls of the Garden Club, July 1979, Berea Summer Theatre, Berea, OH
 * That's Not My Father, 1979, Fortuna Theatre Club, St Thomas, Virgin Islands
 * The Savage Dilemma, 13 March 2018, Titirangi Community Theatre, Auckland, New Zealand
 * The Curious Savage, 13 December 2018, Abraham Lincoln High School, San Francisco, CA

Screenplays

 * Charlie Chan at the Race Track, Twentieth Century-Fox, 1936
 * Educating Father, Twentieth Century-Fox, 1936
 * 36 Hours to Kill, Twentieth Century-Fox, 1936
 * High Tension, Twentieth Century-Fox, 1936
 * Midnight Taxi, Twentieth Century-Fox, 1937
 * Dangerously Yours, Twentieth Century-Fox, 1937
 * The Holy Terror, Twentieth Century-Fox, 1937
 * Time Out For Romance, Twentieth Century-Fox, 1937
 * Sing and Be Happy, Twentieth Century-Fox, 1937
 * Born Reckless, Twentieth Century-Fox, 1937
 * One Mile From Heaven, Twentieth Century-Fox, 1937
 * Big Town Girl, Twentieth Century-Fox, 1937
 * Up the River Heaven, Twentieth Century-Fox, 1937
 * Look Out, Mr. Moto, Twentieth Century-Fox, 1938
 * Five of a Kind, Twentieth Century-Fox, 1938
 * International Settlement, Twentieth Century-Fox, 1938
 * Battle of Broadway, Twentieth Century-Fox, 1938
 * Mr. Moto Takes a Chance, Twentieth Century-Fox, 1938
 * High Society, adapted from Philip Barry's play, The Philadelphia Story, MGM, 1956
 * Teahouse of the August Moon, MGM, 1956
 * Les Girls, adapted from Vera Caspary's novel, MGM, 1957
 * Some Came Running, adapted from James Jones's novel, MGM, 1958
 * The World of Suzie Wong, adapted from Paul Osborn's play and Richard Mason's novel, Paramount, 1960
 * Parrish, adapted from Mildred Savage's novel, for Warner Brothers, 1961
 * Gigot, adapted from Jackie Gleason's story, Twentieth Century-Fox, 1962
 * The Main Attraction, MGM-Seven Arts, 1963
 * The Shoes of the Fisherman, adapted from Morris West's novel, MGM, 1968

Television scripts

 * "Teahouse of the August Moon," Hallmark Hall of Fame, NBC, 1962
 * "The Small Miracle," adapted from Paul Gallico's short story, Hallmark Hall of Fame, NBC, 1973

Publications

 * The Willow and I (New York: Dramatists Play Service, 1943)
 * The Hasty Heart (New York: Dramatists Play Service, 1945)
 * The Story of Mary Surratt (New York: Dramatists Play Service, 1947)
 * The Curious Savage (New York: Dramatists Play Service, 1951)
 * Lo and Behold!; A New Comedy in Three Acts (New York: S. French, 1952)
 * The Teahouse of the August Moon (New York: Dramatists Play Service, 1957)
 * Everybody Loves Opal (New York: Dramatists Play Service, 1962)
 * It's Been Wonderful (New York: Dramatists Play Service, 1966)
 * Everybody's Girl; a Comedy in Three Acts, (New York: Dramatists Play Service, 1968)
 * Scandal Point; a Play in Three Acts, (New York: Dramatists Play Service, 1969)
 * Love Is a Time of Day (New York: Dramatists Play Service, 1970)
 * A Barrel Full of Pennies: A Comedy in Two Acts (New York: Dramatists Play Service, 1971)
 * Lovely Ladies, Kind Gentlemen (New York: S. French, 1971)
 * Anybody Out There (New York: Dramatists Play Service, 1972)
 * Divorce--Anyone?: Three One Act Plays (New York: Dramatists Play Service, 1976)
 * Noah's Animals: A Musical Allegory in Three Acts (New York: S. French, 1976)
 * Suicide--Anyone?: Three One Act Plays (New York: Dramatists Play Service, 1976)
 * The Girls of the Garden Club: A Comedy in Three Acts (New York: Dramatists Play Service, 1980)
 * Opal's Million Dollar Duck (New York: Dramatists Play Service, 1980)
 * People!: Three One Act Plays (New York: S. French, 1980)
 * That's Not My Mother: Three One Act Plays (New York: S. French, 1980)
 * The Magenta Moth: A Play in Three Acts (New York: Dramatists Play Service, 1983)
 * The Reluctant Rogue, or, Mother's Day: A Play (New York: Dramatists Play Service, 1984)
 * Cheating Cheaters: A Comedy (New York: Dramatists Play Service, 1985)
 * The Gay Deceiver: A Play in Three Acts (New York: Dramatists Play Service, 1988)
 * The Doctor Will See You Now: Four One-Act Plays (New York: Dramatists Play Service, 1991)
 * Dirty Ditties (New York: Penguin, 1996)
 * A Bad Year for Tomatoes (New York: Dramatists Play Service, 1975)

Awards and nominations

 * Academy Award nomination for Best Writing, Original Motion Picture Story for The Strange Love of Martha Ivers (1946).

title: John Patrick (dramatist)


text:
HMS Hecla (A133)

HMS Hecla was the lead ship of the Hecla-class survey vessel, an oceangoing survey ship type in the Royal Navy. She was ordered in the mid-1960s, along with her sister ships HMS Hecate (A137) and HMS Hydra (A144). A fourth ship, HMS Herald (H138), was completed in the early 1970s. The ship served for thirty years in this role, and various others, before finally being replaced by HMS Scott (H131) in 1997. Hecla was sold to private interests, being renamed "Bligh" after Vice-Admiral William Bligh. After this, the vessel was used in a hydrographic survey of Irish waters, and was based in Waterford, Ireland.

Design and construction
The Hecla class were designed as combined hydrographic and oceanographic survey ships, built to merchant ship standards and of similar design to RRS Discovery. She was laid down at Yarrow Shipbuilders' Blythswood, Glasgow shipyard on 6 May 1964, was launched on 21 December 1964 and was commissioned on 9 September 1965. She had the pennant number A133.

Hecla was 79.3 m long, with a beam of 15.0 m and a draught of 4.7 m. Displacement was 1915 LT light and 2733 LT full load, with a gross tonnage of 2,898. She had diesel-electric propulsion, with three Paxman Ventura 12-cylinder diesel engines rated at 1280 bhp powering two electric motors, rated at a total of 2000 hp and driving one propeller shaft, giving a speed of 14 kn. She had a range of 12000 nmi at a speed of 11 kn and 20000 nmi at 9 kn. The ship had a complement of 127 officers and other ranks. She was fitted with a hangar and helideck aft to allow operation of a single Westland Wasp helicopter, while two surveying launches were carried.

Service
In 1982, Hecla was used as an ambulance ship for the duration of the Falklands War. In this role, she ferried wounded from both sides to the main hospital ship, SS Uganda (1952).

title: HMS Hecla (A133)


text:
Carelia

Carelia may refer to:
 * Carelia (gastropod), a genus of snails
 * Karelia, name of a region in Finland and Russia
 * Karelia (cigarettes), Greek brand of cigarettes.

title: Carelia


text:
Slovene literature

Slovene literature is the literature written in Slovene. It spans across all literary genres with historically the Slovene historical fiction as the most widespread Slovene fiction genre. The Romantic 19th-century epic poetry written by the leading name of the Slovene literary canon, France Prešeren, inspired virtually all subsequent Slovene literature.

Literature played an important role in the development and preservation of the Slovene identity because the Slovene nation did not have its own state until 1991 after the Republic of Slovenia emerged from the breakup of Yugoslavia. Poetry, narrative prose, drama, essay, and criticism kept the Slovene language and culture alive, allowing - in the words of Anton Slodnjak - the Slovenes to become a real nation, particularly in the absence of masculine attributes such as political power and authority.

Early literature
There are accounts that cite the existence of an oral literary tradition that preceded the Slovene written literature. This was mostly composed of folk songs and also prose, which included tales of myths, fairy tales, and narrations.

First written text
The earliest documents written in the Old Slovene are the Freising manuscripts (Brižinski spomeniki), dated between 972 and 1022, found in 1803 in Freising, Germany. This book was written for the purpose of spreading Christianity to the Alpine Slavs and contained terms concerned with the institutions of authority such as oblast (authority), gospod (lord), and rota (oath).

First books
The first printed books in Slovene were Catechismus and Abecedarium, written by the Protestant reformer Primož Trubar in 1550 and printed in Schwäbisch Hall. Based on the work by Trubar, who from 1555 until 1577 translated into Slovene and published the entire New Testament, Jurij Dalmatin translated the entire Bible into Slovene from c. 1569 until 1578 and published it in 1583. In the second half of the 16th century, Slovene became known to other European languages with the multilingual dictionary, compiled by Hieronymus Megiser. Since then each new generation of Slovene writers has contributed to the growing corpus of texts in Slovene. Particularly, Adam Bohorič's Arcticae horulae, the first Slovene grammar, and Sebastjan Krelj's Postilla Slovenska, became the bases of the development of Slovene literature.

Fin-de-siecle
This period encompasses 1899–1918.

Intimism
Intimism (intimizem) was a poetic movement, the main themes of which were love, disappointment and suffering and the projection of poet's inner feelings onto nature. Its beginner is Ivan Minatti, who was followed by Lojze Krakar. The climax of Intimism was achieved in 1953 with a collection of poetry titled Poems of the Four (Pesmi štirih), written by Janez Menart, Ciril Zlobec, Kajetan Kovič and Tone Pavček. An often neglected female counterpart to the four was Ada Škerl, whose subjective and pessimistic poetic sentiment was contrary to the post-war revolutionary demands in the People's Republic of Slovenia.

title: Slovene literature


text:
Category:Middle-earth characters

Characters from Tolkien's Middle-earth books. Characters should be placed in this category or one of its subcategories.

__nogallery__

title: Category:Middle-earth characters


text:
Category:Middle-earth

Articles relating to Middle-earth, the fictional setting of much of the English writer J. R. R. Tolkien's fantasy. Middle-earth is the main continent of Arda in an imaginary period of the Earth's past, ending with Tolkien's Third Age, about 6,000 years ago.

title: Category:Middle-earth


text:
User:VampWillow/monobook.css

/* standard link colors */ a {color: #0000FF;} a:visited {color: #7F007F;} a:active, a.new {color: #FF0000;} a.interwiki, a.external {color: #3366BB;} a.stub color: #772233;} /* Diff rendering */ table.diff {background:white;} td.diff-otitle {background:#ffffff;} td.diff-ntitle {background:#ffffff;} td.diff-addedline {background:#ccffcc;} td.diff-deletedline {background:#ffffaa;} td.diff-context {background:#eeeeee;} /* make a few corners round, only supported by moz/firefox/other gecko browsers for now */ -moz-border-radius-topleft: 1em; -moz-border-radius-topright: 1em; } -moz-border-radius-topleft: 1em; -moz-border-radius-bottomleft: 1em; } div.pBody { -moz-border-radius-topright: 1em; -moz-border-radius-bottomright: 1em; }
 * 1) p-cactions ul li, #p-cactions ul li a {
 * 1) content {

/* same following the css3 draft specs, any browsers supporting this? */ border-radius-topleft: 1em; border-radius-topright: 1em; } border-radius-topleft: 1em; border-radius-bottomleft: 1em; } div.pBody { border-radius-topright: 1em; border-radius-bottomright: 1em; }
 * 1) p-cactions ul li, #p-cactions ul li a {
 * 1) content {

title: User:VampWillow/monobook.css


text:
California Girls

"California Girls" is a song by the American rock band the Beach Boys from their 1965 album Summer Days (And Summer Nights!!). Written by Brian Wilson and Mike Love, the lyrics were partly inspired by the band's experiences touring Europe for the first time, detailing an appreciation for women across the world. It was released as a single, backed with "Let Him Run Wild", and reached number 3 on the Billboard Hot 100. It was also a top 10 hit in several other countries, becoming one of the band's most successful songs globally.

Wilson conceived "California Girls" during his first acid trip while thinking about women and Western film scores. The song is distinguished for its orchestral prelude, layered vocals, and chromaticism. Wilson later referred to it as "a hymn to youth", the Beach Boys' "anthem", and his favorite record by the group, although he remained dissatisfied with their vocal performance. It was the band's first recording with touring musician Bruce Johnston, who was not yet an official member of the group.

"California Girls" inspired the Beatles' parody "Back in the U.S.S.R." and many songs with similar or identical titles, including Big Star's "September Gurls", the Magnetic Fields' "California Girls", and Katy Perry's "California Gurls". In 1984, David Lee Roth recorded a cover version that also peaked at number 3. In 2010, the Beach Boys' recording was inducted into the Grammy Hall of Fame, and in 2011, Rolling Stone ranked it number 72 on its list of the greatest songs of all time. The Rock and Roll Hall of Fame included it as one of "500 Songs That Shaped Rock and Roll".

Background
Brian Wilson, according to some accounts, was inspired to write "California Girls" during his first time taking the psychedelic drug LSD, an occasion supervised by his friend Loren Schwartz. Wilson corroborated in the 2004 documentary Beautiful Dreamer that he had written the song while on his first acid trip, but in the 2021 documentary Long Promised Road, he stated that he wrote the song during the week after the trip, when he was sober.

In a 2007 interview, Wilson explained that he had gone to his piano and "was thinking about the music from cowboy movies. And I sat down and started playing it, bum-buhdeeda, bum-buhdeeda. I did that for about an hour. I got these chords going. Then I got this melody, it came pretty fast after that." He said that "California Girls" was intended to encapsulate the feel of the Drifters' version of "On Broadway". and on other occasions, said that the shuffle beat in the song was influenced by Bach's "Jesu, Joy of Man's Desiring".

The next day, as Wilson recalled, he and his bandmate Mike Love finished the remainder of the song. Love was not originally listed as the song's co-writer, but was awarded a credit after his successful 1990s lawsuit for songwriting credits. He said that he approached Wilson about the omission when the song was released, and that Wilson had told him that the mistake was the fault of Wilson's father Murry, the band's publisher. In a 1988 interview, Brian blamed himself. "I knew that my dad made a mistake by putting my name on there only." Session musician Carol Kaye, who played on the recording, credited all the music to Wilson, with the only exception being a bass fill she invented at the end of the bridge section.

Wilson and Love later disagreed over the extent of their lyrical contributions. Love said that he wrote "every syllable" of the song apart from "I wish they all could be California girls". In his recollection, he wrote the lyrics "in less than an hour" while he was in the hallway of the recording studio during the session for the backing track. Wilson disputed Love's assertion. "I wrote a lot of those lyrics too; it was line for line, back and forth between us. That's what happened." He said that he came up with the opening lines and subject matter, and that "Every other line was his or mine. ... Everybody loves girls, right? Everybody loves California and the sun. That’s what I wanted from the song. And to mention all the parts of the country, that’s fun, people will like that."

Lyrics
The lyrics describe an appreciation for the qualities of girls from different regions of the United States, and the wish that "they all could be" in the narrator's home state of California. Among the qualities that the narrator appreciates are "East Coast girls" for being "hip", "southern girls" for "the way they talk", the "northern girls" for "the way they kiss", and the "Midwest farmer's daughter" for making "you feel all right". After the first chorus, the West Coast is invoked for its "sunshine" and tanned girls, with an additional reference to a "French bikini on Hawaii Island". At the end of the lyric, the singer declares that, having had the experience of seeing "all kinds of girls" from "all around this great big world", the U.S. contains "the cutest" of them all.

According to Love, the lyrics were inspired by the band's first time touring Europe and the UK in November 1964. He felt that he failed to impart the message that he had "originally intended" with the lyric. "I wanted the song to be a tribute to girls everywhere—not just in the United States, let alone California, but everywhere in the world." Biographer Mark Dillon wrote that Love's lyrics "show [that he keeps] concert-goers top of mind" and that the "Midwest farmer's daughter" line elicited the greatest applause when the group performed the song live.

Composition
"California Girls" begins with an orchestral prelude and contains a similar chord sequence and call-and-response vocal lines as Wilson's previous song "Don't Hurt My Little Sister" from The Beach Boys Today!. According to writer Maury Dean, "Musically, 'California Girls' is an adventure in chromatics; any garage band trying to follow their bizarre ♭VII tidal wave of dipping and swooping chromatic major chords will have to buy the sheet music, or hire Sherlock Holmes to find the missing chords." Musicologist Walter Everett identifies the use of ♭VII — IV in the chorus to suggest a chromaticized major key with minor pentatonic inflections.

Music theorist Daniel Harrison compared the song to Wilson's later "God Only Knows", as both songs avoid a root-position tonic and suppress a cadential drive. The refrain alternates between the I and ii7 without ever meeting the expected V. Highlighting this, Harrison, citing an insight on the part of Everett, writes that the "wish that 'they all could be California girls' is, of course, impossible to realize; the inability of I-II to reach V, then, underscores this impossibility."

Recording
On April 6, 1965, Wilson produced the backing track of "California Girls" (then given the working title "We Don't Know") with a host of session musicians at Western Studio in Hollywood. It required 44 takes before Wilson could deem a satisfactory performance, with the session concluding after midnight. Problems had arisen from the tempo and guitar part in the introduction, which fatigued Wilson, engineer Chuck Britz, and the dozen-plus session players.

The song did not appear to have lyrics or a title at this juncture, and Wilson can be heard calling the song "Oh Yeah" and "You're Grass and I'm a Power Mower". In his 2016 memoir, Wilson remembered: "When we got into the studio with Chuck, he said that he wanted Carl's twelve-string guitar in the intro to sound more direct. I didn’t know what that meant. 'Can he play it in the booth?' Chuck said. I had never thought about that before, but it seemed like a good idea. Carl was standing next to me in the booth and all the other musicians were out in the studio. I conducted it like an orchestra." According to biographer Peter Ames Carlin, Wilson's father Murry urged Brian to eliminate the orchestral prelude, as he felt that it made the song excessively complex.

"California Girls" was the first Beach Boys recording to feature vocals from Bruce Johnston, who had recently joined the group to substitute for Wilson on concert tours. Johnston remembered, "I came home from The Beach Boys' tour [on June 1] and they said, 'Why don't you come and sing on our next album?' The first song I sang on was 'California Girls'. At this point I still wasn't a proper member of the group."

Vocal overdubs followed on June 4 at Columbia studio. Wilson recorded the Beach Boys' vocals using Columbia's new 8-track recorder, allowing Love's and Brian's lead vocals to be double-tracked and the group's vocals spread over three more. According to historian Keith Badman, the song had still lacked "a proper title", as Wilson can be heard referring to it as "Yeah, I Dig the Girls" on the session tape.

Release
On July 5, 1965, "California Girls" was released as the leading track on side two of the Beach Boys' album Summer Days (And Summer Nights!!). On July 12, it was issued as a single backed with "Let Him Run Wild". It debuted on the Billboard Top 40 chart at number 28, and at the end of August peaked at number 3, just below the Beatles' "Help!" and Bob Dylan's "Like a Rolling Stone". In the UK, the single was released in August. In September, it peaked at number 28 in the Netherlands. In October, it peaked at number 26 in the UK, 30 in Germany and 6 in Sweden.

Cash Box described the single as an "easy-going shuffle which touts the many positive aspects of the Golden Gate state distaffers." Record World described it as a "ballad with a beat extolling the Coast female" and called it an "extremely strong item."

The Beach Boys sang the song over a pre-recorded backing track during their appearances on the television programs The Andy Williams Show (on October 22) and Jack Benny Hour (on October 23). In the latter, the group were featured in a humorous sketch with host Jack Benny and comedian Bob Hope, who act as old surfers that are struggling to understand the sport's slang terms.

Recognition and legacy
"California Girls" is among the Beach Boys' most commercially successful songs globally. It has been performed thousands of times in concert as the band's opening number. Carlin called the orchestral introduction "as spare and stirring as anything by Aaron Copland". Dillon referred to the passage as "one of pop music's great intros" and "Brian's proclamation to the rest of the music biz that he was a composer to take seriously". Los Angeles Times journalist Geoff Boucher, writing in his article about the song, said that the opening lyrics were "one of the most famous ... in pop music" and described the music as "equal parts symphony hall and amusement park, 2 1/2 minutes of nuanced musical complexity and beach-blanket simplicity." The song was also influential in the development of the power pop genre.

Wilson stated in an interview, "The intro to this song is the greatest piece of music I've ever written ... The song was a big record for us but I never really liked anything but the intro." In 1970, he said that he disliked the recorded vocal performance and added, "If I could, I'd re-record that one ... We rushed the beat on that one." In 2010, he told Dillon that it was the band's finest record and said, "You could call it our anthem."

In 2010, the Beach Boys' recording was inducted into the Grammy Hall of Fame for its "lasting qualitative or historical significance." In 2011, Rolling Stone magazine ranked it number 72 on its list of the "500 Greatest Songs of All Time", where it was described as "tougher than earlier Beach Boys hits, with tightly wound harmonies and an aggressive lead vocal."

Cultural references
The Beatles' "Back in the U.S.S.R." (1968) features a bridge section based on the song. Wilson said that the Beatles' song "blew my mind" when he first heard it, although he did not realize that it was a send-up of "California Girls" until the fact was pointed out to him. Strawberry Alarm Clock, who toured with the Beach Boys in 1966–67, segues into the intro and first line of "California Girls" at the end of their song "Small Package", on their album Good Morning Starshine (1969). "California Girls" has also been adopted in numerous television commercials and jingles. It served as a tongue-in-cheek musical cue in the James Bond film A View to a Kill (1985).

"California Girls" inspired the titles of Big Star's "September Gurls" (1974) and identically-named songs by Gretchen Wilson (from her 2006 album All Jacked Up) and the Magnetic Fields (from their 2008 album Distortion). The latter song describes a protagonist who wishes to murder upper-class girls from California with a battle axe, a theme that carried on from Sonic Youth's "Expressway to Yr. Skull" from Evol (1986). Katy Perry's "California Gurls" (2010) initiated a dispute with publisher Rondor Music regarding its use of the lyric "I wish they all could be California girls".

Magnetic Fields frontman Stephin Merritt commented on the various songs, "when I wrote [my] 'California Girls' ... the listener is supposed to know that there is already a song with that title. ... It would be good to write a response song to that [Katy Perry single]. An answer song, to be called 'California Grrrls,' g-r-r-r-l-s, about the Riot Grrrl alleged movement. One could go on and on with 'California Girls,' it’s a pretty large topic, with a lot to say."

David Lee Roth version
"California Girls" was covered by David Lee Roth on his 1985 EP Crazy from the Heat (with background vocals by Beach Boy Carl Wilson along with Christopher Cross). Like the original, it peaked at number 3 on the Billboard Hot 100. The Federico Fellini-esque music video, directed by Pete Angelus and Roth and inspired by Fellini's Amarcord, was released in January 1985.

In the video, Roth stars as a tour guide, showing tourists (one played by Jane Leeves, who went on to play Frasier's Daphne Moon), the beach and swimsuit models. The female bodybuilder featured in the video is Roth's personal fitness trainer, Kay Baxter. The scenes follow the lyrics with bikini-clad women from all regions of the US. An oft-imitated scene has Roth dancing down a sidewalk bordered by models frozen like mannequins. "That is Diamond Dave, the character," he observed. "That is definitely a part of me: I grew up in that whole Southern California thing. I dee-lite in it! But you don't have to be there to celebrate the spirit."

Personnel
Per band archivist Craig Slowinski:

The Beach Boys
 * Al Jardine – second tenor/baritone harmony and backing vocals
 * Mike Love – lead and bass harmony vocals
 * Brian Wilson – first tenor/falsetto harmony and backing vocals
 * Carl Wilson – second tenor harmony and backing vocals, 12-string guitar
 * Dennis Wilson – baritone harmony and backing vocals

Guest
 * Bruce Johnston – second tenor harmony and backing vocals

Session musicians (also known as "the Wrecking Crew")

 * Hal Blaine – drums
 * Frank Capp – vibraphone
 * Roy Caton – trumpet
 * Jerry Cole – twelve-string guitar
 * Al De Lory – Hammond B-3 organ
 * Steve Douglas – tenor saxophone
 * Jay Migliori – baritone saxophone
 * Jack Nimitz – bass saxophone
 * Carol Kaye – bass guitar
 * Lyle Ritz – upright bass
 * Howard Roberts – electric guitar
 * Leon Russell – piano
 * Billy Strange – tambourine

title: California Girls


text: Category:Science

title: Category:Science


text:
Talk:This Is Your Life (American franchise)

Untitled
This was an American format, wasn't it? Therefore needs info about the US edition. Lists of celebs ambushed would also be useful. Lee M 11:46, 30 May 2004 (UTC)

The reference to Gary Glitter and paedophilia is relevant, since it would be unfair to the makers of the programme to suggest that they might have made a known paedophile a star of the show. PatGallacher 22:55, 11 November 2005 (UTC)
 * Why not split the difference and just identify the date of Glitter's appearance? Gamaliel 02:18, 12 November 2005 (UTC)
 * Yeah, I see no point in identifying the paedophilia issue unless it is relevant and unless Glitter appeared on the show, like, a week before he was charged, then IMO this reference should be removed, and I have done so. The way this is worded, it appears Glitter appeared on the show c.1974, which makes sense as that was when he was at the peak of his popularity. The charges didn't come about until something like two decades later. Actually, I have an even better idea. If you feel strongly about this, why not remove Glitter completely? Surely there are "safer" pop stars to use as examples, such as Lulu or Dusty Springfield. 23skidoo 14:06, 18 November 2005 (UTC)

Mention of Glitter is relevant. If you read the article properly you will see that Glitter REFUSED to appear on the show (unlike e.g. Lulu or Dusty Springfield). This was literally headline news the next day. This is fairly important since it is sometimes wrongly claimed that Danny Blanchflower was the only person ever to refuse to appear. If someone knows the exact date feel free to add it. However the fact that it was before the paedophilia issue is relevant, since otherwise we might give the impression that they invited a known paedophile to appear. It's a matter of opinion whether it was a particularly good show, but they hardly sank to that level. PatGallacher 14:27, 18 November 2005 (UTC)

Jimmy Saville appeared twice?
I took it off temporarily because this site 1 only has his name once (28 January 1970). — Preceding unsigned comment added by EamonnPKeane (talk • contribs) 17:47, 2 May 2006

Wasn't this is your life also in Australia?
By Tara — Preceding unsigned comment added by 220.233.12.42 (talk) 09:43, 12 September 2006 (UTC)

Requested move 12 November 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Moved to This Is Your Life (American franchise). There's a consensus to move as the subject is not the primary topic. However, will be moving to "American franchise" as the qualifier among the suggested qualifiers as it is backed by WP:NCTV as indicated in the discussion. Nonetheless, redirects from 'American TV series' and 'American radio show' qualifiers will be created to aid future searches. (closed by non-admin page mover) – robertsky (talk) 07:15, 27 November 2022 (UTC)

– The original series no longer appears to be the primary topic judging by page views. The British and Australian series each get a comparable, or greater, number of views. Moving the dab page to the plain title will better serve a majority of users. (And the best disambiguation for the American series is certainly open for discussion as well.) — Shelf Skewed  Talk  04:01, 12 November 2022 (UTC) — Relisting. Extraordinary Writ (talk) 01:08, 20 November 2022 (UTC)
 * This Is Your Life → This Is Your Life (American radio and TV series)
 * This Is Your Life (disambiguation) → This Is Your Life

This Is Your Life → This Is Your Life (American series) – Ambiguous title, please can someone also request for a requested move of This Is Your Life (disambiguation) to This Is Your Life. From Bassie f (talk) 03:18, 12 November 2022 (UTC)
 * Support clearly each set of readers will be looking for the show in their own country In ictu oculi (talk) 18:19, 12 November 2022 (UTC)
 * Weak oppose. The original program from the 1940s/1950s has greater long-term significance in this case, and the British and Australian versions are already linked from the current page as examples of international adaptations of the format. Dekimasu よ! 02:51, 14 November 2022 (UTC)
 * Support both per In ictu oculi.
 * This Is Your Life could possibly be moved to This Is Your Life (American TV series) (with a redirect from This Is Your Life (American radio show)), as the television series seems to more notable and the article covers more information about the television series than the radio show. Another possibility is the article could be moved to This Is Your Life (American franchise), per WP:NCTV, as the show spans both radio and television formats. Happily888 (talk) 02:59, 14 November 2022 (UTC)

 * Support per nom. The British series is just as notable internationally and far more notable within the UK. -- Necrothesp (talk) 14:32, 16 November 2022 (UTC)
 * Relisting comment: We seem to have consensus that there's no primary topic, but any thoughts on the proper disambiguator? Extraordinary Writ (talk) 01:08, 20 November 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Comment: I would prefer American TV series as the new disambiguator, with a redirect from This Is Your Life (American radio show) – as This Is Your Life (American Radio and TV series) seems too long and unclear, being an ambiguous title which few people would actually search. Would also support the disambiguators "American franchise" or "American series", although I wouldn't prefer them as much. Happily888 (talk) 23:37, 22 November 2022 (UTC)
 * Support per IIO. No primary topic here. — Amakuru (talk) 15:01, 25 November 2022 (UTC)


text: Category:Chemistry

title: Category:Chemistry


text: Category:Middle-earth Valar

title: Category:Middle-earth Valar


text:
Mayo Methot

Mayo Jane Methot (March 3, 1904 – June 9, 1951) was an American film and stage actress. She appeared in over 30 films, as well as in various Broadway productions, and attracted significant media attention for her tempestuous marriage to actor Humphrey Bogart.

Methot appeared in numerous Broadway musicals and plays, including the Vincent Youmans musical Great Day (1929). She then appeared in various supporting roles for Warner Brothers, often portraying hard-edged women. Her film credits include the mystery film The Night Club Lady (1932), the comedy Jimmy the Gent (1934), and the crime drama Marked Woman (1937).

Methot met Bogart on the set of Marked Woman and the two became romantically involved, marrying in 1938. Methot struggled with severe alcoholism, and was diagnosed with paranoid schizophrenia following a suicide attempt in 1943. She divorced Bogart in 1945 after numerous reconciliations. Unable to gain traction in her film career, she returned to her native Portland, and her alcoholism and depression worsened. She died of complications stemming from alcoholism in 1951, aged 47.

1904–1922: Early life and career beginnings

Mayo Jane Methot was born March 3, 1904, in Chicago, Illinois, the only child of Beryl Evelyn (née Wood) and John Dillon "Jack" Methot, a ship captain. She was a direct descendant of Zachary Taylor, the 12th President of the United States. Shortly after her birth, the family relocated to Portland, Oregon, where Methot was raised. She showed a proclivity for literature and acting as a young child, memorizing passages from Romeo and Juliet. She began performing on stage professionally at the age of five, appearing as Josef in a Portland production of Sapho, opposite Florence Roberts.

In 1912, Methot starred as David, a young boy, in a production of The Awakening of Helena Richie, at the Grand Opera House in Salem, Oregon. In an article detailing the play, it was noted: "Her grasp of what is required of her during rehearsals of plays is held to be most unusual, while those who have seen her as David in The Awakening of Helena Richie, are warm in their praise of her dramatic ability." In press promoting the production, the then-eight-year-old Methot stated that she was inspired by French actress Sarah Bernhardt. Around this time, she told reporter Fay King of The Spectator: "I'm going to be a fine actress, if I can."

Methot was subsequently chosen to travel with selected Portland delegates to Washington, D.C. where she presented President Woodrow Wilson with a bouquet of flowers. Methot began performing with the Portland-based Baker Stock Company at age nine, and her frequent appearances in local theater productions earned Methot the nickname "The Portland Rosebud." In 1914, she made her film debut alongside several Baker Stock Company players in a serial short titled Forgotten Songs, produced by the Portland-based American Lifeograph Studios. In January 1916, she starred as the lead in a Baker Stock Company production of The Littlest Rebel.

After Methot graduated from Miss Catlin's School in 1919, she pursued a full-time career with the Baker Stock Company, appearing in an August 1919 production of Come Out of the Kitchen opposite Verna Felton. This was followed by lead roles in the company's Dawn o' the Mountains (staged in May 1920), in which she portrayed a teenage boy; as a bride's sister seeking a lover in Parlor, Bedroom and Bath (October 1920); and in the comedy That Girl Patsy, in May 1921.

While appearing in locally produced serial short films for filmmaker Robert C. Bruce (among them the 1922-released And Women Must Weep), Methot met cameraman Jack Lamond, a war veteran, and the two began a whirlwind romance in the summer of 1921. On September 21 of that year, they married at Saint Luke's Episcopal Church in Vancouver, Washington. Methot continued to perform in local productions with the Baker Stock Company, including Linger Longer Letty in November 1921, and in a revival of Parlor, Bedroom and Bath in March 1922. In November 1922, Methot and Lamond relocated to New York City, where Lamond was employed at Cosmopolitan Productions.

1923–1929: Broadway career
Shortly after her arrival in New York, Methot began appearing on Broadway, her first production being director William Brady's The Mad Honeymoon in the summer of 1923. Though the play received unfavorable reviews from critics, Mayo was the lone member of the cast to not receive criticism for her performance.

Based on her performance in The Mad Honeymoon, Methot was cast as the female lead of Leola Lane in George M. Cohan's production of The Song and Dance Man, which opened on New Year's Eve 1923. In 1924, she appeared as The Bride in a Philadelphia production of Owen Davis's The Haunted House. The following year, she returned to Broadway as Phyllis Halladay in Alias the Deacon, opposite Berton Churchill. This was followed by a 1927 production of The Medicine Man, staged by Sam H. Harris at the New Cort Theatre in Queens, New York City. On December 30, 1927, Methot and Lamond divorced, after she asserted that he had deserted her in 1925.

Methot's performance as Florence Wendell in a winter 1929 Broadway production of All the King's Men garnered her praise from Donald Mulhern of the Brooklyn Standard Union, who wrote that she "handles her emotional scenes with both art and warmth and makes the woman very real." She subsequently originated a role in the Vincent Youmans/Billy Rose musical Great Day (1929), introducing the standard "More Than You Know" and several others. Her subsequent performance in Half Gods (also 1929) at the Plymouth Theatre earned critical praise, with Alvin Kayton of The Brooklyn Citizen writing: "As Hope Ferrier, Mayo Methot, recently in Youmans' Great Day, was extraordinarily capable, expressing her part with an emotion and understanding which made Hope seem almost lifelike. We doubt if the role could have been bettered."

1930–1937: Move to Hollywood
Methot moved to Hollywood in 1930, hoping to transition from stage to a career in film. She had her first major speaking role in United Artists's gangster film Corsair (1931). On November 28, 1931, Methot married Percy T. Morgan,   an oil tycoon and the co-owner with John "Jack" Morgan, of the Cock n' Bull restaurant on Hollywood's Sunset Boulevard, birthplace of the Moscow Mule.

In 1932, after signing a contract with Warner Bros., Methot starred as the female lead in The Night Club Lady, a murder mystery co-starring Adolphe Menjou. What followed was a long line of roles as unsympathetic second leads and tough-talking "dames" in many of Warner's contemporary crime melodramas, such as The Mind Reader and William Wyler's Counsellor at Law (both 1933), as well as Jimmy the Gent (1934) opposite Jimmy Cagney and Bette Davis. In 1934, she had roles in three First National Pictures features: first as a nurse in the drama Registered Nurse, followed by supporting parts in Side Streets and Mills of the Gods.

Methot followed this with minor parts in the Perry Mason mystery film The Case of the Curious Bride, and as a gangster's moll in the crime film Dr. Socrates (both released in 1935). She was subsequently cast in the crime drama Marked Woman (1937), again starring opposite Davis and Humphrey Bogart. Methot divorced her husband, Percy Morgan, in February 1937, claiming that he would not allow her to accept an acting role in New York City.

1938–1944: Marriage to Humphrey Bogart

Methot became romantically involved with Humphrey Bogart after co-starring with him in Marked Woman. The couple were married on August 28, 1938, in Beverly Hills. Bogart had been married to actresses Helen Menken and Mary Philips before marrying Methot, and blamed his previous divorces on his wives' careers and their long separations. Two years after Methot and Bogart were married, Methot gave up acting. The two became a high-profile Hollywood couple, but it was not a smooth marriage. Both drank heavily, and Methot gained a reputation for her violent excesses when under the influence. They became known in the press as "The Battling Bogarts", with Methot known, due to her combativeness, as "Sluggy". Bogart later named his motor yacht Sluggy in her honor. After Methot attempted suicide in 1943, Bogart urged her to visit a psychiatrist, and upon doing so, she was diagnosed with paranoid schizophrenia.

During World War II, the Bogarts traveled Europe entertaining the troops. At one point in their travels during the war, the Bogarts met with director John Huston in Italy. During a night of heavy drinking, Methot insisted that everyone listen to her perform a song. Though they tried to persuade her to desist, she sang anyway. The performance was so bad and embarrassing that Huston and Bogart remembered it several years later and based a scene in Key Largo (1948) on the incident, having the alcoholic girlfriend (played by Claire Trevor) of the mobster (played by Edward G. Robinson) struggle through "Moanin' Low" off key in hopes of winning a drink in exchange for her singing.

Numerous battles took place at the Hollywood residence of the famous couple, nicknamed Sluggy Hollow, including one in which Methot stabbed Bogart in the shoulder, and another in which the two hit one another in the head with whiskey bottles. Actress Gloria Stuart—a friend of Bogart and Methot—recalled, in her later years, attending a dinner party at which Methot drunkenly brandished a pistol and threatened to shoot Bogart. Stuart also recalled seeing Methot with bruises on her face on several occasions, and witnessing physical fights between the couple, including one in which Bogart tore Methot's dress off of her. The couple separated and reconciled several times over the course of their marriage.

While filming To Have and Have Not in 1943, Bogart fell in love with his 19-year old co-star Lauren Bacall and the couple began an affair. Methot caught wind of it and visited the set often. Bogart attempted to save the marriage but Methot's alcoholism intensified, as did their fighting. Bogart announced that he had moved out of the couple's home on October 19, 1944. On October 30, Bogart announced that he had reconciled with Methot and that he was "going home. [...] In other words, we'll return to our normal battles." The reconciliation proved short lived; Methot announced that Bogart had moved out of their home yet again on December 3, 1944.

1945–1951: Career decline and return to Oregon
Methot filed for divorce on May 10, 1945, in a Las Vegas court, which was granted one hour after she filed for the decree. Bogart married Lauren Bacall on May 21, 1945. After the divorce, Methot retreated from the public eye for several months, and spent a period at the Malabar Farm State Park (the location of Bogart and Bacall's wedding).

In August 1945, Methot attempted to resume a stage career in New York. However, she was unsuccessful, and became locked into a pattern of alcoholism and depression. In the late 1940s, she moved back to Oregon where her mother helped take care of her.

Death
Methot died on June 9, 1951, at Holladay Park Hospital in Portland. Although it was reported in the press at the time that Methot died of complications from an unspecified surgery, her actual cause of death was attributed to acute alcoholism. Methot left her estate, totaling $50,000 (equivalent to $599,085 in March 2024) to her mother Evelyn. Additionally, she bestowed her personal library of classic books to the Catlin Gabel School, her alma mater, as well a scholarship fund for the institution.

Methot's remains are interred at the Portland Memorial Mausoleum in the Sellwood neighborhood of Portland, Oregon, alongside her parents. Bogart continued to send flowers to Methot's crypt until his death in 1957.

title: Mayo Methot


text:
Category:Middle-earth languages

Languages created by J.R.R. Tolkien for his Middle-earth legendarium.

title: Category:Middle-earth languages


text:
Category:Middle-earth books

The scope of this category is books or writings by J. R. R. Tolkien about his Middle-earth legendarium. Books about the author and his works are in Category:Tolkien studies. Books or tales named in the books, and which are said to form the source material for Tolkien's work, are in Category:Middle-earth objects or in another suitable category.

title: Category:Middle-earth books


text:
Talk:Ian La Frenais

Untitled
The Dick Clement and Ian La Frenais articles are mostly clones of each other. I know they've mainly worked together so their CVs are virtually identical, but articles should contain original content. (This comment, however, has been cloned for the discussion page of both articles...) Lee M 11:52, 30 May 2004 (UTC)

title: Talk:Ian La Frenais


text:
Talk:Dick Clement

Untitled
The Dick Clement and Ian La Frenais articles are mostly clones of each other. I know they've mainly worked together so their CVs are virtually identical, but articles should contain original content. (This comment, however, has been cloned for the discussion page of both articles...) Lee M 11:53, 30 May 2004 (UTC)

title: Talk:Dick Clement


text: Category:Vietnam War

title: Category:Vietnam War


text:
Talk:Spartan South Midlands Football League

Comment
This should be at Spartan South Midlands Football League. —The preceding unsigned comment was added by 194.80.193.160 (talk • contribs) 11:55, 30 May 2004 (UTC).

Added image
I have added the official logo of this league so as to improve the quality of the article. -- S iva1979 Talk to me  04:01, 18 July 2006 (UTC)

Redirects
I am redirecting Spartan South Midlands Football League Premier Division & Spartan South Midlands Football League Division One to this page. You don't need multiple pages at this level. Govvy (talk) 18:55, 3 July 2008 (UTC)


text: Category:Middle-earth Maiar

title: Category:Middle-earth Maiar


text:
Teletext Ltd.

Teletext Ltd was the provider of teletext and digital interactive services for ITV, Channel 4 and Channel 5 in the United Kingdom.

Origins
Teletext Ltd started providing teletext services for ITV and Channel 4 on 1 January 1993, replacing the previous ORACLE service which had lost the franchise.

Ownership
The company is now owned by A&N Media, the consumer division of Daily Mail and General Trust's Associated Northcliffe Digital. Its main source of income is from the UK travel website Teletext Holidays. The Chairman of Teletext Ltd is Chris Letcher who acquired a stake in Teletext Holidays from parent company A&N Media. From 1 December 2013, Teletext Holidays moved from advertising holidays from 14 holiday suppliers (including Qwerty Travel, Lowcost Travel Group and Hays Travel) to working with one supplier, Truly Travel.

Closure
Teletext Cars closed on 2 February 2007.

On 21 January 2009, Ofcom reported that "The increasing availability of text based services, both broadcast and online may mean that post 2014 there is no longer clear justification for continued intervention to maintain a public service teletext licence."

On 16 July 2009, DMGT announced that due to competition from the Internet, current economic conditions and Ofcom's findings, the service would cease broadcasting most of its services on analogue and digital television, with the exception of the commercial services broadcast on Freeview channels 101-107 such as Teletext Holidays and the firm's profitable travel websites in January 2010, with the switch off date subsequently brought forward to 14 December 2009 (Sky Digital) and 15 December 2009 (analogue TV, Freesat and Freeview).

Teletext's news and information service were removed from: ITV, Channel 4 and Five on analogue TV; ITV and Channel 4 on Sky Digital; ITV, Channel 4 and channel 100 on Freeview; editorial on Teletext Extra on Freeview; editorial on ch 986 on Freesat. The GameCentral section continued online on the Teletext website before joining another DMGT website Metro, renamed Metro Gaming.

Despite the withdrawal of news and information content, the service continued to broadcast. On 29 January 2010, the broadcasting regulator Ofcom revoked Teletext's licence to broadcast. On 27 May 2010, Ofcom imposed a financial penalty of £225,000 on Teletext Limited for ceasing to provide part of its service whilst its licence was still extant. Ofcom regulations state: "Public service broadcasting licences are offered for a fixed term, requiring the holder to provide the licensed service throughout the licence period. In accepting a licence, the broadcaster takes account of the likely cost of the obligations under the licence, and the value of the benefits associated with the licence, for the duration of the licence period." Teletext's licence was for the licence period 2004 to 2014.

The main Teletext service on Freeview was removed from channel 100 on the EPG on 21 June 2010. Teletext Holidays went digital in January 2011. In a deal between BBC Worldwide and Inview Technology Ltd, Teletext Extra was relaunched as Radio Times Extra on 31 January 2011, with editorial content from the Radio Times instead of Teletext Ltd.

Teletext formally closed down on 28 June 2012, but Teletext Holidays finally closed on 1 October 2012.

Other teletext services
In spite of its name, the "Teletext"-branded service was neither the first nor the only teletext service in the UK. The BBC (one of the original developers of teletext) launched its Ceefax teletext service in 1974, the same year that Teletext's predecessor, ORACLE, also appeared. Although ORACLE closed at the end of 1992 (when Teletext Ltd outbid it for the franchise), Ceefax continued to run on BBC analogue channels until the cessation of analogue signals in October 2012.

FourText, originally called 4-Tel, was first run in conjunction with ORACLE, as an auxiliary teletext provider for Channel 4 from 1982. 4-Tel occupied pages 410-469 within ORACLE's page space. When ORACLE lost its licence and was replaced by Teletext Ltd in 1993, 4-Tel moved to its own page space on pages 300-399 (effectively its own magazine). Channel 4 enlisted Intelfax to run the service. In 2002, 4-Tel was renamed FourText. In addition, FourText also launched on digital television. In 2003, Channel 4 ended their contract with Intelfax and contracted out the service to Teletext Ltd. The new service was named Teletext on 4 and operated on pages 400-499 (which replaced pages 300-399 as Channel 4's page space). However, on 30 October 2008, Teletext on 4 on Channel 104 closed and replaced in December 2008 by 1-2-1 Dating. using Teletext on 4's old channel number.

title: Teletext Ltd.