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Railroad Model Craftsman

Railroad Model Craftsman is an American magazine specializing in the hobby of model railroading. The magazine is published monthly by White River Productions, which acquired the title from Carstens Publications in 2014. Its first issue in March 1933 was called The Model Craftsman because it covered other areas of scale modeling as well. Founded by Emanuele Stieri, it was second editor Charles A. Penn who helped grow the company and lead the publication towards the hobby of scale models. In April 1949 it changed its focus to model trains and changed its name to Railroad Model Craftsman to reflect this change in editorial content. While it can claim to be the oldest model railroading magazine in continuous publication in the United States, rival Model Railroader counters with the tagline "Model railroading exclusively since 1934." (However, both were predated by The Model Maker, which dates from 1924, and showcased working models of steam engines, trains, and boats. ) Over the years, several other titles have been folded into the publication, including Toy Trains, Electric Trains and Hobby Railroading, Miniature Rail Roading, Model & Railway News, and The O Gager.

1933–1962: Stieri and Penn years
The company was founded in 1933 by Emanuele Stieri, a prolific how-to writer, and was the first editor-in-chief of the fledgling publication. Published by Model Craftsman Publishing Corp., the company moved headquarters from Chicago to New York City in 1934. The company was acquired by Charles A. Penn in 1935. The company relocated to suburban Ramsey, New Jersey in 1940. During the 1940s, the staff consisted of Charles Penn as editor and publisher, Robert W. Thompson as managing editor, Lewis Austin as the model railroad editor, Leon Shulman as the model airplane editor, and Louis H. Hertz as the research editor. After World War II, Robert Thompson was succeeded by his brother Jim as managing editor.

In December 1940, the magazine absorbed The Modelmaker, which was first published by Spon & Chamberlain in January 1924 and was the only magazine dedicated to model building until Model Craftsman was founded. The magazine also increased to 74 pages.

As the magazine's editorial focus shifted entirely toward the hobby of model railroading, the publication was renamed "Model Railroad Craftsman" in April 1949. Feeling the name was too close to that of Model Railroader, publisher Al Kalmbach asked for a slight name change as professional courtesy. As a result, "Railroad Model Craftsman" debuted in July 1949.

Harold Carstens joined the staff as an associate editor in 1952, after previously contributing several articles. As of 1954, the magazine staff consisted of Charles Penn as editor and publisher, Jim Thompson as executive editor, Hal Carstens as managing editor, Sam Skean, Bill Schopp as technical editor, and Edwin P. Alexander as research editor.

1962–2014: Under the Carstens
In 1962, Hal Carstens was named publisher and president following the retirement of Charles Penn. Hal Carstens later purchased the company, and the name was changed to Carstens Publications in 1969. Tony Koester joined the staff as an associate editor in 1968, and later became managing editor in 1971. By 1972, Jim Boyd was working full-time as editor of Flying Models, but was also listed as an associate editor of RMC. The last big move came in 1973 when the publishing company moved to rural Newton in northern New Jersey, housed in a newly constructed suite of offices with an attached warehouse. Koester and Boyd worked together to push more modern prototype content and fine scale modeling features in contrast to the more loose interpretations of the hobby previously published by Hal Carstens. Boyd would be named editor of the new Railfan & Railroad magazine launched by Carstens in 1974.

By 1980, Jim Boyd and Bill Schaumburg were listed as associate editors (Bill joined the staff in November 1976). In 1981, Bill Schaumburg succeeded Koester as managing editor, and Chris D'Amato and Jim Ankrom joined the staff as associate editors in 1982. By the mid-1980s, Boyd was dropped from the masthead as he was now concentrating full-time as editor of Railfan & Railroad.

The magazine was published 12 times a year by Carstens Publications, located in Newton, New Jersey. As its name would suggest, Railroad Model Craftsman concentrates more on scratch building and kitbashing than its closest competitor. In-depth features relating to prototype historical research, model construction techniques, and high-quality detailing and finishing are common themes. The editors have also closely followed the emerging trend of Railway Prototype Modelers, who seek to reproduce scale replicas of actual existing pieces of railway equipment as closely as possible, and share those techniques with other modelers. Although the magazine is not scale-specific, most of its plans are published either in HO scale or O scale, with instructions on converting them to other scales. Almost all of the content in the magazine is generated by readers, with very few articles produced by the editors.

Publisher Hal Carstens died on June 23, 2009, with his son Henry Carstens assuming day-to-day control of the company.

Enjoying a long career as RMC's longest serving editor, Bill Schaumburg retired in February 2013. After his departure, the staff of the magazine consisted of editor Chris D'Amato, associate editor Jim Ankrom, and part-time associate editor Scott Lupia. Most of the accompanying art work, maps, and track plans were produced by illustrators Ken Lawrence and Otto Vondrak.

Since 2014: White River Productions
After years of financial struggle, Carstens Publications president Henry Carstens announced the company's permanent closure on August 22, 2014. On September 1, 2014, White River Productions of Bucklin, Missouri, announced their acquisition of Railroad Model Craftsman as well as sister publication Railfan & Railroad. Beginning with the January 2015 issue, the primary editorial staff consisted of Stephen Priest and Tony Cook, the first major change since the 1980s. Harry K. Wong later joined the staff as an associate editor. The magazine was completely redesigned, and some columns were retired, while others have been renamed ("Safety Valve" became "Postmarks" in 2014, restored to its original name in 2019). The magazine continued to produce in-depth features focused on scale model construction and prototype research.

In February 2019, Otto Vondrak was named the eighth editor of Railroad Model Craftsman, effective with the May 2019 issue, and splitting his duties as associate editor of Railfan & Railroad. The rest of the staff consists of Harry K. Wong as associate editor, and Todd Gillette as graphic designer. In April 2020, Justin Franz joined the staff as associate editor.

Magazine sections
The main part of the magazine is dedicated to the features. The subjects can range from a tour of a model railroad; to historical research related to a structure, piece of equipment, or entire railroad line; to the construction, painting, and detailing of a scale model.

Safety Valve - (Formerly "Postmarks" from 2014-2019) A column of letters submitted to the editors by the readers of RMC expressing opinions about or sharing news related to features published in the magazine. Printed on a space-available basis.

Receiving Yard - (Formerly "Dispatcher's Report") This section features announcements from various hobby manufacturers of new model railroading products available. Descriptions are brief and contain contact information for the manufacturer or their representative, compiled by associate editor Harry K. Wong.

Railbooks - Various new books and recordings related to the world of railroading and scale models are reviewed in-depth by the editors and other authors.

Timetable - A listing of model railroad related events taking place around the country, submitted by readers, and published on a space-available basis.

Dremel Kitbashing Award - Co-sponsored by hobby tool manufacturer Dremel, is awarded to a hobbyist who completes a well-executed kitbashing project in any scale, using a variety of model building techniques. Dremel ended its support for the award in 2022, ending a 50-year run.

Scratchbuilder's Workshop - (Formerly "Scratchbuilder's Corner") This regular monthly column was launched in 2002. Each month, veteran model builder Bob Walker discusses tips, techniques, and philosophy related to the construction of scale models from scratch, otherwise known as "scratchbuilding." Walker retired from the column in 2019, and a number of authors contribute to the monthly Craftsman Workshop column in its place.

Test Track - In-depth product reviews of new tools, models, and other equipment related to model railroading, compiled by associate editor Harry K. Wong.

Editor's Notebook - News and editorial commentary by editor Otto Vondrak.

Look Both Ways - Launched in 2014, this monthly column explores some of the philosophy and reason behind the construction of model railroads and the hobby experience as a whole, authored by Mike Schafer (editor of Passenger Train Journal) and modeler Bill Navigato. The last edition of this column was January 2021, when the authors announced their retirement.

Collector Consist - Previously authored by Keith Wills, the column was reactivated in 2019 and is authored by Tony Cook, editor of HO Collector magazine. This quarterly column explores pioneering examples of scale model trains from the last fifty years.

Company Photographer - This quarterly column was reactivated in 2019 to demonstrate various photography techniques as it applies to model railroading.

Painting and Weathering - A new quarterly column launched in 2019 to demonstrate various methods of painting and weathering models.

Branch Line on a Shelf - A new bi-monthly column launched in January 2022 where author Scott Thornton describes his process to build a model railroad utilizing a modern shallow shelf design.

title: Railroad Model Craftsman


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Rational variety

In mathematics, a rational variety is an algebraic variety, over a given field K, which is birationally equivalent to a projective space of some dimension over K. This means that its function field is isomorphic to
 * $$K(U_1, \dots, U_d),$$

the field of all rational functions for some set $$\{U_1, \dots, U_d\}$$ of indeterminates, where d is the dimension of the variety.

Rationality and parameterization
Let V be an affine algebraic variety of dimension d defined by a prime ideal I = ⟨f1, ..., fk⟩ in $$K[X_1, \dots, X_n]$$. If V is rational, then there are n + 1 polynomials g0, ..., gn in $$K(U_1, \dots, U_d)$$ such that $$f_i(g_1/g_0, \ldots, g_n/g_0)=0. $$ In other words, we have a rational parameterization $$x_i=\frac{g_i}{g_0}(u_1,\ldots,u_d)$$ of the variety.

Conversely, such a rational parameterization induces a field homomorphism of the field of functions of V into $$K(U_1, \dots, U_d)$$. But this homomorphism is not necessarily onto. If such a parameterization exists, the variety is said to be unirational. Lüroth's theorem (see below) implies that unirational curves are rational. Castelnuovo's theorem implies also that, in characteristic zero, every unirational surface is rational.

Rationality questions
A rationality question asks whether a given field extension is rational, in the sense of being (up to isomorphism) the function field of a rational variety; such field extensions are also described as purely transcendental. More precisely, the rationality question for the field extension $$K \subset L$$ is this: is $$L$$ isomorphic to a rational function field over $$K$$ in the number of indeterminates given by the transcendence degree?

There are several different variations of this question, arising from the way in which the fields $$K$$ and $$L$$ are constructed.

For example, let $$K$$ be a field, and let

 * $$\{y_1, \dots, y_n \}$$

be indeterminates over K and let L be the field generated over K by them. Consider a finite group $$G$$ permuting those indeterminates over K. By standard Galois theory, the set of fixed points of this group action is a subfield of $$L$$, typically denoted $$L^G$$. The rationality question for $$K \subset L^G$$ is called Noether's problem and asks if this field of fixed points is or is not a purely transcendental extension of K. In the paper on Galois theory she studied the problem of parameterizing the equations with given Galois group, which she reduced  to "Noether's problem". (She first mentioned this problem in where she attributed the problem to E. Fischer.) She showed this was true for n = 2, 3, or 4. found a counter-example to the Noether's problem, with n = 47 and G a cyclic group of order 47.

Lüroth's theorem
A celebrated case is Lüroth's problem, which Jacob Lüroth solved in the nineteenth century. Lüroth's problem concerns subextensions L of K(X), the rational functions in the single indeterminate X. Any such field is either equal to K or is also rational, i.e. L = K(F) for some rational function F. In geometrical terms this states that a non-constant rational map from the projective line to a curve C can only occur when C also has genus 0. That fact can be read off geometrically from the Riemann–Hurwitz formula.

Even though Lüroth's theorem is often thought as a non elementary result, several elementary short proofs have been known for a long time. These simple proofs use only the basics of field theory and Gauss's lemma for primitive polynomials (see e.g. ).

Unirationality
A unirational variety V over a field K is one dominated by a rational variety, so that its function field K(V) lies in a pure transcendental field of finite type (which can be chosen to be of finite degree over K(V) if K is infinite). The solution of Lüroth's problem shows that for algebraic curves, rational and unirational are the same, and Castelnuovo's theorem implies that for complex surfaces unirational implies rational, because both are characterized by the vanishing of both the arithmetic genus and the second plurigenus. Zariski found some examples (Zariski surfaces) in characteristic p > 0 that are unirational but not rational. showed that a cubic three-fold is in general not a rational variety, providing an example for three dimensions that unirationality does not imply rationality. Their work used an intermediate Jacobian. showed that all non-singular quartic threefolds are irrational, though some of them are unirational. found some unirational 3-folds with non-trivial torsion in their third cohomology group, which implies that they are not rational.

For any field K, János Kollár proved in 2000 that a smooth cubic hypersurface of dimension at least 2 is unirational if it has a point defined over K. This is an improvement of many classical results, beginning with the case of cubic surfaces (which are rational varieties over an algebraic closure). Other examples of varieties that are shown to be unirational are many cases of the moduli space of curves.

Rationally connected variety
A rationally connected variety V is a projective algebraic variety over an algebraically closed field such that through every two points there passes the image of a regular map from the projective line into V. Equivalently, a variety is rationally connected if every two points are connected by a rational curve contained in the variety.

This definition differs from that of path connectedness only by the nature of the path, but is very different, as the only algebraic curves which are rationally connected are the rational ones.

Every rational variety, including the projective spaces, is rationally connected, but the converse is false. The class of the rationally connected varieties is thus a generalization of the class of the rational varieties. Unirational varieties are rationally connected, but it is not known if the converse holds.

Stably rational varieties
A variety V is called stably rational if $$V \times \mathbf P^m$$ is rational for some $$m \ge 0$$. Any rational variety is thus, by definition, stably rational. Examples constructed by show, that the converse is false however.

showed that very general hypersurfaces $$V \subset \mathbf P^{N+1}$$ are not stably rational, provided that the degree of V is at least $$\log_2 N+2$$.

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

title: Rational variety


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Noël-Nicolas Coypel

Noël-Nicolas Coypel (17 November 1690, Paris – 14 December 1734, Paris) was a French Baroque painter.

Biography
His father, Noël Coypel, was a well-known artist, as was his half-brother, Antoine Coypel, who was almost thirty years his senior. He learned the basic elements of painting from them. After winning several awards from the Académie Royale, he received their accreditation in 1716 and became a full member in 1720, when Antoine was the Rector there. His reception piece was a depiction of the god Neptune abducting the nymph Amymone.

In 1727, King Louis XV announced a competition to promote history painting at the Académie. Coypel submitted "The Triumph of Amphitrite". Although it failed to win a prize, it proved to have great popular appeal.

Encouraged by this, he sought to make himself better known by offering to paint the Chapel of the Virgin at the 13th century Église Saint-Sauveur de Paris, without remuneration. The ceiling was especially noted, for what was described as its "unusual composition". His works there were short-lived however, as a reconstruction project that began in 1787 was interrupted by the Revolution and ended with the church being demolished.

He also created a painting for the Order of Minims at the Place des Vosges, representing Saint Francis of Paola crossing the sea with his companions. Shortly after, he executed two paintings in the secret  chapel of the Sorbonne; a Saint Anthony and a Saint Hillary. King Louis owned a copy of his "Glory of the Angels", displayed at Versailles, and a Nativity scene in the Queen's private oratory In 1733. he was appointed to a professorship at the Académie. The following year, he died suddenly from an unspecified "domestic accident".

title: Noël-Nicolas Coypel


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Rille

Rille (German for 'groove') is typically used to describe any of the long, narrow depressions in the surface of the Moon that resemble channels. The Latin term is rima, plural rimae. Typically, a rille can be several kilometers wide and hundreds of kilometers in length. However, the term has also been used loosely to describe similar structures on a number of planets in the Solar System, including Mars, Venus, and on a number of moons. All bear a structural resemblance to each other.

Structures
Three types of rille are found on the lunar surface:

 * Sinuous rilles meander in a curved path like a mature river, and are commonly thought to be the remains of collapsed lava tubes or extinct lava flows. They usually begin at an extinct volcano, then meander and sometimes split as they are followed across the surface., 195 sinuous rilles have been identified on the Moon. Vallis Schröteri in Oceanus Procellarum is the largest sinuous rille, and Rima Hadley is the only one visited by humans, on the Apollo 15 mission. Another prominent example is Rima Herigonius.
 * Arcuate rilles have a smooth curve and are found on the edges of the dark lunar maria. They are believed to have formed when the lava flows that created a mare cooled, contracted and sank. These are found all over the Moon, examples can be seen near the south-western border of Mare Tranquillitatis and on the south-eastern border of Mare Humorum. Rima Sulpicius Gallus is a clear example in southwestern Mare Serenitatis.
 * Straight rilles follow long, linear paths and are believed to be grabens, sections of the crust that have sunk between two parallel faults. These can be readily identified when they pass through craters or mountain ranges. Vallis Alpes is by far the largest graben rille, indeed it is regarded as too large to be called a rille and is itself bisected by a linear rille; Rima Ariadaeus, west of Mare Tranquillitatis, is a clearer example.

Rilles which show more than one structure are termed hybrid rilles. Rima Hyginus in Sinus Medii is an example, initially formed through a fault and subsequently subject to volcanic activity.

Formation
Precise formation mechanisms of rilles have yet to be determined. It is likely that the different types are formed by different processes. Common features shared by lunar rilles and similar structures on other bodies suggest that common causative mechanisms operate widely in the solar system. Leading theories include lava channels, collapsed lava tubes, near-surface dike intrusion, nuée ardente (pyroclastic cloud), subsidence of lava-covered basin and crater floors, and tectonic extension. On-site examination would be necessary to clarify exact methods.

Sinuous rilles
According to NASA, the origin of lunar sinuous rilles remains controversial. The Hadley Rille is a 1.5 km wide and over 300 m deep sinuous rille. It is thought to be a giant conduit that carried lava from an eruptive vent far to the south. Topographic information obtained from the Apollo 15 photographs supports this possibility; however, many puzzles about the rille remain.

title: Rille


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User:Qbert911

Some guy. Q*bert is the pinnacle of Video Gaming Excellence.

title: User:Qbert911


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Wikipedia:Articles for deletion/The Technique

Non-notable student newspaper, with few relevant hits on a web search. --Ardonik 19:55, Jul 29, 2004 (UTC)
 * The information contained in this article could just as easily be represented by replacing the article link on Georgia Institute of Technology, section "Student media and organizations" with the external link to the newspaper site. Merge, delete. --Ianb 23:59, 29 Jul 2004 (UTC)
 * Was it called The Technique? We just called it the Tech.  Student paper, deserves to be mentioned in the Georgia Tech article, not as a stand alone.  Not much to merge, but merge what there is with Tech, & then delete. (Go Jackets!) Geogre 00:22, 30 Jul 2004 (UTC)
 * Merge and delete per Ianb. Would require major disambiguation anyway; MIT's yearbook is called Technique and their student newspaper is called The Tech (the word "the" being part of the name; wags once made a point of saying "have you read the The Tech today?") It wouldn't surprise me a bit if RPI had a newspaper called The Polytechnic or WPI had one called Tech News... Heck, for all I know, John O'Connell Technical High School in San Francisco might publish a "The Tech." Caltech could conceivably have a graduate student guidebook called "The Technique." Dpbsmith 15:10, 30 Jul 2004 (UTC)
 * It's actually (currently) just Technique, though historically it's switched between that and The Technique. I'm on the ed board of the paper. If desired, I could easily expand the substub into an article, but the number of people that would be interested in the article are few and far between. I actually just found out about this site yesterday so I don't know what makes a topic worthy of an article. At first pass, I'd consider the Technique to fall below the 'noise threshold', so I'll either write/not write based on comments here. Grayrest 00:19, 31 Jul 2004 (UTC)
 * My suggestion would be that you go to the Georgia Institute of Technology page, find the student life or campus publications portion, and then write up something there. It's good information for the Tech page.  It's just that it probably fails notability as a stand-alone entry.  People vary on their rationale, but mine is, "Will a user of Wikipedia be likely to search for this term and not know to search for the information another way?"  In the case of Technique, the answer is probably "no." Geogre 02:21, 31 Jul 2004 (UTC)


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Franz von Lenbach

Franz Seraph Lenbach, after 1882, Ritter von Lenbach (13 December 1836 – 6 May 1904), was a German painter known primarily for his portraits of prominent personalities from the nobility, the arts, and industry. Because of his standing in society, he was often referred to as the "Malerfürst" (Painter Prince).

Biography
His father, who originally came from South Tyrol where the family name was spelled "Lempach", was a Master Mason for Schrobenhausen,  where Lenbach was born. Lenbach completed his primary education at Landsberg in 1848, then attended a business school in Landshut. From 1851 to 1852, he was apprenticed to the sculptor Anselm Sickinger in Munich. At that time, his father died and he went home to help in the family business.

He was only there a short time before beginning studies at the Augsburg University of Applied Sciences. While there, he drew and painted in his spare time, befriended Johann Baptist Hofner (1832–1913), the animal painter, and decided to become an artist. In 1854, he obtained his family's reluctant permission to study at the Academy of Fine Arts, Munich, and later took private lessons from Hermann Anschütz. Lenbach was already an accomplished artist when he became the pupil of Karl von Piloty. In 1858, he was able to stage an exhibition at the Glaspalast and won a travel scholarship, which enabled him to accompany Piloty to Rome. A few works remain as the outcome of this first journey: A Peasant seeking Shelter from Bad Weather (1855), The Goatherd (1860, in the Schack Gallery, Munich) and The Arch of Titus (in the Palfy collection, Budapest). He also travelled to Paris and Brussels. It was about then that he started receiving his first portrait commissions.

On returning to Munich, he was at once called to Weimar to take the appointment of professor at the newly established Weimar Saxon Grand Ducal Art School, where he became known for taking his students on painting expeditions en plein aire. He remained for only two years, however, when he felt the need for more studies and decided to take another trip to Italy. During this time, he also found an important patron; Baron Adolf Friedrich von Schack. Through his support, Lenbach was able to leave for Italy in 1863 with a guaranteed annual income. He returned to Munich in 1866. The following year, he won a gold medal at the Exposition Universelle and went to Spain for one year, accompanied by his student, Ernst Friedrich von Liphart, to make more copies of the Old Masters for Schack. Upon returning, his career as a portrait painter began in earnest. His breakthrough came in 1869, when he won a gold medal at the Glaspalast, despite being up against many fashionable French painters. After 1870, he began making visits to Vienna to develop a market for his paintings there, which even survived the Panic of 1873. It is also said that he travelled there frequently because he had a passion for Maria Beccadelli di Bologna, which was never returned.

From 1875 to 1876 he, Hans Makart, and other associates made a trip to Egypt, which left a deep impression in his style. In 1882, he was awarded the Order of Merit of the Bavarian Crown, which entitled him to become "Von Lenbach". The following year, he was back in Rome, where he lived in apartments at the Palazzo Borghese. One of his sitters was Clara Schumann, whose portrait he drew in pastel in 1878. In 1885, he was commissioned to do a portrait of Pope Leo XIII. As the Pope did not have time to sit for the portrait, a new technique was used to create a photographic template. He left Rome in 1887 and began building a villa in Munich. Later that year, he married Countess Magdalena Moltke. By the 1890s, he was painting almost entirely from photographs, a common practice at the time, but he also began working too fast, in an effort to create sufficient income. In 1895, a major scandal erupted when one of his assistants took unfinished paintings and sketches, had students fill in the details, and passed them off as Lenbach's work. In 1896, he and Magdalena were divorced, over suspicions of infidelity with her doctor, Ernst Schweninger, whom she did in fact later marry. Lenbach also remarried, to Charlotte von Hornstein, daughter of the composer Robert von Hornstein.

He refused to join the Munich Secession and was highly critical of the new Bavarian National Museum. He also began to paint women, almost exclusively, whereas before he had concentrated on men. Around 1900, he started to produce trading card designs for the Stollwerck chocolate company of Cologne.

In 1902, he became an honorary Knight in the Légion d’Honneur. That same year, he suffered a stroke while returning from a trip to his home town and never fully recovered. He died at his Munich villa two years later. He was buried at the Westfriedhof and many prominent figures spoke at his funeral.

Legacy
Some of Lenbach's paintings are now in national collections in the United Kingdom, including portraits by Lenbach of Bismarck and Gladstone in the National Galleries of Scotland and another of Gladstone in the Palace of Westminster. Others are in the Frye Art Museum in Seattle, Washington.

Third Reich era
Lenbach's paintings were much prized by top Nazis and given as gifts by underlings. Goebbels gifted Hitler a Lenbach in 1936, writing in his diary, "(Hitler) is very touched and takes the greatest joy in my Lenbach". Lenbachs were also looted from Jewish collectors like the Löw-Beer family in Brněnec, Rudolf Mosse in Berlin, Sigmund Bernstein, and many others. The database of the German Lost Art Foundation lists 108 entries for Lenbach. The ERR database for objects seized in France (the "Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume") lists six artworks by Lenbach.

title: Franz von Lenbach


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Talk:Signed number representations

addition
I've spent ages trying to find this article! I think 'ones complement sum' should redirect here, too. I want to add that ones complement sum is used not only in IP header, but in TCP and UDP data as well. Its widespread is due to easy checksum verification - if there is arbitrary sequence of bytes, its checksum calculated according to ones complement arithmetic, always gives all-ones if you sum all data and checksum. But this checksum very simple and don't detect errors like swapped bytes.

Ones' Complement vs Sign-Magnitude
In the Ones' complement section there's this claim: "Note that the ones' complement representation of a negative number can be obtained from the sign-magnitude representation merely by bitwise complementing the magnitude." No matter how I look at this, I can't see how it is correct. It seems contradictory to the definition of ones' complement as well as the "Eight-bit ones' complement" table and the "Four-bit integer representations" in the Comparison table section.165.225.38.226 (talk) 19:18, 13 June 2018 (UTC)

 * The four-bit table shows that e.g. -1 is "1001" in sign-magnitude and "1110" in ones' complement representation. Bitwise complementing the magnitude means that you invert all the bits except the left-most bit (which is the sign bit). So "1001" becomes "1110", which supports the claim, so I don't see anything wrong with it. --Yawe (talk) 21:46, 13 June 2018 (UTC)

 * The one's complement representation of a negative number is obtained by complementing all the bits, and the signed-magnitude representation is obtained by complementing the sign bit, so if you take the signed-magnitude representation of a negative number, and complement the rest of the bits - i.e., complement the magnitude - you have complemented all the bits, and therefore now have the one's complement representation of that negative number. Guy Harris (talk) 23:04, 13 June 2018 (UTC)

 * More specifically, this is a convenient way to build sign-magnitude adders: Convert to ones complement, add (with end around carry), and convert back again. Gah4 (talk) 00:29, 14 June 2018 (UTC)

end-around carry
Regarding ones' complement, end-around carry, and the reference that can't be found. I believe I understand what the reference discusses, which is an effect using a ripple carry adder. But nobody uses a ripple carry adder! Seymour Cray, in his CDC days, believe that ones' complement adders were faster. But also note that, as written in the article, the end-around carry is done after the rest of the addition. If you use a carry-lookahead adder, like all real computers do, carries are computed at the same time as sum bits. A two's complement subtractor requires a carry-in to the LSB, which might need to propagate (hopefully though carry-lookahead) all the way. A ones' complement subtractor doesn't have that. But otherwise, WP:NOTHOWTO applies. There are things that computer designers need to know, but that we don't need to explain here. Gah4 (talk) 21:11, 25 March 2020 (UTC)

Negation in ones' complement
The article states that "...because the negation of a positive value x (represented as the bitwise NOT of x) can also be formed by subtracting x from the ones' complement representation of zero that is a long sequence of ones (−0)." yet when one goes to Ones' complement page it shows in the Negative zero section that addition or subtraction of negative 0 in binary has no effect on the number (as it shouldn't). As I understanding this sentence incorrectly or is it wrong? — Preceding unsigned comment added by 185.107.13.4 (talk) 14:08, 7 May 2020 (UTC)
 * No, it just says that for instance, on 5 bits, to obtain −3, i.e. written −11 in binary, one can do 11111 − 11 = 11100, i.e. 11100 is the representation of −3 on 5 bits. Vincent Lefèvre (talk) 17:17, 7 May 2020 (UTC)
 * Whether +0 or -0 is generated when the result is zero depends on some fine details of the logic, that we mostly don't need to go into here. There is one case that might be worth mentioning. You can build a ones' complement subtractor that only generates -0 when the first operand is -0. You can then do addition by adding the complement, or subtraction as subtraction. As long as the inputs are not -0, the result won't be -0. You can then get away with not comparing -0 and +0 equal, and otherwise not using -0. I don't know which machines, if any, do this. Gah4 (talk) 18:08, 7 May 2020 (UTC)
 * Whether +0 or -0 is generated when the result is zero depends on some fine details of the logic, that we mostly don't need to go into here. There is one case that might be worth mentioning. You can build a ones' complement subtractor that only generates -0 when the first operand is -0. You can then do addition by adding the complement, or subtraction as subtraction. As long as the inputs are not -0, the result won't be -0. You can then get away with not comparing -0 and +0 equal, and otherwise not using -0. I don't know which machines, if any, do this. Gah4 (talk) 18:08, 7 May 2020 (UTC)
 * Whether +0 or -0 is generated when the result is zero depends on some fine details of the logic, that we mostly don't need to go into here. There is one case that might be worth mentioning. You can build a ones' complement subtractor that only generates -0 when the first operand is -0. You can then do addition by adding the complement, or subtraction as subtraction. As long as the inputs are not -0, the result won't be -0. You can then get away with not comparing -0 and +0 equal, and otherwise not using -0. I don't know which machines, if any, do this. Gah4 (talk) 18:08, 7 May 2020 (UTC)

title: Talk:Signed number representations


text:
John Paul Tremblay

John Paul Tremblay (born May 17, 1968) is a Canadian actor, screenwriter, and comedian who is best known for his role as Julian in the TV series Trailer Park Boys.

Career
Before acting in Trailer Park Boys, Tremblay and his future co-star Robb Wells owned a chain of pizza restaurants called J.R. Capone's. Trailer Park Boys is written by Tremblay along with co-stars Robb Wells and Mike Smith. The Trailer Park Boys released a film in 2006, most of it being filmed in the municipality of Halifax. Tremblay and Wells also appeared in the 2002 family film Virginia's Run, though not as Ricky and Julian.

In 2010, Tremblay appeared with many of his former Trailer Park Boys castmates in the new series The Drunk and On Drugs Happy Fun Time Hour. In 2011, Tremblay again reunited with Trailer Park Boys castmates Robb Wells and Mike Smith for the live comedy show Drunk, High and Unemployed, which toured across the United States.

Tremblay reunited with the Trailer Park Boys for an eighth and ninth season of the show which premiered on Netflix from September 5, 2014. Writing for seasons 10 & 11 began in January 2015. Filming began for season 10 in June 2015. Season 10 of the show was released March 28, 2016, the eleventh on March 31, 2017, and the twelfth and most recent season was released on March 30, 2018. This concluded with most of the main characters entering an animated reality after taking an overdose of hallucinogenic mushrooms, which led into Trailer Park Boys: The Animated Series released in 2019.

title: John Paul Tremblay


text:
Arnold Wolfendale

Sir Arnold Whittaker Wolfendale FRS (25 June 1927 – 21 December 2020)  was a British astronomer who served as the fourteenth Astronomer Royal from 1991 to 1995. He was Professor of Physics at Durham University from 1965 until 1992 and served as president of the European Physical Society (1999–2001). He was President of the Royal Astronomical Society from 1981 to 1983.

Education and background
His family moved to Flixton, Lancashire when he was 18 months. He attended Stretford Grammar School near Manchester. Wolfendale graduated with a Bachelor of Science in physics from the University of Manchester in 1948, followed by a PhD in 1953 and a Doctor of Science in 1970.

Career
During his career he held academic posts at the universities of University of Manchester (1951–6), Durham University (1956–92), the University of Ceylon and the University of Hong Kong. He was Professor of Physics at Durham 1965–92, including a period as head of department, and remained an emeritus professor until his death.

In 1965, he was part of the team that first detected neutrinos at the Kolar Gold Fields.

Publications

 * Arnold Wolfendale publications in arxiv.org

 * Arnold Wolfendale publications at the SAO/NASA Astrophysics Data System

 * Arnold Wolfendale publications in Google Scholar
 * Arnold Wolfendale publications at Scopus (subscription required for more than 10)
 * Royal Society

Awards and honours
Wolfendale was elected a fellow of the Royal Astronomical Society in 1973, and a Fellow of the Royal Society in 1977. He served as Astronomer Royal from 1991 to 1995. In 1992, Wolfendale retired from teaching, and he was knighted in 1995. In 1996 he became Professor of Experimental Physics with the Royal Institution of Great Britain. A lecture theatre in Durham University's new Calman Learning Centre has been named in his honour. He was an honorary DSc of Bucharest University and foreign member of the Bulgarian Academy of Sciences. His nomination for the Royal Society reads

Other Activities
In 1992 Wolfendale became Patron of the Society for Popular Astronomy and was a keen supporter of its activities. He opened Kielder Observatory, Northumberland in 2008, and was its Patron. In 2009 he was the 156th President of the Birmingham and Midland Institute. From April 2013, he was one of the two Honorary Vice Presidents of the Society for the History of Astronomy.

Personal life
He married Audrey Darby in 1951. They had twin sons. His wife Audrey died in 2007. He married anthropologist Dorothy Middleton, at Durham Cathedral, on 5 September 2015. Wolfendale died in December 2020 at the age of 93.

title: Arnold Wolfendale


text: Template:Resources for collaboration

title: Template:Resources for collaboration


text:
Francis Graham-Smith

Sir Francis Graham-Smith (born 25 April 1923) is a British astronomer. He was the thirteenth Astronomer Royal from 1982 to 1990 and was knighted in 1986.

Education
Graham-Smith was educated at Rossall School, Lancashire, England, and the University of Cambridge where he was a student of Downing College, Cambridge from 1941.

Career and research
In the late 1940s he worked at the University of Cambridge on the Long Michelson Interferometer.

In 1964 he was appointed Professor of Radio Astronomy the University of Manchester and in 1981 director of the Nuffield Radio Astronomy Laboratories, part of the University of Manchester at Jodrell Bank. He was also Director of the Royal Greenwich Observatory from 1975 to 1981.

He appeared in Episode 13 of Series 4 of Treasure Hunt when the show visited Jodrell Bank, giving presenter Anneka Rice a piggy back to allow her to reach a clue. His doctoral students include Andrew Lyne. His published work includes

 * Optics (1971)
 * Pathways to the Universe (1988)
 * Pulsar Astronomy (1990)
 * An Introduction to Radio Astronomy (1997)
 * Unseen Cosmos (2013)
 * Eyes on the Sky (2016)

Awards and honours
His awards and honours include:
 * elected a Fellow of the Royal Society in 1970 and was awarded their Royal Medal in 1987
 * served as president of the Royal Astronomical Society from 1975 to 1977
 * served as the thirteenth Astronomer Royal from 1982 to 1990
 * Awarded the Richard Glazebrook Medal and Prize in 1991

In 1965 he was invited to co-deliver the Royal Institution Christmas Lecture on Exploration of the Universe.

Personal life
Graham-Smith is an avid bee-keeper and kept up this hobby well into his 90s, looking after the hives at Jodrell Bank. He also inspired the creation of the St Andrews Amateur Beekeeping Society.

He lived with his wife Elizabeth in the Old School House in Henbury, Cheshire, from 1981 until her death in 2021. They had met when they were both working with Martin Ryle in 1945-6 in Cambridge in the early days of radio astronomy.

He celebrated his 100th birthday on 25 April 2023.

Sir Francis Graham-Smith is a Distinguished Supporter of Humanists UK is the President of Macclesfield Astronomical Society and is a patron of Mansfield and Sutton Astronomical Society.

title: Francis Graham-Smith


text:
Talk:Arkley (automobile)

Untitled
Dear Wikipedians, I did my best and extended this stub. Who will delete this article from the list of automobile stubs? Shall I do it myself?

--Millisits 19:58, 29 Jul 2004 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20040903080246/http://www.gerardsgarage.com:80/GarageContent/UniqueSprites/arkley/ArkleyMidget.htm to http://gerardsgarage.com/GarageContent/UniqueSprites/arkley/ArkleyMidget.htm

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title: Talk:Arkley (automobile)


text: User talk:12.39.2.87

title: User talk:12.39.2.87


text:
Wikipedia:Requests for comment/WHEELER2

 * (User:WHEELER | talk | contributions)

Statement of the dispute
This is a summary written by users who dispute this user's conduct.

 * Description:

 * Evidence of disputed behavior (provide diffs and links):
 * Talk:Effeminacy - http://en.wikipedia.org/w/wiki.phtml?title=Talk%3AEffeminacy&diff=4906859&oldid=4906749
 * Effeminacy - http://en.wikipedia.org/w/wiki.phtml?title=Effeminacy&diff=0&oldid=4906967
 * http://en.wikipedia.org/w/wiki.phtml?title=Classical_definition_of_effeminacy&action=history, "Created the Classical defintion for Classical Scholars and Christians to understand old texts and bible."
 * http://en.wikipedia.org/w/wiki.phtml?title=Wikipedia%3AVillage_pump&diff=4973616&oldid=4972469

 * Applicable policies:
 * No personal attacks (#1,3), NPOV (#1-3)

 * Evidence of trying and failing to resolve the dispute (provide diffs and links):
 * Talk:Effeminacy
 * User_talk:WHEELER

 * Users certifying the basis for this dispute (sign with ~ ):
 * Hyacinth 20:00, 29 Jul 2004 (UTC)
 * Snowspinner 13:57, Jul 31, 2004 (UTC)

 * Other users who endorse this summary (sign with ~ ):

Addendum

 * 1) Requests for comment/WHEELER

Response
''This is a summary written by the user whose conduct is disputed, or by other users who think that the dispute is unjustified and that the above summary is biased or incomplete. Users who endorse this summary (sign with ~ )'':

I apologize for my behavior.

I asked several times for **references** of the term malakos in classical texts that has the meaning they they want it to have. They have yet to give any response. Yet they continue to edit the article. They refuse authority. They refuse the meaning given by Aristotle to it. None of what they have written conforms to the word malakos and all the references I have given. I am very tired of fighting people who want to give new meaning to old words and destroy and obscure the real old meaning of words. That is the question here. No one is concerned over the *deconstruction* of this word. As far as I can tell none of their content, absolutely none, matches anything in the OED, Aristotle, Plato, Greek-English Lexicon, or anything else. I am sorry. Read St. Thoman Aquinas. None of their content matches anything. It has no basis of fact at all.

Where is Wikipedia and peer review????? Do you seriously think that this article and their content would be accepted at the Classical Department of Oxford England???? Where is the Classical reveiw of this??? Where is the concern of Wikipedia and scholary peer review?

If you are not mad at the way these people want to rewrite and deconstruct classical and Christian culture with their viewpoints, and obviously, I can't find any basis for it, nor have they provided ONE word in classical texts to prove their points. If you want to accept their deonstructionism, be my guest. What they have put in here, has no bearing on the occurences of the word effeminate of Classical Greece, The Bible, or Victorian England.

Yet, they bump the classical definition and put their definition forward of what even the Greeks thought it meant. I find this very strange behavior. Yet they can have their way. They totally disregard the history of the word, classical texts, the authority of the OED and an English-Greek Lexicon. I can't handle this.WHEELER 16:42, 30 Jul 2004 (UTC)

The new contributors of that page refuse to accept the OED and they refuse to accept Aristotle's definition which the Christian Church has for 2500 years has accepted.WHEELER 16:44, 30 Jul 2004 (UTC)

Outside view
This is a summary written by users not directly involved with the dispute but who would like to add an outside view of the dispute.

As far as these spin off articles as a soloution to user conflict, I strongly oppose such a mentality. I had kept silent on this until now (my first instinct being to immediately re-merge the content and redirect the page, much as my instinct now is to merge and redirect "Classical definition of republic"...) because I thought this would all blow over, and sailing upon calmer waters I could quickly and conveniently merge/redirect the content w fewer feelings hurt. Now that is looking like less of an option.

Let me be very clear: The primary purpose of the Wikipedia is in the creating of an encyclopedia. These spin off pages may be good for the "community" but they are in no way good for the readers. My thought is to involve a mediator in this process, perhaps list the pages in question on RfC, Current disputes over articles, Pages needing attention, Peer review, Village pump, create a Poll, perhaps even list extra pages on Votes for deletion if necessary.

WHEELER, IMO is not really the problem. The problem as I see it is a meta-issue, that of integrating new users into the wiki-community. WHEELER is a symptom, not a disease. He's actually quite an excellent editor, with a love for cites and verifiability. That said, he seems to have some difficulties integrating with the group editing process, and perhaps even some fundamental differences with the Foundation issues of the project.

In conclusion, we need to be respectful of the work WHEELER is doing here (as a volunteer mind you) and be aware of some of the shortcomings of the project in integrating and acclimatizing new members.

(From )

IMO the mediation committee should be called in, to attempt to explain policy goals to WHEELER, and find out where he is coming from and what his goals are. IMO he has alot of potential to do good here, but is having a great deal of trouble adjusting. I would like to see a greater diversity of community members interact w him. To be honest, some of the people he has spent the most time interacting with are just the sorts of people I would prescribe if I wanted there to be trouble. 172, andyL, hyacinth, and explodingboy... frankly I am downright shocked and amazed that there hasn't been an explosion. For being who and what he is (I think we all have gotten an idea of where he is coming from by now ;) the fact that he has been as PC as he has been around these particular editors astounds me. It is very important that the project learn to adapt folks like wheeler into our fold, especially since he has so very much to offer (Cite your sources Verifiability). Isn't there a welcoming committee? Can they be called in to help?

(from )

Users who endorse this summary (sign with ~ ):
 * 1) Sam [Spade] 19:28, 3 Aug 2004 (UTC)

Discussion
All signed comments and talk not related to a vote, endorsement, or the user in question's response, should be directed to this page's discussion page.

title: Wikipedia:Requests for comment/WHEELER2


text:
List of Belgian classical composers

This is a list of Belgian classical composers, alphabetically sorted by surname, then by other names. It includes composers of classical music who were born within Belgium (after the establishment of the country in 1830) or became permanent residents there. It also includes those living before 1830 who were born or resident within the borders of modern Belgium (see Southern Netherlands).

A

 * Joseph Abaco (1710–1805)
 * Jean Absil (1893–1974)
 * Jean-Baptiste Accolay (1833–1900)
 * Emmanuel Adriaenssen (c. 1554–1604)
 * Alexander Agricola (1445/1446–1506)
 * Flor Alpaerts (1876–1954)
 * Charles-François Angelet (1797–1832)

B

 * Jacobus Barbireau (1455–1491)
 * Pierre Bartholomée (born 1937)
 * Peter Benoit (1834–1901)
 * Charles Auguste de Bériot (1802–1870)
 * René Bernier (1905–1984)
 * Adolphe Biarent (1871–1916)
 * Gilles Binchois (c. 1400–1460)
 * André-Joseph Blavier (1713–1782)
 * Jan Blockx (1851–1912)
 * August de Boeck (1865–1937)
 * Philippe Boesmans (born 1936)
 * Nicolas Bosret (1799–1876)
 * Josse Boutmy (1697–1779)
 * Johannes Brassart (c. 1400/1405–1455)
 * Louis Brassin (1840–1884)
 * Dirk Brossé (born 1960)
 * Antoine Busnois (c. 1430–1492)
 * Luc Brewaeys (1959–2015)

C

 * Peter Cabus (1923–2000) (in Dutch)
 * Joseph Callaerts (1838–1901)
 * Ivan Caryll (1861–1921)
 * Jean de Castro (c. 1540–1611)
 * Lambert Chaumont (c. 1635–1712)
 * Johannes Ciconia (c. 1370–1412)
 * Jacob Clemens non Papa (c. 1510/1515 – c. 1555)
 * Loyset Compère (c. 1445–1518)
 * Peeter Cornet (c. 1570/1580–1633)
 * Thomas Crecquillon (c. 1505–1557)
 * Henri-Jacques de Croes (1705–1786)

D

 * Didier van Damme (born 1929)
 * Daniel Danielis (1635–1696)
 * Arthur De Greef (1862–1940)
 * Jean De Latre (c. 1505/1510–1569)
 * Frédéric Devreese (born 1929)
 * Antonius Divitis (Anthonius Rycke) (c. 1470 – c. 1530)
 * Guillaume Dufay (1397–1474)
 * Henri Dumont (1610–1684)
 * Albert Dupuis (1877–1967)
 * Sylvain Dupuis (1856–1931)

E

 * Theodor Evertz (fl. c. 1554)
 * Ernest van der Eyken (1913–2010)

F

 * François-Joseph Fétis (1784–1871)
 * Jean-Joseph Fiocco (1686–1746)
 * Joseph-Hector Fiocco (1703–1741)
 * Jacqueline Fontyn (born 1930)
 * César Franck (1822–1890)
 * Pierre Froidebise (1914–1962)
 * Irène Fuerison (1875–1931)

G

 * Frans Geysen (born 1936)
 * Géry de Ghersem (1573/1575–1630)
 * Matthias Vanden Gheyn (1721–1785)
 * Johannes Ghiselin (Verbonnet) (fl. 1491–1507)
 * Paul Gilson (1865–1942)
 * Eugène Godecharle (1742–1798)
 * Félix Godefroid (1818–1897)
 * Lucien Goethals (1931–2006)
 * Karel Goeyvaerts (1923–1993)
 * Nicolas Gombert (c. 1495 – c. 1560)
 * François Joseph Gossec (1734–1829)
 * André Ernest Modeste Grétry (1741–1813)
 * Albert Grisar (1808–1869)

H

 * Carolus Hacquart (c. 1640–1701?)
 * Henri-Guillaume Hamal (1685-1752)
 * Hayne van Ghizeghem (c.  1445 – after 1476)
 * Hans Helsen (born 1989)
 * Wim Henderickx (1962–2022)
 * Léonard de Hodémont (c. 1575–1639)
 * Jef van Hoof (1886–1959)
 * Albert Huybrechts (1899–1938)
 * Houman Khalaj (born 1980)

I

 * Heinrich Isaac (Henricus Ysaac) (c. 1450/1455–1517)

J

 * Joseph Jongen (1873–1953)
 * Josquin des Prez (c. 1450/1455–1521)

K

 * Joannes Florentius a Kempis (1635 – after 1711)
 * Nicolaes a Kempis (c. 1600–1676)
 * Abraham van den Kerckhoven (c. 1618 – c. 1701)
 * Jacobus de Kerle (1531/1532–1591)
 * Pierre Kolp (born 1969)
 * Houman Khalaj (born 1980)

L

 * George de La Hèle (1547–1586)
 * Jan Van Landeghem (born 1954)
 * André Laporte (born 1931)
 * Eduard Lassen (1830–1904)
 * Orlandus Lassus (c. 1532–1594)
 * Victor Legley (1915–1994)
 * Guillaume Lekeu (1870–1894)
 * Jacques-Nicolas Lemmens (1823–1881)
 * Nicholas Lens (born 1957)
 * Jacques Loeillet (1685–1748)
 * Jean Baptiste Loeillet of Ghent (1688 – c. 1720)
 * Jean-Baptiste Loeillet of London (John Loeillet) (1680–1730)
 * Carolus Luython (1557–1620)

M

 * Jef Maes (1905–1996)
 * Désiré Magnus (1828–1884)
 * Pieter van Maldere (1729–1768)
 * Philibert Mees (1929–2006)
 * Martin-Joseph Mengal (1784–1851)
 * Wim Mertens (born 1953)
 * Guilielmus Messaus (1589–1640)
 * Arthur Meulemans (1884–1966)
 * Jérôme-Joseph de Momigny (1762–1842)
 * Philippus de Monte (1521–1603)
 * Lodewijk Mortelmans (1868–1952)

N

 * Vic Nees (1936–2013)

O

 * Jacob Obrecht (c. 1457/1458–1505)
 * Johannes Ockeghem (c. 1410/1425–1497)
 * Willy Ostijn (1913–1993)

P

 * Désiré Pâque (1867–1939)
 * Flor Peeters (1903–1986)
 * Andreas Pevernage (1542/1543–1591)
 * Matthaeus Pipelare (c. 1450 – c. 1515)
 * Marcel Poot (1901–1988)
 * Henri Pousseur (1929–2009)

Q

 * Marcel Quinet (1915–1986)

R

 * Jean-Théodore Radoux (1835–1911)
 * Godfried-Willem Raes (born 1952)
 * Jean Rogister (1879–1964)
 * Mateo Romero (Mathieu Rosmarin) (c. 1575–1647)
 * Cipriano de Rore (1515/1516–1565)
 * Jean-Baptiste Roucourt (1780-1849)
 * Pierre de la Rue (c. 1452–1518)
 * Joseph Ryelandt (1870–1965)

S

 * Jacques de Saint-Luc (1616 – c. 1710)
 * Maurice Schoemaker (1890–1964)
 * Philippus Schoendorff (1558–1617)
 * Adrien François Servais (1807–1866)
 * Jean-Baptiste Singelée (1812–1875)
 * André Souris (1899–1970)
 * Daniel Sternefeld (1905–1986)
 * Johannes de Stokem (c. 1445 – 1487 or 1501)

T

 * César Thomson (1857–1931)
 * Johannes Tinctoris (c. 1435–1511)
 * Edgar Tinel (1854–1912)
 * Geert van Turnhout (c. 1520–1580)

U

 * Alexander Utendal (1543/1545–1581)
 * Yolande Uyttenhove (1925–2000)

V

 * Jacobus Vaet (c. 1529–1567)
 * Jan Van der Roost (born 1956)
 * Maurice Vaute (1913–2000)
 * Carl Verbraeken (born 1950)
 * Cornelis Verdonck (1563–1625)
 * Gaspar Verlit (1622–1682)
 * Henri Vieuxtemps (1820–1881)

W

 * Hubert Waelrant (c. 1517–1595)
 * André Waignein (born 1942)
 * Gaspar van Weerbeke (c. 1445 – after 1516)
 * Giaches de Wert (1535–1596)
 * Adrian Willaert (c. 1490–1562)

Y

 * Eugène Ysaÿe (1858–1931)
 * Théo Ysaÿe (1865–1918)

title: List of Belgian classical composers


text:
User:Wblakesx

Hi all. I'm learning my way around here. I guess I can receive comments here if you " edit " this page. hi

title: User:Wblakesx


text:
The Daemon Lover

"The Daemon Lover" (Roud 14, Child 243) – also known as "James Harris", "A Warning for Married Women", "The Distressed Ship Carpenter", "James Herries", "The Carpenter’s Wife", "The Banks of Italy", or "The House-Carpenter" – is a popular ballad dating from the mid-seventeenth century, when the earliest known broadside version of the ballad was entered in the Stationers' Register on 21 February 1657.

History and different versions
There are a number of different versions of the ballad. In addition to the eight collected by Francis James Child in volume IV of his anthology The English and Scottish Popular Ballads (versions A to H), others can be found in Britain and in the United States, where it remained especially widespread, with hundreds of versions being collected throughout the years, around 250 of them in print. In comparison, only four new variants were recorded in the UK in the time between Child's death in 1896 and the second half of the 1960s, all of them before 1910.

"A Warning for Married Women" (Child A)
The oldest version of the ballad – labeled 243 A in Child's anthology and originally signed with the initials L.P. – is generally attributed to Laurence Price,  a prominent ballad writer of that time. The original, full title of the broadside was "A Warning for Married Women, by the example of Mrs. Jane Renalds, a West-Country woman born neer unto Plymouth, who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall be presently recited". The broadside does not seem to be a recasting of a pre-existing folk ballad in circulation, although it bears some similarities to other ballads, most notably a similarly named "A Warning for Maidens", also known by the title "Bateman's Tragedy" (Roud 22132).

"A Warning for Married Women" tells the story of Jane Reynolds and her lover James Harris, with whom she exchanged a promise of marriage. He is pressed as a sailor before the wedding takes place and Jane faithfully awaits his return for three years, but when she learns of his death at sea, she agrees to marry a local carpenter. Jane gives birth to three children and for four years the couple lives a happy life. One night, when the carpenter is away, the spirit of James Harris appears. He tries to convince Jane to keep her oath and run away with him. At first she is reluctant to do so, because of her husband and their children, but ultimately she succumbs to the ghost's pleas, letting herself be persuaded by his tales of rejecting the royal daughter's hand and assurance that he has the means to support her – namely, a fleet of seven ships. The pair then leaves England, never to be seen again, and the carpenter commits suicide upon learning that his wife is gone. The broadside ends with a mention that although the children were orphaned, the heavenly powers will provide for them.

"The Distressed Ship Carpenter" (Child B)
Another known version of the ballad, labeled 243 B in Child's anthology and titled ‘The Distressed Ship Carpenter’, comes from the mid-eighteenth century and appears in A Collection of Diverting Songs, Epigrams, & c. and in a chapbook titled The Rambler’s Garland. It is notable for its opening, ‘Well met, well met, my own true love’, which is characteristic of many versions of the ballad, in particular those recorded in America. This variation differs from "A Warning for Married Women". The opening part of the ballad is lost, and so are the names of Jane and James; the text does not mention their former vows either. The former lover appears to be a mortal man, rather than a revenant. "The Distressed Ship Carpenter" ends with the eponymous craftsman lamenting and cursing seamen for ruining his life. With the disappearance of the supernatural elements, the story of the ballad became rationalized. These changes may have originated in an oral tradition or, as suggested by John Burrison, there was an intermediary broadside version of the ballad that served as a bridge between "A Warning’" and "The Distressed Ship Carpenter"; David Atkinson considers a possibility that the changes were made either to avoid any legal troubles with the intellectual property owners of "A Warning" or as a result of a change in broadside format to smaller sheets.

"The Distressed Ship Carpenter" is characterized by a number of common folk touches, possibly indicating that there was an intermediary folk version developed as a result of an oral tradition between this version of the ballad and the original broadside. The story begins in the third act, contains recurring words and phrases and is leaping and lingering, i.e. alternating between rapid and slow unfoldment of the events, at two crucial points: when relating the return of the former lover and the lovers’ confrontation after they board the ship. In doing so, the ballad preserves and focuses on its "emotional core".

Scottish and American traditions
"A Warning for Married Women" and "The Distressed Ship Carpenter" seem to have inspired the Scottish and American traditions of the ballad, respectively. The Scottish versions collected by Child (designated as versions C-G) share a number of elements with Child 243 A not present in Child 243 B – among them a direct reference to former vows and the name of the sailor – but what distinguishes them most is the character of a lover, who regains his supernatural nature. What is especially characteristic of these versions is the introduction of a daemonic presence; in "The Daemon Lover" (Child 243 E, F, G) James Harris is no longer a ghost or a mortal man, but instead is revealed to be a cloven-footed devil.

It is generally agreed that copies collected in America (usually titled "The House Carpenter") were derived from "The Distressed Ship Carpenter". There are a number of similarities between these versions – such as the absence of former vows and supernatural elements characteristic of "A Warning" and Scottish versions – and the story presented in them remains essentially the same. Some elements taken from the Scottish tradition are present in American variants, for example "hills of heaven, hills of hell" line from Child 243 E, but the influence of "The Distressed Ship Carpenter" is prevalent. The most notable differences when compared to the English and Scottish traditions are their setting (i.e. "the banks of Italy" become "the banks of old Tennessee") and more emphasis being put on the relationship between the mother and the child and their subsequent parting. The American history of the ballad in printed form dates back to the 1850s. Two verses that were printed in Philadelphia (1858; Child included them in his anthology), along with a broadside printed by Andrews of New York (ca. 1857; reissued by De Marsan in 1860) are the earliest known examples of the ballad in the United States, although the oral tradition had already existed there before they were published and it played a predominant role in the spread of the ballad in America.

Tune and metre
Referring to broadsides that were already in circulation for the tune was a common habit and so the original broadsides of "A Warning for Married Women" name the tune to which the ballad was to be sung as "The Fair Maid of Bristol", "Bateman", or "John True". These three tunes are also identified as "The Lady’s Fall", which was notably the tune for "Bateman’s Tragedy" (Roud 22132) and numerous other early seventeenth-century broadsides, most of which contained themes of "crimes, monstrous births, or warnings of God’s judgement." Later, eighteenth-century copies of "The Distressed Ship Carpenter" carried no tune designation whatsoever. "A Warning for Married Women" and "The Distressed Ship Carpenter" were printed respectively in 32 four-line stanzas (in ballad metre) and 13 to 14 four-line stanzas (in long measure, described by Atkinson as “slightly awkward” at times).

Themes
"A Warning for Married Women" addresses the themes of marriage, unfaithfulness and bigamy. David Atkinson writes that it can be seen as "a reinforcement of prevailing patriarchal family relationships." Barbara Fass Leavy describes Jane Reynolds as a "cautionary example" of what happens "when women abandon their responsibilities in order to pursue their own pleasures." The theme of materialism is prevalent throughout the different versions, as the wife usually remains concerned whether her lover will be able to maintain her. Likewise, he uses promises of prosperity as a way to seduce her. Leavy also suggests a different reading of the ballad, in which it is her marriage with a carpenter, rather than her decision to flee with the former lover, that can be considered an act of infidelity. Atkinson describes the original broadside as "the preservation of outmoded ways of thinking within the canon of popular literature." In accordance with the ecclesiastical law of early seventeenth-century England, a mutual promise of marriage was enough to make the couple husband and wife and was considered binding in the eyes of God. As a result, breaking such a promise would make any subsequent marriage invalid and invite divine punishment. The ballad therefore employs "popular theology to reinforce [its] emphasis on fidelity in marriage." The broadside may be read as encouraging faithfulness to the person with whom the original pre-marriage vows were exchanged and warning against divine punishment for breaking the oath.

The changes resulting from the recasting of "A Warning for Married Women" as "The Distressed Ship Carpenter" can be seen as the reflection of "a genuine, if quite gradual, change in social and judicial attitudes in early modern England." The revenant becomes a former lover and crime and punishment take the place of sin and retribution. The theme of sin becomes notable once again in the Scottish "Demon Lover" tradition (notably Child D-G), which establishes that the former lover is the devil who "came to carry off the unfaithful girl to the hills of hell." The imagery of the "hills of heaven and hell" is present in some of the variants collected in America. Alan Lomax describes the ballad as a reinforcement of the Calvinist sexual morality.

The ballad also touches on the issues of class relations. According to Dave Harker, "A Warning for Married Women" questions the responsibilities of young women "of worthy birth and fame". In her reading of the ballad, Leavy mentions the binary opposition between the husband and the lover and two modes of existence they represent; the mundane life and domestic ties of the artisan and the life of adventure and freedom of the seaman.

Many supernatural ballads mention fictional or remote places as locations. In multiple variants of the ballad, James Harris promises to take his lover to "the banks of Italie", which is a real, but sufficiently far-off place to serve as the final destination for an unfaithful wife and her supernatural lover. In other versions, the banks of Italy turn into, for example, the banks of Tennessee (in this version the destination becomes a familiar place to return to), various generalizations ("deep blue sea", "salt water sea") or abstractions ("isle of sweet liberty", "banks of sweet relief").

Traditional recordings
The ballad was collected and recorded many times in the Appalachian Mountains; Clarence Ashley recorded a version with a banjo accompaniment in 1930, Texas Gladden had two versions recorded in 1932 and 1946, whilst Sarah Ogan Gunning sang a version in 1974. Jean Ritchie sang her family's version of the ballad twice, one of those times recorded by Alan Lomax, now available online courtesy of the Alan Lomax archive. The song was also popular elsewhere in the United States; Ozark singer Almeda Riddle sang another traditional version in 1964, and folklorist Max Hunter recorded several Ozark versions which are available on the online Max Hunter Folk Collection.

Canadian folklorists Edith Fowke, Kenneth Peacock and Helen Creighton each recorded a different "House Carpenter" variant in Canada in the 1950s and 60s.

The song appears to have been largely forgotten in Britain and Ireland, but a fragmentary version, sung by Andrew Stewart of Blairgowrie, Perthshire, Scotland, and learned from his mother, was recorded by Hamish Henderson in 1955, and can be heard on the Tobar an Dualchais website. A variant performed by Frank Browne in Bellanagare, Co. Roscommon, Ireland, was also recorded in 1975 by Hugh Shields.

Popular recordings
Versions of the song, under its several titles, have been recorded by:

 * Alasdair Roberts
 * Andy Irvine
 * Augie March - re-written as "Men Who Follow Spring The Planet 'Round"
 * Battlefield Band - "The Devil's Courtship"
 * Bob Dylan recorded the version "House Carpenter" in 1961. Dylan was born Robert Zimmerman, a name that means carpenter.
 * Buffy Sainte-Marie
 * Clarence Ashley
 * Custer Larue
 * Daithi Sproule
 * Damien Jurado
 * Dave Van Ronk
 * David Grisman
 * Dervish - "Sweet Viledee"
 * Doc Watson
 * Ewan MacColl
 * Eleanor Tomlinson
 * Faun Fables
 * The Handsome Family
 * Hurt
 * Jean Ritchie
 * Jeff Lang
 * Joan Baez
 * Kelly Joe Phelps
 * Kim Larsen - re-written as "Byens Hotel" in 1973
 * Kornog
 * Lisa Moscatiello
 * Martin Simpson
 * Mr Fox
 * Myrkur
 * Natalie Merchant
 * Mick McAuley
 * Nephew (band)
 * Nic Jones
 * Nickel Creek - “House Carpenter”
 * Oakley Hall
 * Paul Simon
 * Pentangle
 * Peter Bellamy
 * Peggy Seeger
 * Pete Seeger
 * Richard Dyer-Bennet
 * Steeleye Span
 * SubRosa - "House Carpenter"
 * Superwolf
 * Sweeney's Men
 * Texas Gladden
 * The Baltimore Consort
 * The Carolina Tar Heels
 * The Ex
 * The Mammals
 * Tim O'Brien
 * Tony Rice
 * Cornelis Vreeswijk
 * Punch Brothers - “House Carpenter”

In literature
Elizabeth Bowen's 1945 short story "The Demon Lover" uses the ballad's central conceit for a narrative of ghostly return in wartime London.

Shirley Jackson's collection The Lottery and Other Stories includes "The Daemon Lover", a story about a woman searching for her mysterious fiancé named James Harris.

In Grady Hendrix’s 2020 novel The Southern Book Club's Guide to Slaying Vampires, the main antagonist is a vampire named James Harris as a way to pay ode to the ballad.

In classical music
Hamish MacCunn's 1887 concert overture The Ship o' the Fiend is based on the ballad.

title: The Daemon Lover


text:
Talk:Odesa

OdeSa or OdeSSa?
The name of the Ukrainian city in question - according to Wikipedia - in English is Odessa or Odesa, in Russian Одесса (Odessa), but in Bulgarian, Macedonian, Ruthenian, Serbian, Tuvan and Ukrainian - Одеса (Odesa), in Belarusian Адэса, Czech Oděsa, Silesian Uodesa, in Esperanto Odeso. Odesa is in Asturian, Basque, Bosnian, Breton, Croatian, Gagauz, Romanian, Slovak, Slovenian, Latvian, Lithuanian, Serbo-Croatian, Turkmen and Wolapik. Thus, in several languages, the name of the city has only one S.

The proposed change will therefore not be revolutionary on a world scale, while the change of the Russian name to Ukrainian will be another gesture of solidarity with the Ukrainian nation after February 24, 2022 and it will be a departure from yet another Russian geographical name.

This name should be changed in atlases and textbooks. Mir.Nalezinski (talk) 19:19, 10 May 2023 (UTC)

 * What proposed change? —Michael Z. 20:40, 10 May 2023 (UTC)
 * When was the text changed? Previously it was Odessa (also Odesa) at the beginning, now it is Odesa (also Odessa). Over 300 names of Odessa have been changed to Odesa in this version. The name on the map and the noun and adjective Odessan were also changed to Odesan. This change should also be suggested to Wikipedia in other languages. Unfortunately, in the Polish Wikipedia it is still... Odessa. Mir.Nalezinski (talk) 08:47, 17 May 2023 (UTC)
 * This article was renamed Odessa → Odesa and the spelling used in it was updated in July 2022. —Michael Z. 14:00, 17 May 2023 (UTC)
 * Plus the opening sentence does not say what is claimed. It says "Odesa (also spelled Odessa)". In the naming section is says "English: Odesa or Odessa." This is pretty much per sourcing so i see no issue here. What does this user want that has not already been said? English has two spellings with "Odesa" now being prevalent. That's what's in the article. Fyunck(click) (talk) 20:44, 10 May 2023 (UTC)
 * "English has two spellings, of which 'Odesa' is currently dominant. That's what the article says." Yes, but just a few months ago it was exactly the opposite - English had two spellings, of which "Odessa" used to be dominant. When I wrote to the Polish Language Council* a proposal to change the name Odessa to Odesa, the English Wikipedia was still dominated by the form Odessa
 * -https://www.salon24.pl/u/mirnalia/1214493,mn-84-odesa
 * Mir.Nalezinski (talk) 10:00, 24 May 2023 (UTC)
 * Why is Wikipedia concerned with "solidarity" with any country at war rather than providing objective information? The common English spelling is "SS" not "S". I see no reason to change it. Rsemmes92 (talk) 23:59, 17 November 2023 (UTC)
 * this is so 1984 84.172.200.175 (talk) 10:07, 31 March 2024 (UTC)
 * this is so 1984 84.172.200.175 (talk) 10:07, 31 March 2024 (UTC)

 * Quote "This name should be changed in atlases and textbooks." Wikpedia doesn't issue atlases and textbooks. Wikpedia doesn't take a stand in political issues. You can promote your opinions outside Wikipedia. --21:15, 10 May 2023 (UTC) — Preceding unsigned comment added by Madglad (talk • contribs)

The city was founded by Russians, with a large contribution of Serbian, Greek, Moldovan, French and German immigrants. This city was founded as part of the Russian Empire under the name Odessa — Preceding unsigned comment added by 86.111.119.54 (talk) 11:41, 29 May 2023 (UTC)
 * So? New York was founded by the Dutch as New Amsterdam.  Kaliningrad was founded by Germans as Königsberg.  Shall I continue?  --TaivoLinguist (Taivo) (talk) 13:08, 29 May 2023 (UTC)
 * Russians ethnically cleansed Crimean Tatars from the region and expunged the evidence of their presence, including by renaming their settlements with “European” names evoking “civilized” Classical antiquity. Including Hacıbey, which was replaced by “Odessa”/Odesa. —Michael Z. 13:37, 29 May 2023 (UTC)
 * le crimean tatars 2800:150:14A:5A5:91C:45B8:8703:F9CE (talk) 16:45, 9 June 2024 (UTC)

First attested spelling of "Odesa" in Ukranian
Given that the name is non-Slavic, a transliteration of Greek "Odessos", with a Slavic feminine ending provided, it is a reasonable hypothesis that the original spelling in Ukrainian was "Odessa". This appears to be the case with the Ukrainian translation of Homer's classic names of "Odyssey" and "Odysseus". If this correct, then the name has two Ukrainian spellings: "Odessa" the earlier and "Odesa" the later. If the attestation of the first can be confirmed, that may be decisive. A reasonable hypothesis would be that the current Ukrainian spelling is a literal rendering of the pronunciation, where only one "s" is pronounced. I suggest if this hypothesis of 2 Ukrainian spellings can be affirmed, it would place this question in a much more agreeable light. Tachypaidia (talk) 16:40, 17 October 2023 (UTC)

 * Except the name Odesa is not a translation of Greek Ὀδησσός (Odessos): it is a distinct name based on the Slavicization of the Greek name, rendered with the respective native orthographic conventions of Russian or Ukrainian.
 * It appears that for the Classical city Ukrainian uses the spelling Одесос, and also sometimes Одессос, going by content found in uk-wiki. In Russian it is Одессос, and also rarely Одесос.
 * Fine if you look for find sources that say something in so many words. But please don’t speculate on personal theories here, much less use indirect evidence to justify them, per WP:NOR. —Michael Z. 17:06, 17 October 2023 (UTC)
 * You must have misread "transliteration" as "translation." The name was taken from the Greek "Odessos" and the rather rare Greek 2nd declension feminine suffix "-os" (typically masculine} was replaced with the Slavic feminine suffix "-a". So far it appears that the first attestation of the spelling was in 1850 as it appears in a book as likely a single misprint as all spellings are "Odessa". Tachypaidia (talk) 18:16, 21 October 2023 (UTC)
 * Odes(s)a is not a transliteration of Ὀδησσός either – I thought that was obvious. Your hypothesis on the names origin is just speculation. Rudnyckyj’s Etymological Dictionary of the Ukrainian Language, v. 2, reproduces an article on the name. You can probably find that online. —Michael Z. 22:54, 21 October 2023 (UTC)
 * I must be misinterpreting your response. When I looked at the Rudnyckyj’s Etymological Dictionary of the Ukrainian Language, v.2, pp. 869-871 from the Internet Archive, it reads:
 * p. 870
 * The name Odessa originated within the Imperial Academy of Sciences in
 * order to commemorate the ancient Greek colony of Odessos (Ordessos in
 * Ptolemy)’ which, according to Russian beliefs, existed in antiquity in the
 * present place of Odessa. This belief, however, has later on been corrected
 * by archaeological uncoverings which proved that the ancient Odessos was
 * located some 34 miles (50 km) from Odessa in the corner between Taligula
 * Liman and the Black Sea. Furthermore, it should be mentioned here that at
 * the end of the eighteenth century there was some mania in Russia tо name
 * all new places in the South, especially along the Black Sea. in a Greek style,
 * and this is the main reason why the name Hadzhibej was changed tо Odessa.7
 * p. 871
 * Thus the name Odessa is directly derived from the name of Odysseus
 * (Greek form; Latin — Ulixes; English — Ulysses) ... Tachypaidia (talk) 16:11, 11 November 2023 (UTC)
 * Yes, “in Greek style.” Derived from Greek and not directly borrowed from Greek. Most of Catherine’s Greekish-sounding names used to annihilate the Turkic Muslim history of southern Ukraine were made up from whole cloth, but this one was inspired by a place from antiquity. It is clear that it is a different name because the letters make different sounds. We are referring to the derivation from Russian Odessa, not the derivation from Greek Odessos. —Michael Z. 16:22, 11 November 2023 (UTC)
 * The point made was that this is not a "translation" but a "transliteration", i.e., a "letter-by-letter" transfer from one language to another, thus:
 * Gk: ΟΔΗСС +ΟС
 * Ru: ОДЕСС +А.
 * The letter go over 1 to 1. but the Greek feminine suffix is swapped out for the Slavic feminine suffix.
 * All the sources appear in agreement on this.
 * Returning to the question here: When is the spelling ОДЕСА first attested? Tachypaidia (talk) 16:51, 11 November 2023 (UTC)
 * That is not transliteration. Which sources “appear in agreement” that the Russian was derived from the Greek by “transliteration”? You haven’t mentioned any sources at all that say “transliteration.” —Michael Z. 22:19, 11 November 2023 (UTC)
 * Historian Timothy Snyder gives the context of the colonial renaming of Ukrainian coastal and peninsular cities, the “mania” to wipe out the heritage of previous inhabitants and establish the myth of terra nullius that Russia uses to claim this “was always Russia”:
 * With the "new" Catherine combined the very old. Herself without any family connection to Russian or east European history, aside from the Russian husband who was murdered so that she could rule, she reached freely into ancient references as she imagined the future of her new lands.  In order to efface the Crimean, Muslim, and Ottoman character of the territory, she reached back to a still older history that was familiar to her: that of classical Greece.
 * It is true that Crimea belongs to the classical world. The southern coast had been continuously settled by Greeks for more than two thousand years.  This history granted Catherine the possibility of imagining all of "New Russia" in classical terms, and thereby imagining her Russian Empire into some sort of continuity with the ancient world.  This of course meant suppressing the history of the peoples and states of the "New Russia," Ukrainian Cossacks and Crimean Tatars.
 * To bring together the old and the "new," Catherine replaced Turkic names in Crimea with Greek(ish) ones. When new cities were built in southern Ukraine, they were also given names with a classical feel.  And thus Kherson, today in embattled southern Ukraine, recalled ancient Greek Chersonesos, which was in Crimea.  Mariupol, which today's Russia has completely destroyed, recalls the ancient Greek Mariampol, which was also in Crimea.  The actual Greeks who lived in Crimea were deported, confusingly, to these new settlements in southern Ukraine -- hence the large Greek population in Mariupol until 2022, when most were killed or forced to flee by the Russian invasion and destruction of their city.
 * Catherine had olive trees planted so that the region would look more Greek (and planted a single apricot tree in Kherson). These south Ukrainian regions, like Crimea, had never been part of Rus.  They did have, however, a very immediate Ukrainian past.  It was precisely in southern Ukraine, on the Dnipro River, that the Ukrainian Cossacks had their strongholds over the centuries.  All of the classicizing in southern Ukraine was meant to efface this very recent history of Ukrainian Cossack politics, just as all of the classicizing of Crimea was meant to efface the history of the Crimean Khanate and the Tatars.
 * It’s a very interesting and relatable history, and we don’t have to invent tales of “transliteration” and “Homer” to tell it. —Michael Z. 15:01, 12 November 2023 (UTC)
 * Michael, the same Timothy Snyder, in his very first lecture on The Making of Modern Ukraine (which another editor once recommended to me with your implicit approbation), also strongly emphasizes that historically the dichotomy has been between the Slavic north and the cosmopolitan south rather than between east-west.
 * No one is claiming that the Russian Empire didn't colonize southern Ukraine and that our lovely friend Sophia Christina Frederika of Anhalt-Zerbst didn't basically enact the fantasies of her girlhood on what is now the territory of Ukraine.
 * However, until relatively recently Odesa itself could hardly be called a "Ukrainian" city either, culturally speaking.
 * Any attempts to paint over its historically multiethnic Russophone identity would make the most hardened anti-Putin émigré academic deeply uncomfortable (thus why you keep banging heads with one of them in move discussions).
 * Any potential instance of willful insensitivity toward the complexity of the several distinct identities that we translate as "Russian" would be far worse than how my very white-American mom used to say "the Ukraine" when I was a kid, which after all the exact "solecism" (your word) you commit to eradicating on your user page.
 * '''To make my own position very clear, in 2023 I fully agree with the previous renaming of the article because COMMONNAME has changed (even if for very political reasons).
 * However, I am equally against any attempts to ignore historical usages prior to 1991/5, and definitely against any kind of pre-1917 shenanigans.'''
 * I mention all this mainly because about an hour ago I noticed that some time ago you used admin tools to engage in exactly that sort of pre-1917 shenanigans without sufficient consensus. Let me take this to your talk page…
 * RadioactiveBoulevardier (talk) 17:13, 12 November 2023 (UTC)
 * Your argument is about the reconstruction of an unattested early spelling in Ukrainian, and then deducing something (I’m not sure what) from that. So I don’t know how the above is meant to address my objection. I don’t want to paint over anything, but you are asking for help creatively painting between the lines. —Michael Z. 22:56, 12 November 2023 (UTC)
 * I should add the following on the dictionary entry (p. 869):
 * "ОДÉСА GN. 'Odessa'. Ru.Одéсса,Po.Odessa, etc. - in a recent article about this name
 * published in The Ukrainian Review,vol.29,No2,London 1981,W.T.Zyla offers
 * the following data on this city and its name" Tachypaidia (talk) 16:30, 11 November 2023 (UTC)
 * the following data on this city and its name" Tachypaidia (talk) 16:30, 11 November 2023 (UTC)

 * Where's the question about what edit or what improvement to make to the article? This is not a blog or forum. And it doesn't matter if Ukraine originally spelled it Odddeeesssa. What matters is how it is spelled in English. Fyunck(click) (talk) 18:48, 17 October 2023 (UTC)
 * Edit to the history of the name on first attestation. Tachypaidia (talk) 18:18, 21 October 2023 (UTC)
 * Earlier in this discussion I found, “while the change of the Russian name to Ukrainian will be another gesture of solidarity with the Ukrainian nation after February 24, 2022” and it seems to me that this is what the argument here is about, not how Homer spelled it. After all, the wikipedia policy on neutrality is just a guideline and not a hard-and-fast rule.  Isn’t it?  And the Russians are such swine and the Ukrainians such innocent victims that how could we do otherwise?  I looked up the city in a bunch of books and atlases (okay, they are books too) and it is always “Odessa.”  I suspect that all of the “Odesa” (my spellcheck does not even like that) versions folks are finding were mostly done after 2014.  Should we start getting ready for a massive change from “Vienna” to “Wien” for when the Russians get there? Carptrash (talk) 16:32, 12 November 2023 (UTC)
 * It’s not a “gesture of solidarity.” It’s a recognition that the language we’ve been using has still been colonial, a remnant from the 1950s and earlier, before Western culture decided to try to respect nations’ self-identification. —Michael Z. 23:03, 13 November 2023 (UTC)
 * Well before the 1950s. My grandfather's WWII map from perhaps 1944 has Odessa.  And please, we just happened to pick now to wipe this vestige of colonialism off the map, so to speak..  And maybe we should wait until after the war is over and see whose city it is? Carptrash (talk) 03:57, 14 November 2023 (UTC)
 * Yes, I meant from the imperial period up to the 1950s or 1960s, when we stopped calling Inuit people “Eskimos” and First Nations people “Indians,” etcetera, but the Soviet Union remained “Russia” in most discourse and all Ukrainian places were referred to by colonial Russian names for decades afterwards.
 * Wait to give the Russians a chance to capture it? That’s a joke in extremely poor taste. —Michael Z. 06:56, 14 November 2023 (UTC)
 * Well @ Michael, after a long night of pondering this issue, you have convinced me with your colonialism argument, a la Rhodesia, and Rangoon and Bombay, all names that appear in my old atlases, that “Odessa” should go. I promise to stop my carping on this issue. Carptrash (talk) 20:17, 14 November 2023 (UTC)
 * Thank you for your consideration. Apologies if you’ve seen it before, but the best simple round-up on the decolonizing of Ukrainian history (formerly an insignificant part of “Russian studies”) that I’ve seen is this article: “Moscow’s Invasion of Ukraine Triggers ‘Soul-Searching’ at Western Universities as Scholars Rethink Russian Studies.” —Michael Z. 21:35, 14 November 2023 (UTC)
 * Colonising? It's a area that used to be populated by Turkic people not Ukrainians, and it was colonised by Russians AND Ukrainians, amongst various other groups that came there due to the citys historical multicultural past, Jews especially were populous, this area has barely any Ukrainian history when counting the last thousand years compared to other nations.
 * I've mentioned this in another page and I will mention it again, "Calling the city Odesa in English is etymologically incorrect, as its name derives from the nearby Ancient Greek settlement of Odessos on the Black Sea coast. The name Odessa had the same standing in English as Warsaw or Venice, and there was no reason to change it." So yes, it is in fact a spelling mistake and it was "Odessa" in previous versions for this reason as well.
 * Ukrainians in this land are no different from Russians, both are colonisers in the end, but of course according to a Ukrainian that religiously tries to justify their own way in almost every talk page only Ukraine can be right and anything tied to Russia should be removed in the name of solidarity, even if said city was founded by a Russian government and Empress, land fought and conquered by Russia from Turks not Ukrainians and named after a ancient site called Odessos.
 * It's really getting ridiculous seeing the same person dominating any talks about "Ukrainian" cities and locking articles.
 * You want to use the Ukrainian spelling swap to uk.wiki, this is not the English spelling and never has been.
 * Hell, there's even a city in Texas named after Odessa back in the 1880s. 209.112.209.85 (talk) 18:28, 31 March 2024 (UTC)
 * You don't understand the modern meaning of "colonizer". It refers to any people who have artificially dominated another, whether they "came to settle" or just invaded and exerted political power.  And your comment that Ukrainians and russians are the "same people" is just russian propaganda pushed by putin to justify his invasion.  The Ukrainians fought for independence during the Russian Revolution, not FOR the Soviet Union, but against it.  They lost that war and the russians invaded with their communism and dominated Ukrainian life.  During the 1930s the russians starved millions of Ukrainians to death during the Holodomor.  In fact, the Holodomor itself was an act of colonization since it was designed specifically to depopulate the farmland of eastern Ukraine and replace the Ukrainian population with a colonizing russian population.  In 1941, Ukrainians nearly joined Hitler to drive the oppressive russian colonizers from their land, but Hitler didn't recognize a gift horse when he saw it.  The Ukrainians rebelled against the russians again after the conclusion of the war.  In 1991, the Ukrainians finally got their independence, but the marks of the russian colonizers were still on city signs throughout Ukraine.  These colonizer brands were already in the process of being removed throughout the country even before 2014.  I lived in Rivne in 2007-2008.  It was already "Rivne" and not "Rovno" then.  My in-laws live in Dnipro, but in 2007 it was already Dnipropetrovsk and not Dniepropetrovsk.  Kyiv and Odesa are the last two removals of the colonizer brands on Ukraine.  "Colonizer" is, indeed, the correct term in modern usage.  Buy a new dictionary.  --TaivoLinguist (Taivo) (talk) 05:22, 1 April 2024 (UTC)
 * And your comment about Odessa, Texas is irrelevant, of course, since the city was named by Americans reading then-current maps of the world. Need I mention that maps of the world at that time reflected colonizer names everywhere, not just in Ukraine.  --TaivoLinguist (Taivo) (talk) 05:25, 1 April 2024 (UTC)

Note (a)
This Talk page - and 3 archive pages - is filled with arguments about the spelling of this city dating back to 2005, each based upon the individual editors' geopolitical perspective. (If only such efforts were more fruitfully directed into the development on this still quality=class C article.) I recommend that Note (a) of the article be removed. Two sources do not make a general shift in English spelling, and it only attracts further "excitement" from some editors. Let's get back to building an encyclopedia rather than playing politics. 182.239.152.216 (talk) 03:11, 22 December 2023 (UTC)

 * Honestly, how is this article still rated C-class? I'd argue it's B- or even A-class. Sadustu Tau (talk) 19:59, 27 May 2024 (UTC)

title: Talk:Odesa


text:
Lock Up Your Daughters (musical)

Lock Up Your Daughters is a musical based on the 1730 comedy Rape upon Rape, by Henry Fielding, and adapted by Bernard Miles. The lyrics were written by Lionel Bart and the music by Laurie Johnson. It was first produced on the London stage in 1959.

In 1969, it was made into a film starring Christopher Plummer, Susannah York, and Glynis Johns, but the songs were deleted.

Productions
Lock Up Your Daughters opened in London at the Mermaid Theatre on 28 May 1959, where it ran for 328 performances. This was the first production at the theatre. Directed by Peter Coe with choreography by Gilbert Vernon, and stage design by Sean Kenny, it featured Stephanie Voss (Hilaret Politic), Hy Hazell (Mrs. Squeezum), Terence Cooper (Capt. Constant), Frederick Jaeger (Ramble), John Sharp (Politic), Brendan Barry (Dabble), Richard Wordsworth (Squeezum), and Keith Marsh (Sotmore). A revival opened at the Mermaid Theatre on 17 May 1962 and ran for 664 performances. The director was Richard Wordsworth, with choreography by Denys Palmer.

Another revival ran in the West End at Her Majesty's Theatre in 1963 with Hy Hazell as (Mrs. Squeezum) and Sally Smith as Hilaret.

A Broadway version of the show was planned but closed on the road in 1960. It was directed by Alfred Drake, and featured Nancy Dussault as Hilaret, John Michael King and George S. Irving, and Hy Hazell repeating her role as Mrs. Squeezum.

An Australian production opened at the Princess Theatre, Melbourne in April 1961, and toured to Sydney, Adelaide and Perth.

The Goodspeed Opera House (Connecticut) has performed the show twice, in 1969 and 1982. The 1982 production was directed by Bill Gile (Darwin Knight was credited) and featured Carleton Carpenter (Mr. Squeezum), Dena Olstad (Hilaret), Keith Rice, (Constant), and Jeff McCarthy (Ramble).(Mr. Carpenter published a comic murder mystery about the production called "The Peabody Experience").

Plot summary
Note: there is one set, which serves as a street scene, Justice Squeezum's courtroom, Mrs Squeezum's boudoir, a tavern bar-room, Politic's parlour, Hilaret's bedroom, a prison cell, an upstairs room at the tavern, and Justice Worthy's courtroom.

In London, 1735, naive young Hilaret leaves the over-protective walls of her father's house resolved to elope with her beloved Captain Constant. She charges Ramble with rape, and her maid Cloris charges Constant with rape. The cases are tried by the corrupt justice, Mr. Squeezum.

Characters

 * Singing Principals
 * Hilaret – naive young woman
 * Mrs Squeezum – the lecherous wife of Justice Squeezum
 * Cloris – Hilaret's maid
 * Justice Squeezum – a corrupt judge
 * Ramble – a ladies' man, accused by Hilaret of rape
 * Sotmore – his drunken friend.
 * Captain Constant – Hilaret's love interest
 * Politic – Hilaret's father
 * Dabble – his coffee-house friend
 * Other characters
 * Quill – Squeezum's clerk
 * Staff – a constable
 * Faithful – Politic's servant
 * Brazencourt – an innkeeper
 * Justice Worthy – an honest man

Songs

 * All's Well
 * The Gentle Art of Seduction
 * If I'd Known You
 * I'll Be There
 * Is This the Happy Ending?
 * It Must Be True
 * Kind Fate
 * Lock Up Your Daughters
 * Lovely Lover
 * Mister Jones
 * On the Side
 * A Proper Man
 * Red Wine and a Wench
 * Sunny Sunday Morning
 * There's A Plot Afoot
 * 'Tis Plain To See
 * When Does the Ravishing Begin?

Film
The film based on the musical and play was directed by the musical's director, Peter Coe. It was released in the UK in March 1969 and in the US in October 1969. Filmed in Kilkenny, Ireland by Domino Films it ran for 102 minutes. The film originally was given an "X" certificate (over 18's) by the UK Censor, but it was given a "15" on video.

In his review, Roger Greenspun wrote: "...a three-strand plot that has been so smothered in atmosphere, activity and authenticity that even the great traditions of theatrical untruth cannot breathe life into it. The production values of "Lock Up Your Daughters!" are ambitious enough to fill three movies, but they are not sufficient to substitute for one."

title: Lock Up Your Daughters (musical)


text:
ESPN25

ESPN25 was a special event conducted to mark the 25th anniversary of ESPN.

During the run-up to the anniversary date of September 7, 2004, the network counted down the top sports moments of the last 25 years (the "ESPN era"). Each Tuesday, a new 25-to-1 list was unveiled, as was the next headline in that 25-to-1 countdown. In addition, each day during SportsCenter, the next moment in the list of the top 100 moments of the ESPN era was shown. The celebration concluded by declaring the Miracle on Ice hockey game between the United States and the Soviet Union at the 1980 Winter Olympic Games the #1 moment, game, and headline of the last 25 years.

The Headlines
ESPN also had a weekly series, The Headlines, hosted by Bob Ley, counting down the top 25 stories since 1979, "stories that at some point jumped off the sports page, and onto the front page."

Old School Week
Several former ESPN anchors were invited back to co-anchor the nighttime Sportscenter broadcast with ESPN anchors of the time, during an "old school week".

 * Craig Kilborn, alongside Dan Patrick, broadcast Sunday, September 8, 2004;
 * Charley Steiner, alongside Bob Ley, broadcast Monday, September 9, 2004;
 * Gayle Gardner, alongside Stuart Scott, broadcast Tuesday, September 10, 2004;
 * Greg Gumbel, alongside Chris Berman, broadcast Wednesday, September 11, 2004;
 * George Grande, alongside Chris Berman, broadcast Thursday, September 12, 2004.

Who's #1?
Immediately following The Headlines (before The Headlines in the early portion of the summer), Stuart Scott hosted Who's #1?, which counts down the top 25 of the last 25 years in some category. Who's #1 has since expanded into a weekly series on ESPN Classic, with additional categories and a new host, Trey Wingo. In the weekly series, only 20 items are revealed, and, in a post-show segment, the "Second Guessers" debate the choices.

Missing footage
Conspicuously absent from the entire ESPN25 series was all but a few seconds of footage from National Football League games. During the Headlines show about 9/11, ESPN aired the entrance of Dallas Cowboys defensive back George Teague entering Texas Stadium with the American flag when the NFL resumed play after the attacks; otherwise, it had to air still photographs whenever the league was mentioned. Neither the league nor ESPN explained why the footage was absent, but the network had just shown Playmakers, a weekly drama show about a fictitious professional football team called the Cougars. The show's blunt treatment of off-the-field problems drew criticism from NFL officials, and reports surfaced that the NFL threatened not to renew ESPN's television contract with the league if Playmakers was renewed for a second season. The show was not renewed.

title: ESPN25