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Fred Dibnah

Frederick Travis Dibnah, (28 April 1938 – 6 November 2004), was an English steeplejack and television personality. Having a keen interest in mechanical engineering, he described himself as a "backstreet mechanic".

When Dibnah was born, Britain relied heavily upon coal to fuel its industry. As a child, he was fascinated by the steam engines which powered the many textile mills in Bolton, but he paid particular attention to chimneys and the men who worked on them. He began his working life as a joiner, before becoming a steeplejack. From age 22, he served for two years in the Army Catering Corps of the British Army, undertaking his National Service. Once demobbed, he returned to steeplejacking but met with limited success until he was asked to repair Bolton's parish church tower. The resulting publicity provided a boost to his business, ensuring he was almost never out of work.

In 1978, while making repairs to Bolton Town Hall, Dibnah was filmed by a regional BBC news crew. The BBC then commissioned a documentary, which followed the rough-hewn steeplejack as he worked on chimneys, interacted with his family and talked about his favourite hobby – steam. His Lanky manner and gentle, self-taught philosophical outlook proved popular with viewers and he featured in a number of television programmes. Towards the end of his life, the decline of Britain's industry was mirrored by a decline in his steeplejacking business and Dibnah increasingly came to rely on public appearances and after-dinner speaking to support his income. In 1998, he presented a programme on Britain's industrial history and went on to present a number of series, largely concerned with the Industrial Revolution and its mechanical and architectural legacy.

Dibnah died from bladder cancer in November 2004, aged 66.

Childhood
Fred Dibnah was born on 28 April 1938. He was the son of Frank and Betsy Dibnah (née Travis), who were initially both employed at a bleach works. His mother later worked as a charwoman at a gas works. Named after his uncle Frederick, he was born on 28 April 1938 and brought up in the historic Lancashire town of Bolton, then a predominantly industrial town with a history in the spinning and weaving of cotton. As a child, Dibnah was fascinated by the sights and sounds of industry and the dozens of chimney stacks visible around Burnden Park, and paid particular attention to the steeplejacks he saw on his way to school. A popular pastime for local children was playing around the many mill lodges (industrial ponds) which once littered the area. An inventive child, Dibnah and some friends designed a makeshift diving suit from a crisp tin, a car inner tube and some piping. After being told to remove it from the local swimming baths, they tested it in one of the lodges, but were unsuccessful.

The Bolton arm of the Manchester Bolton & Bury Canal was one of Dibnah's regular haunts. The canal was by then largely disused (the Bolton arm had been mostly closed in 1924) and Dibnah sometimes dredged it with an iron hook on a rope, for what he called 'plunder'. Much of this was stored in the back yard of his mother's house. Dibnah and his friend Alan Heap built a canoe from old bicycle wheels (cut in half to make the ribs), slate laths and a canvas sheet from the back of a lorry. Much to the consternation of his mother, Dibnah sailed the boat along the nearby River Croal. He once astonished his teachers when, following the theft of the school keys, he cut new keys for each classroom door.

As a young man
At school Dibnah was placed in an art class (his reading and writing skills were judged to be poor), following which he spent three years at art college, where his work was based mainly on industrial themes such as machinery, pithead gear and spinning mills. On leaving college at 16 he was offered a job at a funeral parlour, but left quickly to begin work at a local joinery workshop.

Dibnah had watched the activities of steeplejacks throughout his childhood, and first witnessed a chimney felling from his father's allotment near Bolton's greyhound track at Raikes Park. The steeplejacks removed the top of the chimney and then created a hole in its base, propped with blocks of wood. They then lit a fire, destroying the supports and causing the chimney to collapse. Unfortunately, on this occasion the chimney fell in the wrong direction, onto the greyhound track's dog kennels, a local café and a series of power cables.

His first job that involved ladders was given to him while he still worked as a joiner. He was asked to point a garden wall and then the gable end of the customer's house. He used several short ladders, lashed together with rope and hardboard. This gave Dibnah valuable experience and his employer expanded the business to include property repairs. Aged about 17–18 he climbed the 262 ft chimney at Barrow Bridge, for a 10 shilling bet. During the night he took two Union flags to the top and secured each to the lightning conductors there. The Bolton Evening News reported the incident, with a photograph of Dibnah's feat, but attributed it to the activities of students from Manchester University. At about the same time, Dibnah decided to replace the chimney stack at his mother's house on Alfred Street with one of his own design, as his mother used only one fireplace—leaving four of the five chimney pots redundant. As the single opening at the top of the new stack was only about 4 in wide, the flue needed regular maintenance. On one occasion, he was cleaning the flue using a sack of bricks tied to a rope when the sack ripped open, breaking several pipes and flooding his mother's kitchen. After the death of his mother, the house was sold and the council placed a preservation order on the chimney, which remains to this day.

National service
Aged 22, Dibnah was conscripted into the army to complete his National Service and was given a position in the cook house. He spent six weeks training at Aldershot, before being sent to Catterick to learn the basics of army catering. He was then posted with the 14th/20th King's Hussars and sent to West Germany. There he persuaded his commanding officer to let him repair the regiment's farmhouse (used for stabling horses and hounds) and he was soon given a more permanent position as a builder and handyman. He dug a 35 ft deep shaft into which the horse manure and dog faeces would be emptied and he also fed the animals. He impressed his commanding officers by making a weathercock from army kitchen trays, but was also chastised when he was found with a 1914 Luger P08 pistol he had bought from a fellow soldier. He often received parcels of alcohol and tobacco from his mother, which allowed him to maintain the habits he had formed when he began his working life. Although Dibnah initially resented being called into service, he would later be more positive about the experience:

"It wasn't a bad thing, if National Service had been kept going it might have kept all the vandals and hooligans we have now in line."

Steeplejack
On his return from National Service in 1962 Dibnah retrieved his tools from storage, bought a 1927 350 cc AJS motorcycle for 21 guineas and looked for more work. Bolton, however, was in the midst of post-industrial decline; between 1957 and 1965 about 70 mills were closed in the town, leaving only 37 mills operational and about 50 disused. Initially he was unable to find much work and existed on smaller, domestic jobs, until he earned enough to buy his own set of ladders and secured his first commission while working at a local mill. He was paid £140 to point a mill tower, which he did on weekends. He struggled, however, to get any more meaningful work, until he met Lonsdale Bonner, one of his teachers from art college. The two agreed a deal whereby Bonner would be paid a commission for each job he got for Dibnah. His first job was dismantling a chimney alongside the Manchester and Bolton Railway, a difficult proposition, as a mistake could force the temporary closure of the railway. The two managed to gain commissions for several jobs, but their relationship was terminated when Dibnah was called upon to undertake another six months of National Service.

He was then commissioned to repair a chimney at a local brewery. While working on this, he met a local welder who also knew the vicar of Bolton (Richard Greville Norburn), who wanted some repairs made to Bolton parish church's weathervanes. The vicar drove a 1929 Humber limousine and was impressed by Dibnah's AJS motorcycle; the two quickly became friends. The church was the tallest building in Bolton and once Dibnah had repaired the weathervane the vicar asked him to gild it. Dibnah appeared in the local newspaper and the publicity and his friendship with the vicar enabled him to gain more work from the local clergy.

His next major job was for local firm Hick Hargreaves, the proceeds of which enabled him to expand his collection of ladders to 30. He was commissioned to remove the top half of a 270 ft chimney and employed an assistant, Percy Porter. The top of the chimney contained a length of railway line, which had been used for lifting materials during construction. Dibnah hacksawed the line into pieces, letting each piece fall to the ground, while his assistant below kept the area clear. He then spent the next six months removing each brick by hand while the chimney was still in use, as the factory could not afford to halt production.

First marriage
In 1967, following disagreements over who should be invited to their wedding, Dibnah and 19-year-old hairdresser Alison Mary Foster eloped to Gretna Green, to get married. Dibnah had first spotted Alison from the top of a chimney and, when one day she walked into the pub where he was drinking, he asked her out; six weeks later, the two became engaged. They left notes for their parents, caught a train to Carlisle and from there on a series of buses to Dumfries. They had initially planned to stay at the house of a friend but as he had returned to Bolton for his holidays, they stayed instead at a local farmhouse. The two had to be resident for at least 21 days to be married and so Dibnah agreed to point the gable ends of a local hotel in exchange for bed and board.

On 19 May, the two married at the church at Gretna Green and returned to live at Dibnah's mother's house. They later moved into a Victorian gatehouse on the Earl of Bradford's estate, just outside Bolton. Dibnah spent years restoring the property, including building an extension. The house was a listed building and so he had to source appropriately aged bricks for the extension. A vicar offered him some of the old gravestones from the church graveyard, which Dibnah then used to create the stone lintels and mullions, though he later expressed his fear that his property would now be haunted. The couple later purchased the house for £5,000, although it required major repairs to stabilize the rear wall.

The couple had their first child, a girl named Jayne, in June 1968. Alison was initially worried about her husband's occupation but learned to deal with the risk and to trust Fred. She organised his accounts and even collected debts. She also helped him demolish some of the chimneys that he worked on, by lighting the fire to burn away the temporary supports he had put in place.

Chimney felling
Having mastered his trade repairing chimneys, Dibnah became aware of the demand for a cost-effective method of demolishing them. He offered to remove them without using explosives, by cutting an ingress at the base of the chimney—supporting the brickwork with wooden props—and then burning away the props so that the chimney fell, hopefully in the intended direction. Although this was a tried and tested method, it was not without its opponents. On one occasion he was contracted by the local council to fell two chimneys. The contract obliged him to dismantle each by hand, but he decided to fell them by cutting away the base. The first chimney collapsed as planned, but the council terminated his contract and refused to pay. Dibnah contacted the borough engineer and offered to fell the second chimney for no charge, to prove the effectiveness of his technique. He even offered to let the engineer light the fire, but the wind blew so hard that the chimney did not draw the flames and once the props had been burnt through, it remained standing. Dibnah resorted to using a hydraulic jack to apply extra pressure to the intact side of the base and the chimney eventually fell. He later told the engineer that "it was all about fine balancing and counteracting high wind forces."

He almost lost his life in 1997, when a concrete chimney he had been asked to fell on Canvey Island began to collapse before the felling team had finished preparing the base. As the team ran from the chimney, Dibnah tripped and fell and was greeted by the sight of 2,500 tonnes of concrete leaning toward him, but fortunately the chimney righted itself and then fell in the opposite direction. The last chimney he felled, which was his 90th, was in Royton, in May 2004.

Steam
Dibnah's interest in steam power stemmed from his childhood observations of the steam locomotives on the nearby railway line, and his visits to his father's workplace—a bleach works in Bolton—where he was fascinated by the steam engines used to drive the line shafting. A small mill near his childhood home was sometimes mothballed and Dibnah once broke in:

"I remember getting into the mill and lifting up a dust sheet to have a look at the engine they'd got under it. I found there was this beautiful British racing green steam engine under there with all the brasses left on. The boilers were still there and there was plenty of grease on everything, all ready and waiting for the next job. It was a bit sad really to see it standing there idle like that."

He later became a steam enthusiast, befriending many of the engine drivers and firemen who worked on the nearby railway. As a teenager he met a driver who invited him onto the footplate of his locomotive and who asked him to keep the boiler supplied with fuel. Dibnah became so enamoured with steam engines that he eventually looked for one he could buy. He learned of a steamroller kept in a barn near Warrington and which the owners had bought from Flintshire County Council. He had the boiler pressure-tested and, despite its being in poor condition, bought it for £175. He towed it to a friend's house, spent a fortnight making various repairs, and drove it to his mother's house in Bolton.

After he had married and bought his own property on Radcliffe New Road, he cut an access road to the garden of his new house and moved the steamroller there. Restoring the engine took many years, as Dibnah had to create his own replacement parts, using Victorian engineering techniques and equipment he built in his garden. The boiler was in poor condition and needed serious work, but Dibnah fell back on local knowledge and was eventually able to build a new boiler. Once it was restored, he used the 1910 Aveling and Porter steamroller together with a living van he bought and restored, to take his family around the local steam fairs. While driving the vehicle was relatively safe, Dibnah had experienced several mishaps, including one instance when he lost control while descending a steep hill and was forced to drive the engine into a concrete barrier to bring it to a halt, smashing the front fork in the process.

Restoring the steamroller placed a heavy burden upon his marriage and Alison would often complain that her husband spent more time in the shed, repairing the engine, than he did in the house. He responded by naming the vehicle Alison, telling his wife "It's not every woman that has a steam engine named after her." Alison eventually developed an affection for the antique vehicle, saying, "We've done without for so many years to get it built up. I couldn't bear to part with it. There's too much of us in it."

His next purchase, made in the autumn of 1980, was a 1912 Aveling & Porter traction engine. Dibnah paid a friend £2,300 for the vehicle and moved it to the garden behind his home. He built a steam-driven workshop in his garden, salvaging parts from various mills, including line shaft gear and a stationary engine from a mill in Oldham. He gave a conservative estimate of four years to complete the work, but the restoration eventually took 27 years. The engine was sold at auction in July 2010 for £240,000.

In 1988, he was asked by Caernarfon Council to make repairs to a chimney at Parc Glynllifon. Beneath the chimney, an engine room contained an 1854 single-cylinder steam engine in poor condition. Dibnah repaired the chimney and several weeks later was asked to repair the engine, which he dismantled during the winter of 1988/89 and took back to Bolton. With his assistant Neil Carney, he spent six months repairing the engine. The two sourced a replacement boiler from a local pork pie factory and re-installed the engine in Wales. Dibnah later won a prize for the quality of the restoration work. He also spent about seven months restoring the boiler, engine and blunger at Wetheriggs Pottery near Penrith.

Fred Dibnah, Steeplejack
In 1978, Dibnah was commissioned to make repairs to Bolton Town Hall. Decades of exposure to soot and rain had caused serious damage to the clock tower and Dibnah alerted the Clerk of Works to the condition of the 16 stone pillars at the top of the tower. He bought new stone, built a lathe in his workshop and created the replacement pillars. He was given the job of repairing the clock tower and he also gilded the golden sphere at the top of the building. While Dibnah was working from his bosun's chair, a public relations officer at the Town Hall informed Dibnah that BBC Look North West wanted to interview him. The following week, the film crew arrived and Alistair MacDonald conducted the interview from the top of the building, with Dibnah perched outside on his scaffolding.

His warm and friendly manner combined with his enthusiasm and broad Lancashire accent proved popular and he was later contacted by producer Don Haworth, with a view to making a documentary. After several meetings over the course of a few weeks, filming began early one morning just as Dibnah had climbed to the top of a 245 ft chimney at Shaw and Crompton, a mill town near Oldham. Sporadic filming took place over an 18-month period and captured Dibnah (with assistant Donald Paiton) working on a range of buildings, spending time with his family and enjoying his hobbies. Giulio Briccialdi's Carnival of Venice (performed by James Galway) was the music chosen to accompany Dibnah's work on Bolton Town Hall. One of the more notable aspects was Dibnah's 1979 demolition of a chimney in Rochdale. Standing only yards away from the base of the chimney as it began to collapse, his retreat to safety and subsequent boyish outburst of "Did you like that?" endeared him to viewers.

Fred Dibnah, Steeplejack won the 1979 BAFTA award for best documentary, and over the years Haworth returned to film more documentaries. With his newly found fame, however, came distractions from his work. Visitors would arrive at his house, to see his garden. He began to receive fan mail; one individual wrote to offer Dibnah a steam-powered machine he no longer wanted. One company, who were apparently disturbed to see Dibnah's matches being extinguished by the wind while at the top of a chimney, sent him a sample of their windproof matches. Filming would also interfere with his work. Cameraman Martin Lightening would climb with Dibnah to the top of a chimney—with a 16mm film camera—and film him at work, often hundreds of feet above the ground.

Several years later, Dibnah and his family went on holiday, to Blackpool. The trip was filmed for television and showed Dibnah's preference for working rather than holidaying. He did however manage to undertake the removal of a small chimney stack from a business in the town, under a distinctly grey sky and aided by his wife, Alison. His payment for the job was a new front plate for the boiler of his traction engine. Dibnah, however, refused to take any more holidays and, after 18 years of marriage, Alison booked and paid for a holiday to Greece, taking their three children (Jayne, Lorna and Caroline) with her. Dibnah remained at home and was surprised when, upon her return, she asked for a divorce.

One day in October 1985, Dibnah attended a solid fuel exhibition in nearby Bury. Upon his return he discovered that Alison had left the house, taking with her their three children, the dog and some items of furniture. Short of money, he was forced to sell his antique AJS motorcycle. He found life without his family difficult but defended his wife: "There is no doubt whatsoever, she were a good help to me and I'm going to miss her. It was just that all the pressure got too much for her."

Second marriage
Dibnah met his second wife Susan Lorenz—a 28-year-old social worker—at a steam rally in Cheshire. In The Fred Dibnah Story (1996) she recalled their first meeting: "He looked sad and miserable, quite a pathetic sort of figure really, none of the bounce that people knew him for." He later invited her to a chimney felling in Oldham and then a talk he had been invited to give to a group of fans in Halifax, known as The Fred Dibnah Appreciation Society. Sue moved into Dibnah's home in Bolton and the two married on 27 February 1987. She encouraged him to grow a moustache and also to give up smoking.

Many of the chimneys around Bolton had now been either repaired, or demolished and so Dibnah was forced to travel further afield for work. He travelled to the Yorkshire Dales to install a lightning conductor on the parish church in Kirkby Malham. While digging the hole for the conductor, they uncovered human bones, for which a reinterment ceremony was held. Their first son, Jack (named after his father's trade), was born in 1987. Dibnah offered to make a weathercock, provided that his son was christened in the same church. His second son, Roger, was born in 1991.

Later life
In 1996, Dibnah repaired the 262 ft chimney at Barrow Bridge—the same chimney he had scaled for a bet, in his youth. He was also asked to install a peregrine falcon nest at the top. He was later influential in ensuring the chimney was made a listed building. As a notable raconteur, he also became an after-dinner speaker and would wear his trademark flat cap with his dinner jacket. He made an appearance in a 1996 television advertisement for Kelloggs.

However, the strain of living with a man so dedicated to his hobbies began to take its toll on his wife: "Sometimes he'll have busted his thumb because he's hit it with a hammer; you couldn't really expect him then to come in and start doing things in the house. I just don't think it's fair though, I think you've got to strike a balance and I think ours is about 90/10. Me for 90 per cent of the housework and Fred for 10." Susan met another man and moved out, taking Roger with her and leaving Jack with Fred.

"She went away from here saying, 'I don't want your antiques, I don't want your house, I don't want any money,' [...] But what she did do was take my lads away from me and I can't forgive her for that."

Third marriage
By 1997 Dibnah was living alone, with little work or money. Competition from Manchester had reduced his income from steeplejacking and filming for the BBC had dried up completely. He had, however, met Sheila Grundy, a former magician's assistant. She had arrived one day with her parents and young son to see Dibnah's back yard, and signed the visitor's book. The two remained in contact and became friends; they shared an interest in steam and Grundy was fascinated by Dibnah's tales of steeplejacking. She and her son moved in with Dibnah in 1998 and the couple married on 26 September that year. At their wedding reception in Bolton, Dibnah was surprised and moved to tears when his youngest daughter, Caroline, came to see him. Dibnah had had little contact with his daughters in the years since his divorce from Alison.

Television presenting
In 1997, Dibnah met author David Hall. Hall had been raised in the Bradford district of Manchester and the two swapped tales of growing up in the latter half of the 20th century. Hall suggested that Dibnah would be unlikely to have any further television work commissioned on his life and that he should consider becoming a television presenter. The two worked on new ideas for a programme that would show Dibnah touring the country, visiting important historical locations and speaking to the men involved in the maintenance and restoration of industrial machinery and architecture. The programme would also exploit Dibnah's working-class attitude and show him operating some of the machinery he visited. Filming of Fred Dibnah's Industrial Age began in July 1998. The first location was near Bolton, at the Wet Earth Colliery and the crew then moved on to various locations around the country, continuing to film through the summer and autumn of 1998.

The series achieved high viewing figures, with positive reviews, and the associated website became the second most-visited BBC website at the time. A complementary book was also published and was one of the top five best-selling history books of the year. Dibnah admitted he found speaking to a camera more nerve-racking than climbing a chimney, but the success of Fred Dibnah's Industrial Age was a portent; he later presented several other television series. Before filming began for Fred Dibnah's Magnificent Monuments, he had installed his red ladders on the steeple at St Walburge's in Preston, ready for an inspection. With filming for television now taking up much of his time, however, he was unable to complete the job. He left the ladders at the church for several years and donated them to the tradesman who eventually took the job.

Last years
In 2001, to mark the centenary of the death of Queen Victoria, the BBC transmitted a season of programmes based on a Victorian theme and Dibnah presented Fred Dibnah's Victorian Heroes. He had long been fascinated by the Victorians, especially Isambard Kingdom Brunel, who was his hero. During filming he visited a number of locations, including the 245 ft high Clifton Suspension Bridge and the slipway for the SS Great Eastern.

Illness
In early 2001, Dibnah was due to begin filming Fred Dibnah's Building of Britain, but suffered severe abdominal pains and was admitted to hospital for tests. He was discharged and began filming at locations around the country, including the Globe Theatre, Ely Cathedral and Glamis Castle. Dibnah was the chairman of the Manchester Bolton & Bury Canal Society and an episode on the construction of Britain's canal network was therefore of particular interest to him. Toward the end of filming, Dibnah went to Bolton Royal Hospital for a check-up, where a tumour was found on his right kidney. The kidney was removed and the tumour was found to be malignant. He went to Christie Hospital in Manchester, where further growths were discovered around his bladder. On the same day, Sheila's father fell from the roof of his house and died. Dibnah underwent chemotherapy and once his treatment was finished, tests showed that he was free of cancer.

Filming for Fred Dibnah's Age of Steam began early in 2003, at the Trencherfield Mill, near Wigan Pier. The film crew visited a number of locations, including a steam rally in Cornwall and the Bluebell Railway in Sussex. Dibnah was travelling around the country working on a subject that fascinated him, visiting old friends and making money from his hobby. The restoration of his traction engine was almost complete; later that year, however, Dibnah had another checkup at Christie Hospital and was told that a large tumour had been found on his bladder.

Dig with Dibnah
Dibnah had another course of chemotherapy, but this time the treatment was unsuccessful. Undeterred, he began to dig a replica coal mine in the back garden of his home. Although the sight of pithead gear may have been considered by his neighbours to be unusual, as a child raised in Bolton, he had been surrounded by pits such as Ladyshore Colliery and had long harboured an interest in mining. He had already assembled the wooden pithead gear and was planning to sink a 100 ft brick-lined shaft below this into the hillside. At the bottom of the shaft, a horizontal tunnel would have led out to the steep side of the valley above which his garden sits.

The intention was to have a narrow gauge railway running along the tunnel, back up the hillside on a rope-hauled inclined plane, returning to the pithead. The ultimate aim was to be able to demonstrate the basic working of an early colliery. Seven years before his diagnosis, therefore, Dibnah had sourced drawings of suitable pithead gear and built a frame from timber and iron bolts. He had applied for and was given planning permission to erect the structure, but made no mention of his wish to dig a shaft underneath it. The BBC decided to make a documentary on Dibnah's proposed mine, which would entail his travelling once again around the country, visiting working collieries and heritage mines. Filming started late in 2003, by which time Dibnah and his friend Alf Molyneux had already made a start on the shaft.

Using traditional shaft-sinking techniques and the labour of mining friends Alf Molyneux and Jimmy Crooks, the shaft was sunk to a depth of 20 ft and lined with brick. The work had been undertaken without planning permission and, when the council eventually found out what was happening, they insisted he apply for planning permission.

Following the sale of Dibnah's property, the headgear was acquired by James Palmer of Hindley Green, a lifelong fan of Dibnah, for The Lancashire Mining Museum, where it stands today, funded by Stephen Eckersley.

Palmer says that the day he visited Dibnah's House to save the headgear from going to Cumbria was an important day for Dibnah's Legacy, as it should stay in Lancashire.

Palmer dismantled the headgear along with Fred fan and friend Jack Bracegirdle ready for transportation to the LMM.

Fred Dibnah's Made in Britain
Despite Dibnah's best efforts, planning permission was refused. Although he appealed against the decision, a new series diverted his attention. At the end of 2003 production began for Fred Dibnah's Made in Britain. With his friend, Alf Molyneux, Dibnah would tour the country on his completed traction engine, visiting the workshops that still could produce the parts needed for his antique vehicle. His engine, however, was not yet complete and Dibnah's medical diagnosis was not good: he knew he had only a short time to live. His traction engine developed a serious fault, but with the help of friends, it was quickly repaired and its restoration completed.

In December 2003, his traction engine was now in working order and planning for the new series commenced. Dibnah's illness necessitated that he sleep in hotels, rather than the living van the engine would tow during the trip. For the long distances between locations, the engine would be transported on the back of a low loader. Dibnah's engine suffered early mechanical problems; it could barely tow the fully loaded living van uphill, as the cylinder had been placed very slightly closer to the footplate than it should have been. As a result of this, every time the piston was fully forward it covered the steam inlet port. The engine was repaired, and with some minor repair work to one of the pistons, was brought up to full power. The team was joined by Dibnah's sons, Jack and Roger.

The production crew made every effort to reduce Dibnah's workload. Changes were made to the filming schedule, to allow Dibnah more time to rest at home between filming days. The crew visited the Forth Road Bridge and Dibnah became the first man to drive a traction engine under its own steam across the bridge. Such pleasures provided a welcome distraction for Dibnah, who was by then ill and in pain. By the end of June, he was so ill, he could not continue filming. He was sent home to rest and given medication to alleviate his condition, so that he could collect his MBE.

Filming continued at various locations around the country, with sons Jack and Roger, who had become essential members of the tour, providing much-needed support for their father. By the end of July, the crew had filmed only 34 days with Dibnah, out of a planned 60. It was becoming more difficult by the day for Dibnah to fulfil his filming duties and the crew decided to cut short the schedule. Once home, Dibnah decided to creosote the pithead gear in his garden, but fell and injured his back. He was adamant that he would continue filming, however, and made the trip to North Wales to complete filming. He later made a partial recovery and completed his last days filming at an Ironworks in Atherton.

Honours
In mid-2000, Dibnah was awarded an honorary degree of Doctor of Technology for his achievement in engineering, by Robert Gordon University in Aberdeen, and on 19 July 2004, he was made an honorary Doctor of the university by the University of Birmingham.

Dibnah was appointed a Member of the Order of the British Empire in the 2004 New Year Honours for services to heritage and broadcasting. He said "I'm looking forward to meeting the Queen but I shall probably have to get a new cap. And I'd like to meet Prince Charles because we share the same views about modern architecture."

On 7 July 2004, Dibnah went to Buckingham Palace to receive his award from the Queen. He initially planned to drive his traction engine into the palace grounds, but was refused as the Royal Parks Agency feared that its weight would damage the surface of The Mall. Eventually, he was allowed to drive the engine to Wellington Barracks, a short distance from the palace. He collected his medal wearing morning dress and a top hat.

Dibnah was the Castaway on Desert Island Discs on 1 December 1991.

Death
Dibnah died on 6 November 2004, after suffering from cancer for three years. He was 66 years old.

Eleven days later, thousands of mourners watched as Dibnah's coffin (on top of which his trademark flat cap was placed) was towed through the centre of Bolton by his restored traction engine, driven by his son. A cortège of steam-powered vehicles followed, as the procession made its way to Bolton Parish Church. During the hour-long service, David Hall told the congregation "He wasn't a posh TV presenter. He was recognised as a working man who had learned through experience." Following the service, led by the Vicar of Bolton, Canon Michael Williams (a friend of Dibnah), he was buried at Tonge Cemetery, behind his home.

Dibnah changed his will two weeks before his death. He left everything, about £1 million, to his five children from two previous marriages. His last wife Sheila, who was 20 years his junior, subsequently applied to the High Court in a claim for half of the estate, on the basis of "reasonable provision". (the estate eventually reached a settlement )

Legacy
Through his television work Dibnah became famous for felling chimneys (by the time of his death he had felled 90), although it was one of his least favourite jobs. As he made more films with Don Haworth, his outspoken views on changing society, work ethics and delinquency, made him the embodiment of the views of many of his fans and epitomised the view of a northern working man.

Dibnah was praised by many notable British people. After reporting on his death, television presenter Peter Sissons remarked: "They don't make them like that any more". Comedian Peter Kay said: "It's very sad news. He was one of a kind and now he has gone I think there will be no one else like him. He was enthusiastic about a way of life that has virtually disappeared now." Brian Tetlow, chairman of the Bolton and District Civic Trust, said: "He's unique, not just to Bolton but to Britain and the world. Our thoughts are with his wife and children."

An 8 ft bronze statue of Dibnah was unveiled by the Mayor of Bolton, in Bolton town centre, on 29 April 2008. The sculpture was created by Jane Robbins. His home was converted into a heritage centre in 2010 but its contents were sold at auction in March 2018.

A play titled The Demolition Man, based on his final years, was staged in 2011 at Bolton's Octagon Theatre.

The life and times of Dibnah were celebrated by St Helens comedy folk band the Lancashire Hotpots, who released their song "Dibnah" with a music video in 2016. Band member Dickie Ticker said of Dibnah "When Fred came on the screens – other than on Coronation Street – there was no one with a broad Boltonian accent. He was a working class and genuinely nice bloke. Since posting the video we have had dozens and dozens of comments and no one has got a bad word to say about him."

The American rock band Tuff Sunshine released a song, "The Steeplejack" in 2019 that had been inspired by the 1979 BBC documentary Fred Dibnah: Steeplejack.

Filmography

 * Fred Dibnah: Steeplejack (1979)
 * Fred (1982)
 * Fred – A Disappearing World (1983)
 * A Year with Fred (1987)
 * A Year with Fred – New Horizons (1991)
 * Fred Dibnah – Getting Steamed Up (1991)
 * Life With Fred (1994)
 * Fred Dibnah's The Ups and Downs of Chimneys (1994)
 * Fred Dibnah's All Steamed Up (1994)
 * Fred Dibnah Getting Steam Up (1995)
 * The Fred Dibnah Story (1996)
 * Fred Dibnah's Industrial Age (1999)
 * Fred Dibnah's Magnificent Monuments (2000)
 * Fred Dibnah's Victorian Heroes (2001)
 * Fred Dibnah's Building of Britain (2002)
 * Fred Dibnah's Age of Steam (2003)
 * Dig with Dibnah (2004)
 * A Tribute to Fred Dibnah (2004)
 * Fred Dibnah's Made in Britain (2005)
 * Fred Dibnah's World of Steam, Steel and Stone (2006)

title: Fred Dibnah


text:
Eric W. Weisstein

Eric Wolfgang Weisstein (born March 18, 1969) is an American scientist, mathematician, and encyclopedist who created and maintains the encyclopedias MathWorld and ScienceWorld. In addition, he is the author of the CRC Concise Encyclopedia of Mathematics. He works for Wolfram Research.

Education
Weisstein holds a Ph.D. in planetary astronomy, which he obtained from the California Institute of Technology's Division of Geological and Planetary Sciences in 1996 as well as an M.S. in planetary astronomy in 1993 also from Caltech. Weisstein graduated cum laude from Cornell University with a B.A. in physics and a minor in astronomy in 1990. During his summers away from Cornell, Weisstein participated in research at the Arecibo Observatory, a radio telescope facility in Puerto Rico operated by Cornell. As a graduate student, Weisstein also participated in research at Goddard Space Flight Center in Greenbelt, MD. During his time at Goddard, Weisstein participated in the development of hurricane visualization software. In 1996 Weisstein published his doctoral thesis titled Millimeter/Submillimeter Fourier Transform Spectroscopy of Jovian Planet Atmospheres, which was completed under faculty advisor Dewey Muhleman and in association with Eugene Serabyn, who is now a member of the Caltech Jet Propulsion Laboratory.

Academic research
Upon completion of his doctorate, Weisstein became a research scientist at Caltech in January 1996 and continued work in the field of submillimeter spectroscopy. He collaborated with Eugene Serabyn and published several papers. Six months later, he moved to the University of Virginia's Department of Astronomy in Charlottesville, VA where he remained for three years to continue his research.

MathWorld, ScienceWorld, and Wolfram Research
In 1995, Weisstein converted a Microsoft Word document of over 200 pages to hypertext format and uploaded it to his webspace at Caltech under the title Eric's Treasure Trove of Sciences. After Weisstein transferred to the University of Virginia to continue his work in astronomy, he continued to refine his fledgling encyclopedia. In November 1998, Weisstein made a deal with the CRC Press to publish his encyclopedia in book format as the CRC Concise Encyclopedia of Mathematics. A year later, in 1999, Weisstein accepted the position of encyclopedist at Wolfram Research, Inc. (WRI). MathWorld was ready to be unveiled in December 1999 with nearly 13,000 entries, most of them written by Weisstein, encompassing a variety of disciplines, including algebra, geometry, calculus, discrete mathematics, topology, number theory, statistics, and the foundations.

MathWorld became involved in a legal dispute with the CRC Press in March 2000. The CRC Press claimed MathWorld violated the copyright on the CRC Concise Encyclopedia of Mathematics. During the dispute, a court order shut down MathWorld for over a year starting October 23, 2000. According to Eric Weisstein's personal site, he restarted MathWorld on November 6, 2001. This ultimately led to the creation of PlanetMath. Wolfram Research, Stephen Wolfram, and Eric Weisstein settled with the CRC Press for an undisclosed financial award and several benefits. Among these benefits are the inclusion of a copyright notice of the CRC Press at the bottom of all webpages in MathWorld and legal rights to reproduce MathWorld in a book format again.

ScienceWorld, also known as Eric Weisstein's World of Science, was unveiled to the general public in January 2002. ScienceWorld includes more than 1,000 entries in many fields of science including astronomy, chemistry, physics and biographies of scientists.

Further scientific activities
In 2014, he became a member of the Global Digital Mathematics Library Working Group of the International Mathematical Union.

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

title: Eric W. Weisstein


text:
Gladys Zender

Gladys Rosa Zender de Meier (née Zender Urbina; born 19 October 1939) is a Peruvian model and beauty queen who became the first Latin American to win the Miss Universe title. She was crowned Miss Peru Universe 1957 by Miss Peru Universe 1956, Lola Sabogal Morzán.

Miss Universe
Born to a Swiss father and a Peruvian mother, she won the title of Miss Universe 1957 in Long Beach, California, United States.

After being crowned, it was revealed that she was only 17 years old, a few months under the contest's minimum age requirement. Pageant officials decided that she could keep the crown after they were told she was considered to be 18 in Peru.

Return to Peru
Zender became an instant celebrity.

 * She flew on the inaugural flight from Idlewild International Airport in New York City, New York, to Lima Airport in Lima, Peru, where she was greeted by thousands of fans.
 * Caretas, one of Peru's most-popular newsmagazines, soon featured Zender on their cover. She was also later featured on that publication's first all-color cover.
 * In March 1958, she agreed to accompany the then sailor Juan Carlos de Borbon, who was on a 4-day stay in Lima during his time as a trainee aboard Spain's insignia ship, the  Sebastian Elcano,  to a couple of social  events. He became King of Spain in 1975 and  abdicated the crown to his son Felipe VI,  in  2014.
 * The Peruvian composer Alicia Maguiña wrote a song called "Polka a Gladys Zender" (Polka dedicated to Gladys Zender). It was also titled "La más hermosa" (The most beautiful) and was recorded by the Peruvian group Los Troveros Criollos.

Personal life
Zender married Antonio Meier in 1965, and secluded herself into a family life; they had four children together. Their son, Christian Meier, is a well-known actor and singer in Peru and has achieved some fame in other Latin American countries. In 2003, Zender allowed Caretas to photograph her (and Meier's) home showcasing various artifacts, including a collection of Incan art, the couple have acquired through their years together.

title: Gladys Zender


text:
Love Is the Only Soldier

Love Is the Only Soldier is the fifth studio album by Canadian singer-songwriter Jann Arden, released on September 9, 2003.

Track listing

 * 1) "If You Loved Me" (Arden) – 3:51
 * 2) "Not Saying Goodbye" (Arden, Broom) – 4:34
 * 3) "Love Is the Only Soldier" (Arden, Broom) – 3:53
 * 4) "Anna Rebecca" (Arden) – 5:00
 * 5) "Four Feet Deep" (Arden, Gryner) – 3:47
 * 6) "Only One" (Arden, Broom) – 4:08
 * 7) "When You Left Me" (Arden) – 3:54
 * 8) "Ruby Red" (Arden) – 3:25
 * 9) "The Right Road Home" (Arden, Bentley) – 3:36
 * 10) "Fighting for the World" (Arden) – 3:15

Personnel

 * Jann Arden – piano, vocals
 * Russell Broom – guitar, keyboards, omnichord
 * Tanya Kalmanovitch – violin, viola
 * Michael Lent – bass guitar
 * Repete – background vocals

Production

 * Producers: Jann Arden, Russell Broom
 * Engineer: Russell Broom
 * Assistant engineer: Misha Rajaratnam
 * Mixing: Russell Broom
 * Mastering: Doug Saks

Charts
Album – Billboard (North America)

title: Love Is the Only Soldier


text:
Sankin-kōtai

Sankin-kōtai (参覲交代/参覲交替, now commonly written as 参勤交代/参勤交替) was a policy of the Tokugawa shogunate during most of the Edo period, created to control the daimyo, the feudal lords of Japan, politically, and to keep them from attempting to overthrow the regime. It required most daimyo to alternate between living in their domain and in the shogunate's capital, Edo, every year. This made the daimyo subject to constant surveillance from the shogunate. This also forced the daimyo to have residences in both their domain and Edo. The cost of maintaining several lavish residences as well as the journeys to and from Edo was a constant drain on the finances of the daimyo, which greatly increased the shogunate's control over them and kept them militarily weak. The daimyo were also required to keep their wife and children in Edo permanently to act as hostages.

History
Toyotomi Hideyoshi had earlier established a similar practice of requiring his feudal lords to keep their wives and heirs at Osaka Castle or the nearby vicinity as hostages to ensure their loyalty. Following the Battle of Sekigahara and the establishment of the Tokugawa Shogunate, this practice was continued at the new capital of Edo as a matter of custom. It was made compulsory for the tozama daimyōs in 1635, and for the fudai daimyōs from 1642. Aside from an eight-year period under the rule of Tokugawa Yoshimune, the law remained in force until 1862.

Predecessors
The sankin-kōtai system was a natural outgrowth of pre-existing practices which were expanded by the Tokugawa shogunate to further their own political interests. Much of the reason the newly created shogunate could impose sankin-kōtai on the defeated daimyo with ease was due to these immediate predecessors.

Kamakura period
The Tokugawa period philosopher Kumazawa Banzan wrote in his Daigaku wakumon that the Kamakura shogunate had its own version of alternate attendance, which made gokenin visit the shogun's court in Kamakura for fifty days once every three years. Kumazawa claimed that his account was based on records preserved by the descendants of ancient Kamakura families, modern scholars have been unable to confirm the existence of such detailed rules. However, there is evidence that Kamakura period, at least in theory, gokenin owed some kind of service at the shogun's court. The obligatory ōyuka service made gokenin attend at the shogun's court for one month. They were also required to attend to the shogun on special occasions such as comings of age, weddings, and funerals.

The principal duty of the gokenin was ōban'yaku, which was periodical guard duty at Kyoto and Kamakura. It originated as a public duty on the warrior class which made them perform guard service in Kyoto for one out of every three years. In 1186, Minamoto no Yoritomo made this service mandatory for gokenin and reduced the duration to six months, and then later to three. In 1275, a similar arrangement was instituted at Kamakura, making gokenin in eastern Japan serve there for one month annually. Residences in Kamakura were maintained by important gokenin who performed guard service there frequently, even those from remoter regions in western Japan. It was also frequent practice for shugo and jitō to have their sons serve in the shogun's court to act as hostages. In some cases, families were kept in Kamakura.

These obligations on the Kamakura gokenin had a limiting effect on local independence, like the more rigid sankin-kōtai system that emerged in the Edo period. Shimmi Kichiji claimed that the prolonged absence of the gokenin from their fiefs due to their obligatory attendance at the capital delayed the development of true feudalism in Japan.

Description
The details changed throughout the 26 decades of Tokugawa rule, but generally, the requirement was that the daimyōs of every han move periodically between Edo and his fief, typically spending alternate years in each place. His wife and heir were required to remain in Edo as hostages while he was away. The expenditures necessary to maintain lavish residences in both places, and for the procession to and from Edo, placed financial strains on the daimyo, making them unable to wage war. The frequent travel of the daimyo encouraged road building and the construction of inns and facilities along the routes, generating economic activity.

There were a number of exceptions for certain fudai daimyōs in the vicinity of Edo, who were allowed to alternate their attendance in Edo every six months instead. Temporary exceptional dispensations were also occasionally granted due to illness or extreme extenuating circumstances.

In principle, the sankin-kōtai was a military service to the shōgun. Each daimyō was required to furnish a number of soldiers (samurai) in accordance with the kokudaka assessment of his domain. These soldiers accompanied the daimyō on the processions to and from Edo.

With hundreds of daimyōs entering or leaving Edo each year, processions (大名行列) were almost daily occurrences in the shogunal capital. The main routes to the provinces were the kaidō. Special lodgings, the honjin (本陣), were available to daimyōs during their travels.

Economic
The expense of maintaining lavish residences in both Edo and their domain as well as the costly annual journeys to and from Edo was disastrous for the daimyo and greatly enhanced the political control imposed by the sankin-kōtai system. As the main source of money for most daimyo was mainly dependent on the rice surplus, which was sharply limited by the relative inflexibility of the productive capacity of the han, the incomes of the daimyo were unable to keep up with the increasing financial needs of the daimyo, forcing them to go into debt. Sankin-kōtai expenses regularly made up 70 to 80 percent of the total annual expenditures of daimyo. Economic programs, efforts to increase production, and special taxes were all attempted, but offered no permanent solution. By the Genroku period, practically every daimyo was deep in debt due to the extravagant spending universal during this period. Even the wealthiest feudatory, the Maeda clan of Kaga, began to encounter financial difficulties at this time.

Similar practices
King Louis XIV of France instituted a similar practice upon the completion of his palace at Versailles, requiring the French nobility, particularly the ancient Noblesse d'épée ("nobility of the sword") to spend six months of each year at the palace, for reasons similar to those of the Japanese shōguns. The nobles were expected to assist the king in his daily duties and state and personal functions, including meals, parties, and, for the privileged, rising from and getting into bed, bathing, and going to church.

title: Sankin-kōtai


text:
Huvishka

Huvishka (Kushan: Οοηϸκι, Ooēški, Brahmi: 𑀳𑀼𑀯𑀺𑀱𑁆𑀓; ', '; Kharosthi: 𐨱𐨂𐨬𐨅𐨮𐨿𐨐 ', ' ) was the emperor of the Kushan Empire from the death of Kanishka (assumed on the best evidence available to be in 150 CE) until the succession of Vasudeva I about thirty years later.

His rule was a period of consolidation for the Empire. Huvishka's territory encompassed Balkh in Bactria to Mathura in India, locations where it is known that he minted his coinage. Gold coins and amulets in his effigy were found as far as Pataliputra and Bodh Gaya, including one such amulet as an offering under the Enlightenment Throne of the Buddha in Bodh Gaya, suggesting with other finds of Kushan coins in the area that Kushan rule may have extended this far east. His reign seems to have been essentially peaceful, consolidating Kushan power in northern India, and moving the centre of the Kushan Empire to the southern capital city of Mathura.

Religion
Huvishka was the son of Kanishka. His reign is also known as the golden age of Kushan rule.

Mahayana Buddhism
The reign of Huvishka corresponds with the first known epigraphic evidence of the Buddha Amitabha, on the bottom part of a 2nd-century statue which has been found in Govindo-Nagar, and now at the Mathura Museum. The statue is dated to "the 28th year of the reign of Huvishka", and dedicated to "Amitabha Buddha" by a family of merchants.

There is also some evidence that Huvishka was a follower of Mahāyāna Buddhism. A Sanskrit manuscript fragment in the Schøyen Collection describes Huvishka as one who has "set forth in the Mahāyāna."

Some reliefs from Gandhara are also thought to portray Huvishka making donations to the Buddha.

Huvishka is widely attested to have supported Buddhism, but the Buddha does not appear on his coinage, possibly out of respect to the Buddha.

Graeco-Roman deities

Huvishka also incorporates in his coins for the first and only time in Kushan coinage the Hellenistic-Egyptian Serapis (under the name ϹΑΡΑΠΟ, "Sarapo"). Since Serapis was the supreme deity of the pantheon of Alexandria in Egypt, this coin suggests that Huvishka had as strong orientation towards Roman Egypt, which may have been an important market for the products coming from the Kushan Empire.

Another coin possibly depicts the Goddess Roma ("Roma aeterna"), under the name "Rishti" (Greek: ΡΙϷΤ), or "Riom" (Greek: ΡΙΟΜ).

Iranian deities
Huvishka is also known to have included Iranian deities in his pantheon. Between 164 and 174, he established a temple to Pharro ("Royal splendour")-Ardoxsho in the stronghold of Ayrtam, near Termez, according to the Ayrtam inscription. He also issued numerous coins in the name of these deities. Many more Iranian deities are also known from his coinage, such as Miiro (Mitra), Mao (the Lunar deity Mah), Nana (Anahita), Atsho (Atar, "The Royal fire"). Another Zoroastrian deity, the supreme god Ooromozdo (Ahura Mazda), and Mazdo oana ("Mazda the victorious") also appears. Other Zoroastrian deities include Rishti ("Uprightness", Arshtat), Ashaeixsho ("Best righteousness", Asha Vahishta), the Lunar deity Mah (Mao), Shaoreoro ("Best royal power", Khshathra Vairya).

Indian deities
Huvishka is known to have restored a temple in Mathura, where provisions were made for hospitality towards the Brahmans. Some of the coins of Huvishka also featured Maaseno on his coins, the Kushan incarnation of the Hindu god Karttikeya, or Skanda, whose epithet was "Mahasena". This god being particularly important to the Yaudheyas, it may have been incorporated into Kushan coinage when the Kushans expanded into Yaudheya territory in order to establish control of the Mathura area. It may also have been adopted as a way to appease the warlike Yaudheyas. In effect, the Kushans became the suzerains of the Yaudheyas in the area.

In a departure from his predecessor Kanishka, Huvishka also added Oesho ("ΟΗϷΟ", Shiva) on some of his coinage. In replacement of the Iranian god of war Ořlagno, he also added several Indian war gods, such as Skando (Old Indian Skanda), Komaro (Old Indian Kumara), Maaseno (Old Indian Mahāsena), Bizago (Old Indian Viśākha), and even Ommo (Old Indian Umā), the consort of Siva. This could suggest an evolution toward Indian deities among the Kushans, possibly motivated by the enlisting of Indian warriors.

Coinage and statuary
The coinage of Huvishka is characterized by a great variety of designs and the large quantity of gold coins that were minted: more gold coins from Huvishka are known than from all other Kushan rulers combined. The locations of his mints were mainly in Balkh and Peshawar, with smaller mints in Kashmir and Mathura.

One of the great remaining puzzles of Huvishka's reign is the devaluation of his coinage. Early in his reign the copper coinage plunged in weight from a standard of 16g to about 10–11g. The quality and weight then continued to decline throughout the reign until at the start of the reign of Vasudeva the standard coin (a tetradrachm) weighed only 9g. The devaluation led to a massive production of imitations, and an economic demand for the older, pre-devaluation coins in the Gangetic valley. However, the motivation and some of the details of this devaluation are still unknown.

title: Huvishka


text:
Talk:Ecotage

Terrorism term
''According to its advocates, which include the Earth Liberation Front and similar terrorist groups ... [it] requires neither violence nor any direct confrontation with police, politicians, or other authority ...''

The use of the term "terrorism" alongside the claim that ecotage does not require violence makes this sentence contradictory. Terrorism is also a term that it is almost impossible to deploy neutrally. Dirtbiscuit 05:56, 17 Jul 2004 (UTC)

 * Read what the FBI says about this and Operation Backfire (FBI), a police action designed to put a end, forcibly if necessary, to "Ecotage", other Eco-Terrorisim. 205.240.146.37 (talk) 04:53, 19 December 2007 (UTC)

 * I would consider the defacing of the average person's personal property terrorism, is there a problem? —Preceding unsigned comment added by 71.243.205.199 (talk) 01:59, 6 July 2008 (UTC)

This article is pretty terrible (no offence). I have worked a definition based on an academic article... Would love to delete the rest and perhaps give examples of actions of enivironmental sabotage. This is not the place to argue the terrorist vs sabotage vs civil disobedience distinctions, merely a place to acknowledge the debate... --Shg3 (talk) 20:09, 7 December 2009 (UTC)

 * it reads like a promo for the ELF. Are these the only examples? Chrismorey (talk) 08:53, 16 August 2013 (UTC)

Why does "monkeywrenching" redirect here? Monkeywrenching is a term that can refer to economic or political sabotage (and often does in common usage). This redirect isn't really appropriate. — Preceding unsigned comment added by 71.90.217.181 (talk) 09:44, 9 October 2016 (UTC)

Merging with Eco-terrorism
FBI does not make ecotage different to eco-terrorism. "Using the ideology of fighting for the environment, eco-terrorists direct their aggression against state institutions, corporations, businesses and individuals. In doing so, they hit the economy and civil liberties. The catalog of their activities includes such methods of action as: demonstrations, roadblocks, occupation of buildings intimidation, sabotage (so-called ecotage 15) including destruction of machines, releasing animals used for experiments, scientific experiments, bred for leather and fur and planting explosive charges in headquarters of biotechnological corporations, near homes of their directors, beatings, blowing up laboratories and sending threats to people conducting scientific research with the use of animals" Geysirhead (talk) 15:39, 14 October 2022 (UTC)

 * It seems like the FBI would have a fairly obvious ulterior motive in expanding the term "eco-terrorism" to include as much as possible. Also, if one uses your quote to expand the definition of ecoterrorism to "things the FBI says eco-terrorists do," then wouldn't demonstrations and roadblocks also constitute ecoterrorism? That seems like an absurd result 71.47.201.37 (talk) 22:48, 21 December 2022 (UTC)
 * the FBI is onliy one source, who has plenty of reason to be against radical environementalism. Also, the definition of 'terrorism' is 'the unlawful use of violence and intimidation, especially against civilians, in the pursuit of political aims.'. Eco-Sabotage does not subscibe to this definition, as it is (subjectively) non violent ,is not used for intimidation and it is not against civilians. In the interest of staying objective and impartial, we should not merge these two! J Readd (talk) 19:23, 18 March 2023 (UTC)
 * Support merge proposal; if there are shades of difference between the two topics then they can be discussed on one page. Such difference do seem to rely on POV. The current Ecotage article seems to be a discussion not of the topic of environmentally-inspired terrorism in general, but rather a discussion of the use of this term in the context of the Earth Liberation Front, using a subset of examples from Timeline of Earth Liberation Front actions. For reasons of context and overlap, a merge to Eco-terrorism (but maintaining a separate section) would help readers. Alternatively, a merge to Earth Liberation Front might be possible, given that the use of the term seems to focus on the activities of this group. Klbrain (talk) 09:23, 1 May 2023 (UTC)
 * Addendum: I note that the current websites purporting some connection with the group (ELF (The original) and Earth Liveration Front) do use the terms terrorism and Ecoterrorism, but don't use Ecotage, suggesting that the use of the term in the context described is WP:SYNTH. Hence, perhaps a merge to Ecotage! might be better: remove the examples as irrelevant, and move Ecotage across. Klbrain (talk) 09:38, 1 May 2023 (UTC)

title: Talk:Ecotage


text:
Vasudeva I

Vāsudeva I (Kushano Bactrian: Βαζοδηο Bazodeo; Middle Brahmi: 𑀯𑀸𑀲𑀼𑀤𑁂𑀯; , Chinese: 波調 Bodiao; fl. 200 CE) was a Kushan emperor, last of the "Great Kushans." Named inscriptions dating from year 64 to 98 of Kanishka's era suggest his reign extended from at least 191 to 232 CE. He ruled in Northern India and Central Asia, where he minted coins in the city of Balkh (Bactria). He probably had to deal with the rise of the Sasanians and the first incursions of the Kushano-Sasanians in the northwest of his territory.

The last named inscription of his predecessor, Huvishka, was in the year 60 of the Kanishka era (187 CE), and the Chinese evidence suggests he was still ruling as late as 229 CE. His name "Vāsudeva", is that of the popular Hindu God Vāsudeva, which is refer to Krishna, and he was the first Kushan king to be named after the Indian God. He converted to Hinduism during his reign. His name reinforces the notion that his center of power was in Mathura.

Contacts with China
In the Chinese historical chronicle Sanguozhi (三國志), he is recorded to have sent tribute to the Chinese emperor Cao Rui of the Wei in 229 CE (3rd year of Taihe 太和), :
 * "The king of the Da Yuezhi, Bodiao (波調) (Vāsudeva), sent his envoy to present tribute and His Majesty granted him a title of "King of the Da Yuezhi Intimate with Wei (魏)"." (Sanguozhi)

He is the last Kushan ruler to be mentioned in Chinese sources. His rule corresponds to the retreat of Chinese power from Central Asia, and it is thought that Vasudeva may have filled the power vacuum in that area. The great expansion of the Dharmaguptaka Buddhist group in Central Asia during this period has also been related to this event.

Coinage
The coinage of Vasudeva consisted in gold dinars and quarter dinars, as well as copper coins. Vasudeva almost entirely removed the pantheon of deities displayed in the coinage of Kanishka and Huvishka. Apart from a few coins with the effigies of Mao and Nana, all of Vasudeva's coins feature Oesho on the reverse, who is generally identified as Shiva. On the obverse, Vasudeva restored the royal imagery of Kanishka, with the standing, making a sacrifice over an altar, although he holds a trident rather than Kanishka's spear and he appears nimbate. Another trident is sometimes also added over the small sacrificial altar. At the end of his rule, Vasudeva introduced the nandipada symbol on his coinage.

Sassanid invasion in the northwest
Vusadeva I was the last great Kushan emperor, and the end of his rule coincides with the invasion of the Sassanians as far as northwestern India, and the establishment of the Indo-Sassanians or Kushanshahs from around 240 CE. Vasudeva I may have lost the territory of Bactria with its capital in Balkh to Ardashir I Kushanshah. Thereafter, Kushan rule would be restricted to their eastern territories, in western and central Punjab.

Statuary

The relatively peaceful reign of Vasudeva is marked by an important artistic production, in particular in the area of statuary. Several Buddhist statues are dated to the reign of Vasudeva, and are important markers for the chronology of Buddhist art.

An inscription on the base of the Buddha statue of Vasudeva I is also known from the Mathura Museum: "In the 93rd year of Maharaja Devaputra Vasudeva...", probably corresponding to c. 171 CE, or 220 CE with the more recent definition of the Kanishka era as starting in 127 CE. A partially preserved Sakyamuni statue, also from Mathura, has the date "Year 94", although without mentioning Vasudeva specifically.

Dedications in the name of Vasudeva, with dates, also appear on Jain statuary discovered in Mathura.

title: Vasudeva I


text:
User talk:Panyu2000

My name is 潘宇, and it's PinYin form is "Pan Yu". PinYin are Chinese phonetic symbols, they are like English letters but actually not (you can find an introduction to PinYin on wikipedia here). Most foreigners can pronouce "Pan" quite well because of the famous Peter Pan, but they cannot find a way to speak "Yu" which is indeed "Yü" -- a sound between "Yi" and "You". Kinda of strange thing is that I can pronouce even the most lengthy Indian names quite well, but theIndian labmates cannot speak the shortest "Yu". I'll keep on training them Chinese, until one day my name is clearly correctly explicitly spoken out till when I guarantee they will pass Chinese level 6.

Although short, Pan Yu is full of meanings. I was born in Kunming, but my origin is LiuHe in Jiangsu province. LiuHe in Chinese means six jointed, the six refers to east, south, west, north, upside and downside, jointed is the universe. Pan in Chinese soulds like another word meaning "expecting". So altogether "Pan Yu" means "expecting to returning to LiuHe". When I was very young, there was a catching sentence called "攀登宇宙高峰" (climbing up the peak of the universe), my mom told me my name was from that sentence, :D, so sometimes, I felt like I'm the One and meant to do something great, given the heavy name I'm carrying :D:D

title: User talk:Panyu2000


text:
Steeplejack

A steeplejack is a craftsman who scales buildings, chimneys, and church steeples to carry out repairs or maintenance.

Processes and techniques
Steeplejacks erect ladders on church spires, industrial chimneys, cooling towers, bell towers, clock towers, or any other high structure. In the UK, steeplejacks now use a belay rope fall-arrest system (similar to the method used by rock climbers) attached to the ladders as they are erected to eliminate solo climbing and greatly reduce the risk of falls from height.

Once ladders have been erected, the next stage is usually to suspend a bosun's chair (a strong wooden plank on which the steeplejack can sit, pull themselves upwards or lower themselves downwards, or sit in a stationary position), but abseiling (UK) or rappelling (US) equipment is replacing the bosun's chair on many operations because of its lighter weight.

Once this has been done it is possible to use this access to begin building scaffolding to carry out any repairs which may be required. This is done by fixing anchors into the wall (whether concrete, stone, or brick) and "kicking" the scaffolding off from there.

It is also possible to carry out repairs from "suspended access cradles". These are the same type of rig window cleaners use on skyscrapers. The cradle is suspended from four wires. Two of these run through an electric motor which can "climb" or "descend" the wire, and the other two run freely through a box which allows the cradle to travel upwards with no obstruction, but will stop it instantly if it starts to fall. These "suspended access cradles" are popularly called "swing stages" by their crews.

Duties
Steeplejacks are called upon to repair or replace masonry (brick, stone or concrete), carry out general carpentry or painting or roof repair, remove and clean and repair windows, as well as sandblasting and other masonry cleaning tasks.

Ontario
In Ontario, Canada, many steeplejacks are represented by Local 598 of the OPCMIA union (Operative Plasterers and Cement Masons International Association of the United States and Canada), and are required to complete a five-year apprenticeship.

United Kingdom
In the UK steeplejack companies may be members of the industry association ATLAS (Association of Technical Lightning and Access Specialists). Britain's most famous steeplejack was Fred Dibnah, who became a television presenter and celebrity as a result of his craft and personality.

title: Steeplejack


text:
User:Lectiodifficilior

See also French Wikipedia, User:Lectiodifficilior.

My name is Tim Spalding. Most of my work on Wikipedia precedes what I'm now best known for, as the founder of LibraryThing.

Some entries I have had a significant impact on
(asterisks I started)

Ancient History and Literature

 * Acacius of Beroea*
 * Acacius of Caesarea*
 * Acarnan*
 * Achlys*
 * Achmet (oneiromancer)
 * Alexander the Great
 * Alexander of Myndus*
 * Almagest
 * Aratus
 * Aristander of Telmessus*
 * Artemidorus*
 * Geoponica*
 * Livy
 * Moleosophy*
 * Oneiromancy
 * Physiognomy
 * Pigres of Halicarnassus

Islamic History

 * Ibn Khaldun

title: User:Lectiodifficilior


text:
Scoville (disambiguation)

The Scoville scale is a measurement of the pungency (spicy heat) of chili peppers or other spicy foods.

Scoville may also refer to:
 * Scoville Library, a library in Salisbury, Connecticut, U.S.
 * Scoville Memorial Library (Carleton College), a historic building in Northfield, Minnesota, U.S.
 * Scoville Park, a park in Oak Park, Illinois, U.S.
 * Scoville Square or Scoville Block, a historic building in Oak Park, Illinois, U.S.
 * Scoville Stardust, a homebuilt aircraft designed for air racing

People with the surname

 * Darrel Scoville (born 1975), Canadian ice hockey player
 * Jonathan Scoville (1830–1891), U.S. Representative from New York
 * Nick Scoville, American astronomer
 * Wilbur Scoville (1865–1942), American pharmacist, known for the Scoville scale
 * William Beecher Scoville (1906–1984), American neurosurgeon

People with the given name

 * Scoville Browne (1909–1994), American jazz reedist
 * Scoville Jenkins (born 1986), American tennis player

title: Scoville (disambiguation)


text: User talk:67.118.18.210

title: User talk:67.118.18.210


text:
Vasudeva II

Vasudeva II (Middle Brahmi script: Vā-su-de-va) was a Kushan emperor who ruled c. 275–300 CE. He was probably the successor of Kanishka III and may have been succeeded by an emperor named Shaka Kushan.

Vasudeva II probably only was a local ruler in the area of Taxila, in western Punjab, under the suzerainty of the Gupta Empire.

Vasudeva II was a contemporary of Hormizd I Kushanshah of the Kushano-Sasanians, as he is known to have overstruck a large quantity of the early copper coins of Hormizd I issued south of the Hindu-Kush.

title: Vasudeva II


text: File:SOTLClariceLecter.jpg

title: File:SOTLClariceLecter.jpg


text:
Weisstein

Weisstein (German for "white stone") can refer to:

People

 * Eric W. Weisstein (born 1969), American encyclopedist
 * Naomi Weisstein (1939–2015), American cognitive psychologist, neuroscientist, author, and professor

Places

 * Paide, Estonia
 * Bilyi Kamin, Lviv Oblast, Ukraine
 * Weisstein, Waldenburg

title: Weisstein


text:
Weezer (Blue Album)

Weezer (commonly known as the Blue Album) is the debut studio album by the American rock band Weezer, released on May 10, 1994, by DGC Records. It was produced by Ric Ocasek of the Cars.

Weezer formed in Los Angeles in 1992, and initially struggled to engage audiences, who were more interested in grunge. In November, they recorded a demo, The Kitchen Tape, which brought them to the attention of DGC owner Geffen Records. Weezer selected Ocasek to produce because of his work with the Cars. Most of the album was recorded at Electric Lady Studios in New York City between August and September 1993. The group treated the guitars and bass as a single, 10-string instrument, playing in unison. Guitarist Jason Cropper was fired during recording, as the band felt he was threatening their chemistry; he was replaced by Brian Bell.

Weezer was supported by the singles "Undone – The Sweater Song", "Buddy Holly", and "Say It Ain't So", whose music videos became MTV hits. The album received critical acclaim and reached number sixteen on the US Billboard 200, and was certified triple platinum in 1995. It remains Weezer's best-selling album, having sold at least 3.3 million copies in the U.S. and more than 15 million copies worldwide by 2009. It has been named one of the best albums of the 90s by several publications. In 2020, Rolling Stone ranked it number 294 on its list of the "500 Greatest Albums of All Time".

Background
Weezer was formed on February 14, 1992, in Los Angeles by singer and guitarist Rivers Cuomo, drummer Patrick Wilson, bassist Matt Sharp, and guitarist Jason Cropper. Although they performed future hits including "Undone – The Sweater Song" and "Say It Ain't So", Cuomo said they struggled to engage audiences, who wanted to see grunge bands instead.

In an effort to create buzz around Los Angeles, Weezer recorded a demo, The Kitchen Tape. This attracted attention from major-label A&R reps looking for alternative rock bands to perform on the same bill as That Dog. Weezer were signed to DGC Records on June 26, 1993, by Todd Sullivan, an A&R rep from Geffen Records.

Recording
While preparing for the studio sessions, Weezer focused on their vocal interplay by practicing barbershop quartet-style songs, which helped Cuomo and Sharp feel more comfortable collaborating during rehearsals. Sharp, who had never sung before joining Weezer, developed his falsetto: "I had to sing an octave higher than Rivers. After a lot of practice, I started to get it down."

Weezer rehearsed 15 songs in New York City in preparation for the Electric Lady Studios sessions. Four songs from this rehearsal would not be attempted for the album: "I Swear It's True", "Getting Up and Leaving", a reprise of "In the Garage", and "Mykel and Carli", an ode to the sisters Mykel and Carli Allan, who ran the Weezer fanclub. Weezer later recorded another version of "Mykel and Carli" as a B-side for the single "Undone – The Sweater Song", with the Weezer collaborator Karl Koch.

Weezer considered self-producing the album, but were pressured by Geffen to choose a producer. They decided on Ric Ocasek, who had played with the Cars. Ocasek convinced them to switch their guitar pickups from the neck to the bridge, resulting in a brighter sound. Sharp and Cuomo imposed several rules on recording, banning reverb and insisting on all downstrokes on guitar. According to the engineer Chris Shaw, the "overriding concept" was to treat the guitars and bass as a single, 10-string instrument, playing in unison. Weezer insisted that the guitars were mixed as loudly as those in Radiohead's 1992 song "Creep", burying some vocals.

During the recording, Cropper learned that his girlfriend was pregnant and began acting erratically. Koch said: "He wasn't handling it well … He always said he was fine, and then 20 minutes later he'd be up on the roof of Electric Lady screaming or something." Sharp said later that "whatever it is we were setting out to do, it felt like it was gonna be much more difficult if he stayed". Sharp and Cuomo felt that Cropper would likely leave Weezer eventually and so wanted to remove him before the release of their debut, as they "wanted things to be very stable for the audience". According to Cropper, Cuomo told him he could not allow him to jeopardize the work and asked him to leave. In 2014, Cropper said Cuomo had made the right decision.

Cropper left after recording was complete, and was replaced by Brian Bell. While Bell's vocals appear on some tracks, Cuomo re-recorded all of Cropper's guitar parts. Ocasek recalled: "Rivers came in and said, 'I’m firing the guitar player, and I’m going to do all his guitar parts over.' I said, 'You can’t do that!' But he did. In one take." Bell is credited for playing guitar in the liner notes, while Cropper received a credit on "My Name Is Jonas" for writing the intro.

Artwork
The album artwork, photographed by American glamour photographer Peter Gowland, features Wilson, Cuomo, Sharp, and Bell standing in front of a plain, blue background. Cuomo stated that, while the band liked the photo, Sharp was not happy with the way his head looked. A Geffen art director used Adobe Photoshop to swap out the head with one from another shot. The image was used prominently in the advertising of the album. The cover received many comparisons to that of the Feelies' album Crazy Rhythms, which Weezer had no prior knowledge of. Instead, according to band historian Karl Koch, Cuomo was inspired by the cover of a "super-cheap truck-stop Greatest Hits of the Beach Boys" cassette, which featured the Beach Boys with striped shirts in front of a blue background. The cover has become a part of Internet culture, with it being a center of many memes, usually accompanied by the song "Buddy Holly", from the album.

On some European vinyl pressings of the album, the cover does not crop off the band members' feet. On the deluxe edition case, the feet are presented on the back cover, and the band sold an official T-shirt with a shot of the band's feet after the deluxe edition release.

Inside the album booklet, Cuomo pays tribute to his past metal influences with a photo taken in the group's garage on Amherst Avenue, Los Angeles (this same garage would be featured in the "Say It Ain't So" music video). A poster of Judas Priest's album British Steel is featured on the left side of the photo, while on the right a Quiet Riot concert poster is displayed. The Deluxe Edition features additional photographs of the band and handwritten lyrics for each song.

Promotion
The first single, "Undone – The Sweater Song", was described by Cuomo as "the feeling you get when the train stops and the little guy comes knockin' on your door. It was supposed to be a sad song, but everyone thinks it's hilarious." The video marks one of the early directorial efforts of Spike Jonze, whose pitch was simply "A blue stage, a steadicam, a pack of wild dogs." The video became an instant hit on MTV. The final single, "Say It Ain't So", was inspired by Cuomo believing his parents split up when he was four because he thought his father was an alcoholic. The music video, directed by Sophie Muller, was less successful than the previous, Spike Jonze–directed video. It featured the band performing in the garage of their former house and the bandmates playing hacky sack in the backyard.

Release
The Blue Album was released on May 10, 1994. It was certified gold by the Recording Industry Association of America (RIAA) just under seven months later, on December 1, 1994, and was certified platinum by the RIAA on January 13, 1995. The Blue Album was certified 2× platinum by the RIAA on August 8, 1995. The album was certified 3× platinum by the RIAA on November 13, 1998. The album peaked at no. 16 on the Billboard 200. As a single, "Undone – The Sweater Song" peaked at no. 35 on the UK Top 40, and "Buddy Holly" and "Say It Ain't So" peaked at no. 12 and no. 37 on the UK Top 40 respectively. In the U.S., "Buddy Holly" peaked at no. 17 on the Billboard Hot 100 Airplay chart.

A deluxe edition of the album was released on March 23, 2004, comprising the original album and a second disc, Dusty Gems and Raw Nuggets, containing B-sides and rarities. As of December 2007, the deluxe edition had sold 86,000 copies. The second disc is also available separately.

Critical reception
The Blue Album received critical acclaim. Rolling Stone praised the album in its year-end review, saying, "Weezer's Rivers Cuomo is great at sketching vignettes (the Dungeons & Dragons games and Kiss posters that inspire the hapless daydreamer of 'In the Garage'), and with sweet inspiration like the waltz tempo of 'My Name Is Jonas' and the self-deprecating humor of lines like "I look just like Buddy Holly / And you're Mary Tyler Moore", his songs easily ingratiate." Robert Christgau of The Village Voice was less complimentary and awarded the album a "neither" rating. The Washington Post concluded that "Weezer alternates between being agreeably irreverent and merely bratty... 'Buddy Holly' is a pleasant piece of retro-rock—actually, it sounds more like early 10cc than any song the Crickets ever performed".

The "Buddy Holly" video won four awards at the 1995 MTV Video Music Awards, including prizes for Breakthrough Video and Best Alternative Video. In 2020, Rolling Stone ranked the album number 294 on its updated “500 Greatest Albums of All Time” list.

Legacy
The Blue Album has become one of the most highly regarded albums of the 1990s, as well as of all time, appearing on many "best of" lists. In 2020, Rolling Stone ranked the album number 294 on its 2020 list of the “500 Greatest Albums of All Time". It was previously ranked at 297 in 2003, and 299 in 2012.  In 2002, the readers of Rolling Stone ranked the album the 21st greatest of all time. Blender named the Blue Album among the "500 CDs You Must Own", calling the album "Absolute geek-rock, out and proud." Non-U.S. publications have acclaimed the album as well: Visions of Germany ranked it number 32 on a list of "The Most Important Albums of the 90s". In November 2011, the Blue Album was ranked number three on Guitar World magazine's top ten list of guitar albums of 1994, with Bad Religion's Stranger than Fiction and the Offspring's Smash in first and second places respectively. The album also peaked at number 25 on Guitar World's "Superunknown: 50 Iconic Albums That Defined 1994" list.

Reviews of the album when its deluxe edition was released have reflected its rise in stature, continuing to be positive. In 2004, PopMatters gave the album a very positive review, saying, "I'd go so far to declare the 'Blue Album' one of the greatest records of the last 20 years." And Rolling Stone reiterated its original positive review by further describing it as "big, vibrant pop-rock that would inspire thousands of emo kids". Blogcritics gave the album 10/10 and described it as "one of the most important debut albums of the last ten years".

In naming Weezer the 26th best album of the 1990s, Pitchfork summed up the album's critical recognition: "An album so substantial the band misguidedly attempted to tap into its resonance through cover graphics a mere two releases later. In 1994, 70s rock had come to mean either a bastardized version of Led Zeppelin or a bullshit reconstruction of punk rock. As guitar nerds, Weezer sought influence there but found true inspiration in forgotten bubblegum power-pop like Cheap Trick, Raspberries, 20/20, and The Quick. Most impressively, Rivers Cuomo rescued the thrilling guitar solo from finger-tapping metal and disregarding grunge/punk. A decade later air-guitaring to the album feels far less embarrassing than singing along. With the help of Spike Jonze, Weezer kept joy alive in arena rock, making the critical repositioning of Weezer as some emo touchstone even more absentminded. They called themselves Weezer, knowingly, for chrissakes."

NME credited the album as a formative influence on melodic emo. AllMusic critic Stephen Thomas Erlewine gave the album 5/5, calling it "a great record, but more than that, it's a great record emblematic of its time, standing as one of the defining albums of the '90s."

The band performed the album in its entirety during the Memories Tour in 2010 and is set to do so again during the Voyage to the Blue Planet Tour in 2024. On March 15, the band performed the album in its entirety at the Lodge Room in the Highland Park neighborhood of Los Angeles as a pre-kickoff of the Voyage Tour, with Dogstar as the opening band. Former bassist Matt Sharp attended, and Dominic Fike sang and played "Say It Ain't So" with the band as a surprise.

Accolades
( * ) designates lists which are unordered.

Personnel
Credits taken from CD liner notes, except where noted.

Weezer
 * Brian Bell – guitar (credit only), vocals
 * Rivers Cuomo – vocals, guitars, harmonica
 * Matt Sharp – bass, vocals
 * Patrick Wilson – drums

Production
 * Ric Ocasek – producer
 * Chris Shaw – engineer
 * Hal Belknap – assistant engineer
 * David Heglmeier – assistant engineer
 * Daniel Smith – assistant engineer
 * George Marino – mastering
 * Todd Sullivan – artist and repertoire
 * Peter Gowland, Peter Orth – photographer
 * Karl Koch – design
 * Michael Golob – art direction

title: Weezer (Blue Album)


text:
Kanishka III

Samrat Kanishka III (Greco-Bactrian: ΚΑΝΗϷΚΕ Kanēške; Kharosthi: 𐨐𐨞𐨁𐨮𐨿𐨐 ', '; Brahmi: Gupta ashoka ssk.jpg ', '; कनिष्क), was a Kushan emperor who reigned from around the year 265 CE to 270 CE. He is believed to have succeeded Vasishka and was succeeded by Vasudeva II. He ruled in areas of Northwestern India.

Inscriptions
In an inscription dated to the "Year 41" (probably of the 2nd century of the Kanishka era) and discovered on the borders of the river Ara in Punjab, he qualifies himself as a Maharaja rajadhiraja Devaputra Kaisara Kanishka ("Great King, King of Kings, Son of God, Caesar, Kanishka), suggesting some awareness of the Roman Empire as Kaisara seems to stand for "Caesar", and names himself as the son of Vajheshka, identified as Kushan ruler Vashishka.  The inscription is rather worn and the reading Kaisara has been doubted, especially since no other mentions of this title are known from Kushan sources.

Coinage
It was initially thought that there were no definite coins known of him, as the "Kanishka" named in the coins was not differentiated. Only workmanship and graphical style in relation to other known rulers, tend to suggest attribution to this later Kanishka. However, this hypothesis was shaken by coin hoards being found in Tajikistan where coins of Kanishka III were found and identified in large numbers. All these finds north of the Oxus river seems to indicate that it was legal tender for a period of time.

title: Kanishka III


text:
The Red Wheelbarrow

"The Red Wheelbarrow" is a poem by American modernist poet William Carlos Williams. Originally published without a title, it was designated "XXII" in Williams' 1923 book Spring and All, a hybrid collection which incorporated alternating selections of free verse and prose. Only sixteen words long, "The Red Wheelbarrow" is one of Williams' most frequently anthologized poems, and a prime example of early twentieth-century Imagism.

Writing and publication
The pictorial style in which the poem is written owes much to the photographs of Alfred Stieglitz and the precisionist style of Charles Sheeler, an American photographer-painter whom Williams met shortly before composing the poem. The poem represents an early stage in Williams' development as a poet. It focuses on the objective representation of objects, in line with the Imagist philosophy that was ten years old at the time of the poem's publication. The poem is written in a brief, haiku-like free-verse form. With regard to the inspiration for the poem, Williams wrote in 1954: ["The Red Wheelbarrow"] sprang from affection for an old Negro named Marshall. He had been a fisherman, caught porgies off Gloucester. He used to tell me how he had to work in the cold in freezing weather, standing ankle deep in cracked ice packing down the fish. He said he didn't feel cold. He never felt cold in his life until just recently. I liked that man, and his son Milton almost as much. In his back yard I saw the red wheelbarrow surrounded by the white chickens. I suppose my affection for the old man somehow got into the writing.

In 2015, research identified the man who had inspired the work as Thaddeus Lloyd Marshall Sr., who lived a few blocks away from Williams in Rutherford, New Jersey, and is buried in Ridgelawn Cemetery in neighboring Clifton.

When the poem was originally published in Spring and All, it was simply titled "XXII", denoting the poem's order within the book. Referring to the poem as "The Red Wheelbarrow" has been frowned upon by some critics, including Neil Easterbrook, who said that such reference gives the text "a specifically different frame" than which Williams originally intended.

Prior to the revelation about Marshall, some critics and literary analysts believed that the poem was written about one of Williams' patients, a little girl who was seriously ill: "This poem is reported to have been inspired by a scene in Passaic, New Jersey, where Williams was attending to a sick young girl. Worried that his patient may not survive, Williams looked out the window and saw the wheelbarrow and chickens."

"At the time, I remember being mystified by the poem. However, being properly trained in literary criticism, I wondered what the real meaning of the poem was, what it was really about. ... What is left out of Williams' poem is the fact that when he conceived that image he was sitting at the bedside of a very sick child (Williams was a medical doctor). The story goes that as he sat there, deeply concerned about the child, he looked out the window, saw that image, and penned those words."

"I remember well the sneer associated with sentimentality in the university English classes of the early 70s. William Carlos Williams' celebrated red wheelbarrow poem was written after a night at the bedside of a desperately sick child, but to directly mention the child and describe that situation would have been to court pathos. Such a poem would have been fit only for greeting cards or the poor souls who didn't know any better than to like Robert Service."

"Of course you can't figure it out by studying the text. The clues aren't there. This poem was meant to be appreciated only by a chosen literary elite, only by those who were educated, those who had learned the back story (Williams was a doctor, and he wrote the poem one morning after having treated a child who was near death. The red wheelbarrow was her toy.)"

Orrick Johns' "Blue Under-Shirts Upon a Line"—first published in Others in 1915—may have provided the framework upon which Williams developed "The Red Wheelbarrow". In his 2010 essay in College Literature, Mark Hama "proposes that what Williams likely recognized in his friend Johns’s poem was the framework for a new modern American poetic line."

Critical reception
The poet John Hollander cited "The Red Wheelbarrow" as a good example of enjambment to slow down the reader, creating a "meditative" poem.

The editors of Exploring Poetry believe that the meaning of the poem and its form are intimately bound together. They state that "since the poem is composed of one sentence broken up at various intervals, it is truthful to say that 'so much depends upon' each line of the poem. This is so because the form of the poem is also its meaning." This viewpoint is also argued by Henry M. Sayre who compared the poem to the readymade artwork of Marcel Duchamp.

Peter Baker analyzed the poem in terms of theme, writing that "Williams is saying that perception is necessary to life and that the poem itself can lead to a fuller understanding of one's experience."

Kenneth Lincoln saw humor in the poem, writing "perhaps it adds up to no more than a small comic lesson in the necessity of things in themselves."

title: The Red Wheelbarrow


text:
Black-faced antthrush

The black-faced antthrush (Formicarius analis), is a species of passerine bird in the family Formicariidae.

Taxonomy
The black-faced antthrush was formally described in 1837 by the French naturalists Alcide d'Orbigny and Frédéric de Lafresnaye from a specimen collected in Bolivia. They coined the binomial name Myothera analis. The specific epithet is from the Modern Latin analis meaning "relating to the undertail-coverts of the vent". The black-faced antthrush is now placed in the genus Formicarius that was introduced by the Dutch naturalist Pieter Boddaert in 1783.

Eleven subspecies are recognised:
 * F. a. umbrosus Ridgway, 1893 – east Honduras to west Panama
 * F. a. hoffmanni (Cabanis, 1861) – southwest Costa Rica and southwest Panama
 * F. a. panamensis Ridgway, 1908 – east Panama and northwest Colombia
 * F. a. virescens Todd, 1915 – Sierra Nevada de Santa Marta (northeast Colombia)
 * F. a. saturatus Ridgway, 1893 – north Colombia, northwest Venezuela and Trinidad
 * F. a. griseoventris Aveledo & Ginés, 1950 – Perijá Mountains (northeast Colombia and northwest Venezuela)
 * F. a. connectens Chapman, 1914 – east Colombia
 * F. a. zamorae Chapman, 1923 – east Ecuador, northeast Peru and west Brazil
 * F. a. crissalis (Cabanis, 1861) – east Venezuela, the Guianas and northeast Brazil
 * F. a. analis (d'Orbigny & Lafresnaye, 1837) – east, southeast Peru, north Bolivia and central Brazil
 * F. a. paraensis Novaes, 1957 – southeast Amazonian Brazil

The subspecies hoffmanni is sometimes recognised as a distinct species, the Panama antthrush, based primarily of its different song. The Mayan antthrush (Formicarius moniliger) was formerly considered conspecific with the black-faced antthrush.

Description
The black-faced antthrush is similar in general appearance to a rail, with a dumpy body, horizontal carriage, stout bill and short-cocked tail. It walks rather than hops, with a jerky motion reminiscent of a rail. It is typically 18 - 19 cm long, and weighs 59 g. The upper parts are rufous-brown, and the underparts are paler brown, except for the black face and throat, and rufous under the tail and behind the eye. The sexes are alike in plumage.

Distribution and habitat
It is a common and widespread forest bird in the tropical New World, from Honduras through Central America to the northern regions of South America. It occurs in Colombia, Venezuela, Trinidad and Brazil, and the Amazon Basin, except for the northwest region.

Behaviour
The antthrush builds a leaf-lined nest in a cavity in a hollow branch or stump where two white eggs are laid. It is an insectivore which feeds on ants and other insects. It is quite terrestrial, feeding mainly on the ground. It will follow columns of army ants. The call is a loud whistle followed by 2–10 descending whistles, ''WHU! wu-wu-wu-wu-wu-wu-wu-wu-wu''.

title: Black-faced antthrush


text:
1728 in music

The year 1728 in music involved some significant events.

Events

 * 26 March – Johann Sebastian Bach revives his St John Passion (BWV 245, BC D 2c) with some textual and instrumentational changes.
 * Giuseppe Tartini opens a school for violinists in Padua.
 * Johann Georg Pisendel begins studying composition under Johann David Heinichen.
 * Domenico Scarlatti returns to Rome, where he meets his first wife.
 * Johann Joachim Quantz visits Berlin and performs in the presence of the Crown Prince of Prussia, who insists on taking lessons from him.
 * Deafness forces Johann Mattheson to retire from his post as musical director of Hamburg Cathedral.
 * In music theory, the circle of fifths is described by Johann David Heinichen, in his 1728 treatise Der Generalbass in der Composition; the first such description in Western European literature

Classical music

 * Johann Sebastian Bach – Partita in D major, BWV 828
 * Jean Francois Dandrieu – Pieces de Clavecin, Book 2
 * Giovanni Antonio Guido – Scherzi armonici sopra le quattro staggioni dell'anno, Op. 3
 * Jean-Marie Leclair – 12 Violin Sonatas, Op. 2
 * Vincent Lübeck – Clavier Übung for harpsichord
 * Michel Pignolet de Montéclair – Morte di Lucretia
 * Jean-Philippe Rameau – Cantates Françaises
 * Thomas Roseingrave – Voluntarys and Fugues
 * Giuseppe Tartini – 6 Violin Concertos, Op. 1
 * Georg Philipp Telemann
 * Der getreue Music-Meister (editor, continues through 1729) Hamburg: [Telemann].
 * Das Frauenzimmer verstimmt sich immer, song for voice and basso continuo, TWV 25:37, lection 5
 * Ich kann lachen, weinen, scherzen (cantata, words by M. von Ziegler), for soprano and basso continuo, TWV 20:15, lections 19–20.
 * Intrada, nebst burlesquer Suite (nicknamed "Gulliver Suite") for two violins unaccompanied, TWV 40:108
 * Säume nicht geliebte Schöne, song for voice and basso continuo), TWV 25:38, lection 21

Opera

 * Bartolomeo Cordans – Ormisda
 * Geminiano Giacomelli – Gianguir
 * George Frideric Handel
 * Siroe, re di Persia, HWV 24
 * Tolomeo, re di Egitto
 * Leonardo Leo
 * Catone in Utica
 * La pastorella commattuta, librettist Tommaso Mariani
 * Johann Christoph Pepusch – The Beggar's Opera
 * Leonardo Vinci
 * Catone in Utica
 * Didone Abandonnata
 * Medo

Musical theater

 * The Beggar's Opera opened at Lincoln's Inn Fields on January 29 and ran for 62 performances

Births

 * January 16 – Niccolò Piccinni, composer of over 100 operas (died 1800)
 * January 17 – Johann Gottfried Müthel, keyboard virtuoso and composer (died 1788)
 * September 21 – Louis Emmanuel Eadin, composer
 * December 9 – Pietro Alessandro Guglielmi, composer (died 1804)
 * December 21 – Hermann Raupach, composer (died 1778)
 * December 25 – Johann Adam Hiller, composer (died 1804)

Deaths

 * February 12 – Agostino Steffani, composer and diplomat (born 1653)
 * August 15 – Marin Marais, composer and bass-viol player (born 1656)
 * October 8 – Anne Danican Philidor, composer and founder of the Concert Spirituel (born 1681)
 * November 19 – Leopold, Prince of Anhalt-Köthen, employer of Johann Sebastian Bach (born 1694) (smallpox)
 * probable – Gaetano Greco, composer (born c. 1657)

title: 1728 in music


text:
Talk:Plan Columbia

This mistitled article should be merged into Plan Colombia and deleted.

chocolateboy 06:28, 17 Jul 2004 (UTC)

title: Talk:Plan Columbia


text: User talk:209.94.133.143

title: User talk:209.94.133.143


text:
User:SocratesJedi

I am a physician-scientist with a medical degree, a Ph.D. in Biochemistry & Molecular Biology and undergraduate degrees in Electrical Engineering, Engineering Physics and Molecular and Cellular Biology. I have a deep interest in structural biology, systems biology and artificial intelligence. I have many interests in some of the following areas: mathematics, science, economics, sociology, theology and many other areas.

Recent Articles of Interest
Current project: Protein structures

Articles I Originated

 * Eric W. Weisstein
 * CRC Press
 * ScienceWorld
 * YoUDee
 * National Medal of Technology
 * Presidents of the AAAS
 * Kathie L. Olsen
 * Robert Barron (locksmith)
 * Ribose repressor
 * ZXDC

Image Contributions

 * Protein structures

A disclaimer
Please note: My contributions are my own and do not reflect on organizations of which I am a part in any way.

title: User:SocratesJedi


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Category:Universities and colleges in North Dakota

Institutions of higher education in the U.S. state of North Dakota.