text:
Nahuatl orthography

Since the early 16th century, Nahuatl has been written in an orthography in Latin script based on Spanish spelling conventions, with overall the same values for letters in both orthographies. Over the centuries, Latin script was utilized to record a large body of Nahuatl prose and poetry, which somewhat mitigated the devastating loss of the thousands of Aztec manuscripts that were burned by Spanish missionaries.

Printed and manuscript texts in Nahuatl generally display a lot of orthographical variety, as there was no official institution that developed and promoted a standard. The spelling as used in ecclesiastical circles between 1570 and 1650 showed the highest degree of stability, and this spelling, and the language variety written in it, are considered "classical".

A new orthography was introduced in 1950 in the weekly magazine Mexicatl Itonalama. This orthography is currently used to write some of the modern Nahuatl dialects.

Periodisation
The development of Nahuatl orthography was analyzed and described by the American historian and linguist James Lockhart. He divides the development of Nahuatl orthography into three stages:

 * Stage 1, the early stage of experimentation, characterised by much variety in the representation of some phonemes; for example, "and, also" can be written as ihuan, yhuan, iuan, juan, yuan, ivan, jvan, yvan, ihoan, jhuan, yhoan, ioan, joan or yoan.
 * Stage 2, starting around 1570 when a more or less standardised orthography emerged, which showed "great stability as practiced in ecclesiastical circles"; this stage is considered the classical period of Nahuatl.
 * Stage 3, from 1650 onward, which saw the production of large amounts of "mundane" (i.e. non-religious or ecclesiastical) texts by native scribes.

Classical Nahuatl orthography
The standard or "classical" orthography was established in the second half of the 16th century. It represents the phonemes of Nahuatl as follows.

Vowels
The four vowels are written, , ,. The phonemic contrast between short and long vowels is left unmarked.

Consonants
The stops and, the nasals  and , and the approximants  and  are written in a straighforward manner (the right-hand column shows the spelling in syllable-final position):

The nasal becomes  before a labial consonant, and may then be written. Conversely, the nasal becomes  before a dental consonant, and is then written. In addition, both and  are realised as  before alveopalatal consonants, and as  before velars; they are then written, as in   "he's going to do it",   "he sleeps too late".

The spelling represents geminated, not palatal  or  as in Spanish; for example,  "house" is , not *.

The semivowel  does not occur in syllable-final position, where it changes to  or.

The affricates and  and the approximant  are written with the digraphs, , and :

The does not occur before the vowel, so the spelling  does not exist. Syllable-final is most often written with the digraph  reversed to, as in   "sand, dust".

As in Spanish, the stop is written  before  and syllable-finally, and  before. Labialized is written  before, while before  and  it is written , since  is used to write plain  before ; thus   "they ate it".

Labialized does not occur before, hence the spellings  and  do not exist. Syllable-final is most often written, but it can also be written  or , as in ,  or   "lord".

The spelling seemingly contains the digraph, which is used to write , but in fact represents the pronunciations  (syllable-final  followed by , as in   "I'm coming to see it". The spelling   is thus distinct from  , while  is spelled  as in   "fisherman".

The dental fricative is written  before,  before , and  syllable-finally. The affricate is written  in all positions, and the palatal fricative  is written  in all positions.

The choice for, and  to represent  instead of simple  was dictated by the pronunciation of Spanish sibilants in the 16th century, which was different from modern pronunciation. At that time the graph, as used in Spanish orthography, represented an apico-alveolar sibilant, which was perceived by speakers of Nahuatl as being close to. The graphs (before ),  (before ) and  on the other hand represented a dental sibilant in 16th-century Spanish, and were therefore adopted in Nahuatl orthography to write dental.

The letter x represented in 16th-century Spanish as well. Thus the name of Cervantes’ famous fictional character was pronounced and written as Don Quixote in the 16th century, with the letter x representing.

The letters, , , , , , , and are not needed for the writing of native Nahuatl words, but they can be used in the spelling of Spanish loanwords. However, the spelling of loanwords often reflects their (complete or partial) assimilation to Nahuatl phonology, for example  from Spanish regidor "councilman"

Vowel length and glottal stop
In most classical Nahuatl texts, printed as well as manuscript, short and long vowels are not distinguished, and the glottal stop or "saltillo" is not represented. This underrepresentation apparently did not seriously affect legibility.

In his Arte de la Lengua Mexicana (1645), the priest and grammarian Horacio Carochi aimed to provide a full representation of all phonemically relevant features of Nahuatl. He therefore used the macron to mark long vowels, for example  "little bird". He also marked the presence of word-internal glottal stop with a grave accent on the preceding vowel letter, and word-final glottal stop with a circumflex on the preceding vowel letter , for example  "scribe, painter". Since long vowels do not occur before glottal stop, the "stacking" of two diacritics on a vowel letter was not necessary.

Carochi's innovations were subsequently used by some fellow-Jesuit authors, but they never gained wide currency. The French linguist Michel Launey used Carochi's notation of glottal stop in his grammars (1994, 2011) and other publications.

Word-internal glottal stop was occasionally written with the letter, notably by the 16th-century lexicographer Alonso de Molina, for example  "by day". Although this was never done consistently, Lockhart notes that writing as  was "perennial" and "the tradition of it never entirely disappeared".

Post-classical orthography
As before, in post-classical orthography vowel length was never marked, and glottal stop was written only sporadically (as h).

The "single most substantial change" was the replacement, starting around 1650, of c (before e and i), ç and z by s. This change was inspired by the merger of the Spanish apico-alveolar sibilant (written s) with the dental sibilant, and by the beginning of the 18th century the use of s had become the norm, as in totlasomahuisnantzin for classical totlaçomahuiznantzin "our precious revered mother". The digraph tz for remained unchanged.

With that, the orthography of post-classical texts shows growing instability, mainly through the influence of dialectal (non-classical) varieties of the language. One source of instability was the disappearance in some varieties of spoken Nahuatl of some syllable-final consonants, in particular, which was reflected in the orthography. Other orthographical variants, encountered in all three stages, are:

 * geminated consonants written as a single consonants
 * i written y, especially in word-initial position
 * o written u
 * hu written u, ho or o
 * ce and ci  written çe, çi (matching ça  and ço )

“Neoclassical” orthography
Since the 1970s, linguists working on Nahuatl have made use of what may be termed a "neoclassical" orthography for the language. This orthography is closely modelled on the classical (Stage 2) spelling as described above, but with the following adaptations:

 * following Carochi, long vowels are always marked with a macron: classical a, e, i, o > neoclassical a/ā, e/ē, i/ī, o/ō
 * syllable-final glottal stop is always written h, for example classical tlacuilo > neoclassical tlahcuiloh ; the use of h is based on historical precedent, and lends the glottal stop more "body" than the diacritics used by Carochi
 * syllable-final is always written uc, for example classical tecuhtli, tecutli or teuctli > neoclassical tēuctli  "lord".

Also, a few classical spelling conventions are brought into line with the current standardised Spanish orthography:

 * ça and ço are replaced with za and zo, for example classical çacatl "grass, hay", çoquitl  "clay, mud" > neoclassical zacatl, zoquitl
 * qua is replaced with cua, for example classical quaquauhconetl "calf" > neoclassical cuācuauhconētl.

The neoclassical spelling of Nahuatl provides a full written representation of all phonologically relevant facts. It is employed in two central reference tools in modern Nahuatl studies, Andrews' Introduction to Classical Nahuatl (1975, revised edition 2003), and Karttunen's Analytical Dictionary of Nahuatl (1983). It is also often used for the transcription of Nahuatl terms in non-linguistic disciplines such as sociology, anthropology, and history.

It has to be borne in mind however that the neoclassical spelling is a modern construct, which does not exactly reproduce any of the actual orthographies that were used in historical printed and manuscript sources.

Overview of the neoclassical orthography:

Glottal stop occurs frequently in syllable-final position, and very rarely between like vowels in forms that resulted from reduplication. It is then also written h, as in ehēcatl "wind", ohōme  "two by two"; cf. classical eecatl and oome.

The neoclassical spelling does not regulate the spelling of Spanish loanwords, because "loanwords exist in the language in all stages of assimilation to the phonology of the language (…). As a result, it is rather meaningless to assign canonical forms to them, existing as they do in transit from one language to the other."

The new orthography
A new orthography was introduced in 1950 in the weekly cultural magazine Mexihkatl Itonalama, published by the American linguist Robert H. Barlow (director), and the Mexican linguist and native speaker Miguel Barrios Espinosa (editor-in-chief). The frontpage of the first issue of 12 May 1950 carries the headline ININ TOTLAHTOL OKSE: TLEKA TIKIHKWILOSKEH KEMEN KAXTILLAN? "This language of ours is a different one: why should we write it as if it were Spanish?"

Compared to classical Nahuatl spelling as described above, the new orthography as proposed and used in Mexihkatl Itonalama contains the following changes:

 * is written s instead of c/ç/z
 * is written ts instead of tz
 * is written k instead of c/qu
 * is written kw instead of qu/cu/uc
 * is written w instead of hu/uh
 * is written h

The new orthography thus does away with all almost all the typically Spanish spelling conventions of the classical orthography. The exception is the digraph ch, which was kept, but which could have been replaced with tx.

The new orthography does not mark the vowel length contrast, which has been lost in most modern dialects.

Overview of the new orthography:

This new orthography, now usually named the "modern orthography" (ortografía moderna), is used for the writing of some modern dialects, sometimes with the alternative spellings ku for kw, and u for w. Also, long vowels can be written with double symbols aa, ee, ii, oo, and fricative, which occurs in some dialects as the reflex of original glottal stop, may be written j.

The new or modern orthography is promoted by the Mexican Secretariat of Public Education (Secretaría de Educación Pública, SEP), a federal government authority, and is sometimes referred to as "the modern orthography of the SEP" (la ortografía moderna de SEP), with some websites wrongly stating that it was designed by SEP experts.

The new or modern orthography has not yet succeeded in becoming the dominant system, and some dialects such as Huasteca are now written in several competing orthographies (neoclassical, modern, and the mixed orthography employed by SIL international).

Notes and references

title: Nahuatl orthography


text:
Liberal People's Party (Norway)

The Liberal People's Party (Det Liberale Folkepartiet, DLF) was a classical liberal Norwegian political party created in 1992 by some of the members of the old Liberal People's Party.

History
During the 1990s, some of the Progress Party's members considered the party to have become less liberal than it had been in its earlier days. These members of the Progress Party then decided to join the DLF. The DLF then took increasingly more classically liberal viewpoints on most issues, emerging as a promoter of economic liberalism and laissez-faire capitalism. The party's politics states that the state should only protect individuals' rights through police, courts of law and a military service.

The party's parliament election results are as follows:

In 1993, the party won 725 votes 0.03%

In 1997, the party won 258 votes 0.01%

In 2001, the party won 166 votes 0.01%

In 2005, the party won 213 votes 0.01%

In 2009, the party won 350 votes 0.01%

In 2013, the party won 909 votes 0.03% the best results in the party’s history

In 2017, the party did not run. This was because the party dissolved at the end of 2017.

The party's local election results are as follows:

In 1995, the party did not run

In 1999, the party did not run

In 2003, the party got 113 votes 0.01%

In 2007, the party got 127 votes 0.01%

In 2011, the party got 247 votes 0.01% all in Oslo

In 2015, the party did not run

In 2014, the youth wing Liberalistisk Ungdom (Liberal Youth) seceded from the DLF and joined the Capitalist Party as their youth wing.

In 2017, the party congress decided to shut down the party by the end of the year. Followers were recommended to join the Union for the Study of Objectivism and the Capitalist Party.

Objectives
DLF wanted to:
 * Replace the parliamentary system and the monarchy with a constitutional republic.
 * Abolish coercive taxes.
 * Abolish all current restrictions regarding trade between Norway and other nations. Viewing the EU as a social democratic, redistributive and protectionist organization, they opposed Norwegian membership.
 * Simplify laws, end bureaucracy, decriminalize victimless crimes, and so forth.
 * Privatize roads, highways, railroads and other infrastructure, leaving their construction and upkeep to the free market.
 * Abolish state financing of: special interest groups, business and industry, the agricultural and fishing sectors, the unemployed, and so forth.
 * Abolish restrictions on immigration, provided that the above is accomplished beforehand.
 * Abolish mandatory military service, instead relying on a fully professional defence force.
 * Complete the separation of church and state.

Party leaders

 * 1992–1995 Tor Ingar Østerud
 * 1995–1997 Runar Henriksen
 * 1997–2001 Trond Johansen
 * 2001–2003 Arne Lidwin
 * 2003–2017 Vegard Martinsen

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

title: Liberal People's Party (Norway)


text:
Helsinki metropolitan area

Helsinki metropolitan area (Helsingin seutu, Helsingforsregionen) or Greater Helsinki (Suur-Helsinki, Storhelsingfors) is the metropolitan area around Helsinki, the capital city of Finland. It also includes the smaller capital region. The terms Helsinki metropolitan area, Greater Helsinki, Capital region and the other terms used are not fixed and may vary in different contexts.

The metropolitan region is the largest urbanised area in the country with a population of approximately 0 million and is by far the most important economic, cultural, and scientific region of Finland. Five of Finland's 14 universities, and six universities of applied sciences are located in the metropolitan area, as are most of the headquarters of major companies and government institutions. Finland's main airline hub and airport, Helsinki Airport, is located in the city of Vantaa.

These regions are located in the south of Finland, on the coast of the Gulf of Finland, which is part of the Baltic Sea. They are part of the region of Uusimaa.

Capital Region
In the strictest sense, the Finnish capital region consists of four municipalities with city title, Helsinki, Vantaa, Espoo and Kauniainen. It has a population of about 0 million. This area is most often called the Capital region in English, Pääkaupunkiseutu in Finnish, and Huvudstadsregionen in Swedish, although the use of the terms is not especially consistent. The vast majority of the inhabitants live in the urban areas of the cities, but within the boundaries of these cities there are also suburban and rural areas.

Helsinki metropolitan area
The Helsinki metropolitan area includes around ten additional municipalities that can be considered commuter towns and exurbs of Helsinki. These municipalities are Hyvinkää, Järvenpää, Kerava, Kirkkonummi, Nurmijärvi, Sipoo, Tuusula, Mäntsälä, Pornainen and Vihti, bringing the total population to about 0 million. All of the municipalities belong to the region of Uusimaa. Of these, Järvenpää, Kerava, Tuusula, Nurmijärvi, Sipoo, Kirkkonummi, Mäntsälä and Vihti have parts of the urban area within them. Additionally, the cities of Porvoo, Lohja, Karkkila and to some extent Riihimäki, which have very close ties, motorway and, in the case of Riihimäki, commuter train accesses, and are fairly close to the capital, are nowadays often included in regional planning, which raises the total population to about 0 million.

Helsinki sub-region
Helsinki metropolitan area differs from the Helsinki sub-region (Helsingin seutukunta), which also includes the municipalities of Karkkila, Lohja and Siuntio. The Helsinki sub-region is used for statistical purposes. It is based on cooperation between municipalities and the commuting area. The sub-region has a population of about 0 million.

Helsinki Region Cooperation Assembly
The Helsinki Region Cooperation Assembly is a cooperative body of the municipalities of the Helsinki Region, whose members are the leading elected representatives of the municipalities. Seventeen municipalities participate in cooperation in the Helsinki Region:

 * Cities in the Helsinki Capital Area: Helsinki, Espoo, Vantaa and Kauniainen.
 * The so-called KUUMA municipalities: Järvenpää, Nurmijärvi, Tuusula, Kerava, Mäntsälä, Pornainen, Hyvinkää, Kirkkonummi, Vihti and Sipoo.
 * Partnership municipalities: Porvoo, Lohja and Siuntio.

The common goal of the participating municipalities is to develop cooperation and advocacy. The cooperation is based on the common vision of the municipalities in the Helsinki region regarding the challenges facing the region and the common will to contribute to the development of the region.

Other definitions
As a part of the "Urban audit" project, Eurostat has attempted to standardise the concept of a 'metropolitan area'. According to this study the Metropolitan area of Helsinki consists of the kernel of Helsinki: Helsinki, Espoo, Vantaa, and Kauniainen. The Helsinki Larger Urban Area (Helsingin seutu in Finnish) consists of 12 cities and municipalities: the kernel of Helsinki and the aforementioned eight municipalities.

Statistics Finland define the commuter belt of Helsinki (Helsingin työssäkäyntialue, Helsingfors pendlingsområde) to include a total of 27 municipalities and a population of 0 million. In addition to that, there are people from as far as Lahti and even Tampere commuting to Helsinki daily.

Statistics Finland also defines the Helsinki urban area according to the official Finnish definion of an urban area (taajama in Finnish). Urban areas in Finland are defined as inhabited areas of at least 200 people with a maximum distance of 200 m between buildings. The Helsinki urban area is the largest of its kind in Finland, and encompasses land throughout metropolitan area, with notable gaps around forests and other less-densely populated areas.

The commuter towns of Lohja and Porvoo are not usually included to the Helsinki metropolitan area, though, if they were (considering their proximity to Helsinki and their high commuting rate), they would raise the overall population almost two million people. Hyvinkää, Järvenpää, Nurmijärvi, Tuusula, Mäntsälä and Pornainen, which have been designated as municipalities in Central Uusimaa in recent decades, have shown clear population growth due to their urban but also loose rural environment. These are also known as "Kuuma-kunnat" (literally means "hot municipalities").

Economy
In 2020 Helsinki's gross metropolitan product was €94.2 billion (US$100 billion). This puts Helsinki in 23rd place among cities in European Union.

title: Helsinki metropolitan area


text:
Talk:Helsinki metropolitan area

Untitled
I merged Helsinki Metropolitan Area into this, and reworded a lot of the article. (I was also going to merge in the articles with Finnish names like Pääkaupunkiseutu and Suur-Helsinki, but someone had already done that, which was nice.)

Some justification to this:

 * The terms "Helsinki metropolitan area", "Greater Helsinki", "Helsinki region", etc. are not that well-defined. In fact, they are often all used interchangeably, and sometimes each with more specific, albeit varying meanings. This is the case also with the Finnish terms such as "Pääkaupunkiseutu" and "Helsingin seutu".

 * Also, consider this: there is only one article on many of the lot bigger metropolitan areas, such as Chicagoland or Greater Los Angeles, etc. The Helsinki area with around one million people is, after all, relatively small for a metropolitan area. Having several articles makes things unnecessarily complicated, and may actually misrepresent the reality.

So, I think it is clearest to have one article where we try to explain the most common conceptions of the Helsinki region. --Jonik 12:12, 9 October 2004 (UTC)

Why are the homeless statistics constantly being removed? Hey, this is interesting. I just saw this article in the Helsinginsanomat.

0.5% of the population in Helsinki area is homeless. http://www2.helsinginsanomat.fi/english/archive/news.asp?id=20000815xx5

Helsinki Metropolitan area(area=2,970.6 sq km) has about 6127 homeless. (6,127)/(1,232,595)= 0.50% http://en.wikipedia.org/wiki/Helsinki_metropolitan_area

Earlier this year, the Los Angeles County-wide homeless count was conducted. The overall county number was released this past June. (The number was 91,000 people who are homeless.) LA County has a population of 10,179,716 (area= 10,517 sq km) 91,000/10,179,716= 0.89% http://homelesscount.lahsa.org/

The Los Angeles Metropolitan area is not the same as LA County, it includes 3 counties and the total population is 17,545,623. Area 87,972 sq km. --Lebite 00:17, 13 February 2006 (UTC)

Since when is Sipoo part of Greater Helsinki? It isn't even in the same region (maakunta, landskap)! From what I've heard of Finnish newspapers, Sipooans want to stay separate from the capital region. Why not include Porvoo as well while you're at it? If you ask someone from Northern Savo, Kainuu, or Lapland, I don't think they can make much difference between Helsinki and Porvoo. J I P | Talk 19:15, 18 September 2006 (UTC)

Definition of metropolitan area - official?
Just how 'official' is the wider, 12-municipality definition of the metropolitan area? Is it used in official statistics from Statistics Finland? Is it used by any local planning authority? The article just mention it as commonly recognized and 'not completely established'. --Pjred (talk) 07:20, 6 May 2008 (UTC)

Same question... I see that in the 2005 amendment to the Real Estate Act also Mäntsälä and Pornainen are included, making it 14 municipalities 130.233.136.69 (talk) 08:45, 23 May 2008 (UTC)

I added Mäntsälä to statistics and updated other demographic information. In my opinion, there is no general definition of greater Helsinki area. Anyway, if Hyvinkää is counted I can see no reason not to count Mäntsälä. Both are semi-urban areas with urban centres connected to Helsinki by commuter train and with lot of commuting inhabitants. Also, the distance to Helsinki centre is approximately the same. Pornainen is more rural. Also Porvoo is semi-urban with an urban centre and lot of commuting inhabitants, but for some reason it is never counted as a greater Helsinki municipality. —Preceding unsigned comment added by 129.240.124.69 (talk) 14:04, 21 November 2008 (UTC)

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Helsinki sub-region, Helsinki metropolitan area and Helsinki capital area
I suggest that we synchronize the articles to match the administrative or statistical definitions in use in Finland. At the same time, titles and concepts could be unified and separated at the same time. I propose the following hierarchy: In my opinion, Greater Helsinki is not much in use, and a more appropriate and internationally comparable name for it would be Helsinki metropolitan area. Peltimikko (talk) 00:12, 17 March 2024 (UTC)
 * Helsinki capital area (pääkaupunkiseutu): Helsinki, Espoo, Vantaa, Kauniainen
 * Helsinki metropolitan area (Helsingin seutu): Helsinki, Espoo, Vantaa, Kauniainen + Hyvinkää, Järvenpää, Kerava, Kirkkonummi, Mäntsälä, Nurmijärvi, Pornainen, Sipoo, Tuusula, Vihti
 * Helsinki sub-region (Helsingin seutukunta): Helsinki, Espoo, Vantaa, Kauniainen + Hyvinkää, Järvenpää, Kerava, Kirkkonummi, Mäntsälä, Nurmijärvi, Pornainen, Sipoo, Tuusula, Vihti + Karkkila, Lohja, Siuntio

Requested move 27 March 2024

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

The result of the move request was: moved. Per consensus – robertsky (talk) 11:25, 10 April 2024 (UTC)

Greater Helsinki → Helsinki metropolitan area – 1. Some guidelines in WP:NCGN, but specifically "metropolitan" in the USA guidelines: WP:USPLACE. 2. Helsinki metropolitan area is by far the most popular way to describe the larger urban area surrounding a large city. In Europe, for example, only a few articles use the word "greater" to describe a metropolitan area. 3. In the Anglo-Saxon language, Greater Helsinki can be sometimes used, but on official (Finnish municipality) websites this form is only the third most used. Much more popular are Helsinki metropolitan area and sometimes Helsinki region. For example, Finnish language documents never use the term "Suur-" (Greater), but either "pääkaupunkiseutu" (Capital region) or "Helsingin seutu" (Helsinki region). Peltimikko (talk) 11:16, 27 March 2024 (UTC) — Relisting. Natg 19 (talk) 01:05, 3 April 2024 (UTC)

 * I'm against this. Since this article is about the whole "Helsingin seutu"(Helsinki, Espoo, Vantaa, Kauniainen, Hyvinkää, Järvenpää, Kerava, Kirkkonummi, Nurmijärvi, Sipoo, Tuusula, Vihti, Mäntsälä and Pornainen.), which is different from "Pääkaupunkiseutu"(only Helsinki, Espoo, Vantaa and Kauniainen). Helsinki itself uses the term "Greater Helsinki" for "Helsingin seutu" and "Helsinki Metropolitan Area" for "Pääkaupunkiseutu" 2001:999:609:5F0:77C1:B907:1EC:ECD8 (talk) 13:57, 29 March 2024 (UTC)
 * Tentative support as it seems there is precedence established, but the commenter above seems to bring up a fair point. Pdubs.94 (talk) 05:28, 3 April 2024 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Support per nominator. The same article seems to be called "Helsingin seutu" ("Helsinki region") in Finnish and "Huvudstadsregionen" ("Capital region") in Swedish. "Greater Helsinki" seems to be an Anglophone invention. J I P  | Talk 13:41, 3 April 2024 (UTC)

title: Talk:Helsinki metropolitan area


text:
Yootha Joyce

Yootha Joyce Needham (20 August 1927 – 24 August 1980), known as Yootha Joyce, was an English actress best known for playing Mildred Roper opposite Brian Murphy in the sitcom Man About the House (1973–1976) and its spin-off George and Mildred (1976–1979).

Early life
Yootha Joyce Needham was born in Wandsworth, London, the only child of musical parents Percival "Hurst" Needham, a singer, and Jessie Maud (née Revitt), a concert pianist. She was named "Yootha" after a New Zealand dancer in her father's touring company, a name she would later say she "loathed and detested". Joyce's biography states that her heavily pregnant mother went for a walk on Wandsworth Common during an interval of one of her husband's performances and began feeling contractions; searching for a house to call an ambulance, she came across a nursing home where she gave birth.

The family lived in a basement flat at Bennerley Road, Wandsworth, although Joyce spent much time living with her maternal grandmother, Jessie Rebecca Revitt, while her parents were touring. Initially educated at the Battersea Central Co-educational School, Joyce was evacuated at the start of the Second World War to Petersfield, Hampshire, where she attended Petersfield County High School for Girls. Although Joyce later said that she "hated" her time in Petersfield, she and the other female evacuees from Battersea would use the local church hall there for acting, dancing and singing. By the time Joyce returned to London in 1941 her parents resided on Gladstone Road in Croydon, joined by her grandmother. She completed her education at Croydon High School.

Joyce's family were not encouraging of her career. She could not sing or play the piano like her parents, who stated she "wasn't much good at anything"; however, inspired by her performances at Petersfield, Joyce became determined to "break family tradition [...] and become a straight dramatic actress". Despite her parents' disdain, Joyce successfully auditioned for a place at the Royal Academy of Dramatic Art (RADA), beginning in September 1944, alongside Roger Moore. Her first performance was playing Lydia Bennet in a production of Pride and Prejudice.

Undeterred by her director saying that she "had nothing to offer the profession", Joyce began working as an assistant stage manager at The Grand in Croydon during the summer holidays, and joined a repertory company where she starred in productions including Escape Me Never and Autumn Crocus. Starting back at RADA in September 1945, Joyce dropped the "Needham" from her name and began using the stage name "Yootha Joyce" saying "it seemed less of a mouthful... being stuck with Yootha is enough". Joyce left RADA in early 1946, finding it unduly strict and unencouraging.

Career
Following her departure from RADA, Joyce toured the UK in many repertory theatre groups, including the Harry Kendall Players, the Reginald Salberg Players, the Jack Rose Players and the Harry Hanson Players, and received many positive reviews of her performances. In 1955, following a dry period of work, Joyce applied for work at a further repertory group based at the King's Theatre in Gainsborough, Lincolnshire in a production entitled The Call of the Flesh. The producer, Glynn Edwards accepted her audition and the two became good friends, and later lovers. Touring the UK in The Call of the Flesh the play was billed as "daring", "naked", "raw" and "gripping" and was a huge success. The theatre director Joan Littlewood was in the audience at one of the performances and was impressed to the extent that she asked Edwards to join her Theatre Workshop at the Theatre Royal, Stratford East.

By 1956, Joyce and Edwards had moved in together and rented a flat in Hampstead. During one of Littlewood's productions, Littlewood began looking for more female parts and Edwards suggested Joyce. She joined the production and became a member of the Theatre Workshop alongside other contemporaries including Barbara Windsor, Murray Melvin, Victor Spinetti, Bob Grant, Stephen Lewis, and Brian Murphy. Joyce married Edwards on 8 December 1956. She would confide in Edwards that her greatest fear was being without work, and that she thought every job she had would be her last. Although she appeared in a large number of Littlewood's productions, Joyce first came to prominence in Fings Ain't Wot They Used T'Be. Joyce made her first television appearance in 1962 in an episode of Brothers in Law, a sitcom about a young lawyer, alongside a young Richard Briers, and went on to make her film debut in Littlewood's film Sparrows Can't Sing (1963). Joyce and Edwards divorced in 1969 but remained close friends, to the extent that she used to console him after his subsequent relationships broke down.

In the 1960s and 1970s, Joyce became a familiar face in many one-off sitcom roles and supporting parts in films, with her first main recurring role being Miss Argyll, frustrated girlfriend of the star Milo O'Shea, in three series of Me Mammy (1968–71); most of the episodes of that series are lost. Prior to that, she played a cameo role in Jack Clayton's The Pumpkin Eater (1964) as a psychotic young woman opposite Anne Bancroft, delivering a performance that has been called one of the "best screen acting miniatures one could hope to see." She also had a featured role (as brassy housekeeper Mrs Quayle) in Clayton's next film Our Mother's House (1967), a dark drama starring Dirk Bogarde, which dealt with a group of young children who conceal the death of their single mother to prevent being split up. She also appeared in the Hammer Horror film Fanatic (1965) as a villain. Joyce used her talent for playing villains in television series such as The Saint, The Avengers and Jason King.

Her talent for comedy was also used to good effect in programmes such as Steptoe and Son and On the Buses. She made appearances in the films Catch Us If You Can (1965), A Man for All Seasons (1966) and Charlie Bubbles (1967), as well as TV spin-off films Nearest and Dearest (1972), Never Mind the Quality Feel the Width (1973) and Steptoe and Son Ride Again (1973). She also appeared as customer Mrs. Scully in the pilot episode of Open All Hours (1973).

Mildred Roper
It was not until 1973 that Joyce acquired a starring role, when she was cast as man-hungry Mildred Roper, wife of sub-letting landlord George, in the sitcom Man About the House. This series, which starred Richard O'Sullivan, Paula Wilcox, Sally Thomsett and Brian Murphy as George Roper, ran until 1976, deriving its comic narrative from two young women and a young man sharing the flat above the Ropers.

When the series ended, a spin-off was written that featured the Ropers: George and Mildred, which was first broadcast in 1976. The couple were seen moving from the London house in Myddleton Terrace in the previous programme, and into a newer suburban property in Peacock Crescent, Hampton Wick. Much of the new series centred on Mildred's desire to better herself in her new surroundings, but always being thwarted, usually unwittingly, by her ineffectual husband's desire for a quiet life.

Final years and death
Joyce was affected by her long-term alcoholism.

A feature film version of George and Mildred (1980) was her last work. Amidst growing concern over her health, she was admitted to hospital in the summer of 1980. Joyce died in hospital of liver failure four days after her 53rd birthday on 24 August 1980. Her co-star and good friend Brian Murphy was at her bedside. Joyce's funeral took place on 3 September 1980 at Golders Green Crematorium, where she was cremated. Her ashes were scattered on the crocus lawn in the grounds of the crematorium.

At the inquest into Joyce's death, it was revealed that she had been drinking up to half a bottle of brandy a day for ten years and recently very much more, and that she had, in the words of her lawyer Mario Uziell-Hamilton, become a victim of her own success, and dreaded the thought of being typecast as Mildred Roper. The pathologist stated that Joyce's liver was twice the normal size and that her heart and lungs had also suffered because of her drinking; Joyce's cause of death was given as portal cirrhosis of the liver. Joyce's biography implies that she turned to drink to steady her nerves, particularly after her divorce and subsequent failed relationships, loneliness, typecasting, lack of other work, and lack of privacy due to the popularity of Mildred Roper, and had become depressed.

Joyce appeared posthumously in her last recorded television performance, duetting with Max Bygraves on his variety show Max singing the song "For All We Know We May Never Meet Again". The episode was aired on 14 January 1981. The actor/comedian Kenneth Williams wrote in his diary of the performance that "she looked as though she was crying... as she got up [and left the set] one had the feeling she never intended to return." He also went on to mention her in a later entry in his diary (9 April 1988, just days before his own death) that "there was a break in her voice when she got to [the line] tomorrow may never come... she was a lady who made so many people happy and a lady who never complained".

Legacy
In 1986, The Smiths used an image of Joyce on the sleeve of their UK single release "Ask" and the German release of "Some Girls Are Bigger Than Others", thereby adding her to what would become a significant set of musical releases, made iconic by their design (other Smiths 'cover stars' included Truman Capote, Terence Stamp, Elvis Presley, Pat Phoenix, Viv Nicholson, Billie Whitelaw and Shelagh Delaney).

In October 2001, a tribute documentary entitled The Unforgettable Yootha Joyce was broadcast by ITV, which featured Glynn Edwards as well as many of her co-stars and friends, including Sally Thomsett, Brian Murphy, Nicholas Bond-Owen and Norman Eshley, talking about memories and their relationships with Joyce.

In 2014, a biography was written by Paul Curran, entitled Dear Yootha... The Life of Yootha Joyce, to which contributions were made by those who knew and worked with her, including Glynn Edwards, Murray Melvin and Barbara Windsor. Curran also published The Yootha Joyce Scrapbook containing rare and unseen photographs detailing events from Joyce's life in 2015 and released a third book entitled Yootha Joyce: Pieces of a Life in 2021.

In 2019, a one-woman play depicting Joyce's life, titled Testament of Yootha, was performed by Caroline Burns-Cooke at the Edinburgh Fringe Festival.

title: Yootha Joyce


text:
Beverlywood, Los Angeles

Beverlywood is a neighborhood in the Westside of the city of Los Angeles, California.

History
Beverlywood was developed in 1940 by Walter H. Leimert, who also developed Leimert Park. The neighborhood consists of 1,354 single family homes, and was one of the first neighborhoods in the Los Angeles area to have binding CC&Rs. These regulations, which are administered by the Beverlywood Homes Association, strictly limit housing size, style, color, and design along with additional restrictions on landscaping, and are enforced by a review committee. Additionally, all residents are required to pay the fees to the Beverlywood Home Association.

In recent years, the neighborhood has become a hotspot for mansionization. Despite complying with HOA regulations, many residents believe that the newer and larger houses ruin the feel of the neighborhood and have been successfully campaigning the Los Angeles City Council for regulations to restrict new home sizes.

Beverlywood Homes Association
The borders of the Beverlywood Homes Association are as follows: Monte Mar Drive to the north, Hillcrest Country Club and Anchor Avenue to the west, Beverlywood Street to the south, and Robertson Boulevard to the east. These borders are marked by entrance monuments and signs. Beverlywood is flanked on the north by Pico-Robertson; on the east by Crestview, La Cienega Heights, and Reynier Village; on the south by Castle Heights; and on the west by Cheviot Hills. This puts Beverlywood inside of California's 37th congressional district and California's 54th State Assembly district.

Mapping L.A.
The Mapping L.A. boundaries of Beverlywood, which are broader than those recognized by the Beverlywood Homes Association, include areas not subject to the rules and regulations that limit housing size, style, color, and design.

According to the Mapping L.A. project of the Los Angeles Times, Beverlywood is flanked on the north by Pico-Robertson, on the east by Mid-City, on the south by Palms, and on the west by Cheviot Hills. Beverlywood's street and other borders are given as: north, Cashio Street and Airdrome Street; east. Canfield Avenue and Robertson Boulevard; south, Cattaraugus Avenue; and west, Beverwil Drive and the boundary with the Hillcrest Country Club.

These wider boundaries include the neighborhoods of both Castle Heights and West Helms, which are served by different neighborhood associations (though all part of the South Robertson Neighborhoods Council).

Population
Within the Mapping L.A. boundaries, the 2000 U.S. census counted 6,080 residents in the 0.79-square-mile Beverlywood neighborhood—an average of 7,654 people per square mile, about average for the city. In 2008, the city estimated that the population had increased to 6,418. The median age for residents was 39, older than the city at large; the percentages of residents aged 35 to 49 and 65 and older were among the county's highest.

The neighborhood was considered "not especially diverse" ethnically, with a high percentage of white people. The breakdown was whites*, 80%; Asians, 7.3%; Latinos, 6.1%; blacks, 4.2%; and others, 2.4%. *Iran (12.1%) and *Israel (9.3%) were the most common places of birth for the 24.5% of the residents who were born abroad—considered a low figure for Los Angeles.

The median yearly household income in 2008 dollars was $105,253, a high figure for Los Angeles, and the percentage of households earning $125,000 and up was also considered high for the county. The average household size of 2.5 people was average for Los Angeles. Renters occupied 29.7% of the housing stock and house- or apartment owners held 70.3%.

In 2000 there were 113 families headed by single parents, a low rate for the city and the county. The percentages of veterans who served during World War II or the Korean War were among the county's highest.

Education
Fifty-five percent of Beverlywood residents aged 25 and older had earned a four-year degree by 2000, a high figure for both the city and the county. The percentages of residents of that age with a bachelor's degree or a master's degree were also considered high for the county.

The schools within Beverlywood are as follows:

 * Canfield Avenue Elementary School, LAUSD, 9233 Airdrome Street
 * Castle Heights Elementary School, LAUSD, 9755 Cattaraugus Avenue
 * Cheviot Hills Continuation School, LAUSD, 9200 Cattaraugus Avenue

Zoned secondary schools:
 * Palms Middle School
 * Hamilton High School

Parks and recreation
The Beverlywood Homes Association owns and maintains several private parks in the neighborhood, which, with the exception of Circle Park, are gated and only accessible to Beverlywood residents.

title: Beverlywood, Los Angeles


text:
User talk:Polymorp

Hi Polymorp.

Welcome to Wikipedia and all that. Please Be bold in editing pages — changes to phone sex were obvious self-promotional vandalism, see googlebombing.

You can revert pages by selecting the page history and then selecting the time/date of the edit you want to revert to, and then submitting that (e.g. try it at the Sandbox).

You can sign your name on talk pages using four tildes like this ~

Cheers, Dunc_Harris|☺ 10:49, 1 Aug 2004 (UTC)

Very odd. Although the history seems to say I added that text to Sand I did not. I only reverted a previous vandalism! - Marshman 02:54, 29 December 2005 (UTC)

List of Nottingham Trent University alumni
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Please consider improving the article to address the issues raised because even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached. Do you want to opt out of receiving this notice? Rodhull andemu  23:28, 3 May 2008 (UTC)

title: User talk:Polymorp


text:
Fozzy

Fozzy is an American heavy metal band formed in Atlanta, Georgia, in 1999 by lead guitarist Rich Ward and drummer Frank Fontsere. The band's current lineup consists of vocalist Chris Jericho, Ward, second guitarist Billy Grey, bassist P. J. Farley and drummer Grant Brooks. Jericho has characterized the band by saying, "If Metallica and Journey had a bastard child, it would be Fozzy." As of September 2022, the band has released eight studio albums and one live album. Their first two albums consist of primarily cover songs with some original material, while their albums since have made original material the primary focus.

Formation (1999–2000)
Fozzy started as Fozzy Osbourne, a play on the name of the singer Ozzy Osbourne, and was a cover band assembled by Ward from whatever musicians he could find in a given week. In 1999, Jericho and Ward met in San Antonio, Texas, after a wrestling show and Jericho was invited to play with the band. Their first show was held at the now-defunct club "The Hangar", in the downtown square of Marietta, Georgia. Jericho sat in on a few sessions, but did not plan to play with them permanently. In 2000, Jericho rejoined the band and became its frontman under the persona of Moongoose McQueen, and the band went on tour. As part of the band's "gimmick", Jericho refused to acknowledge that Moongoose McQueen and Chris Jericho were the same person. When interviewed as Moongoose, he would stay in character the whole time and even feign ignorance of who Chris Jericho was. On the other side, Chris Jericho was a "huge fan" of Moongoose and Fozzy.

Fozzy and Happenstance (2000–2002)
The band shortened its name to Fozzy, and adopted the satirical back-story that they had signed with a record company to move to Japan to be huge rock stars, but the company went out of business, leaving them stranded for 20 years, while all their demos were snatched and recorded by other bands. Soon afterward, Fozzy produced their first album, self-titled and featuring mostly covers of bands such as Dio, Krokus, Twisted Sister, Iron Maiden, Mötley Crüe and Judas Priest. Also, at one time the band considered changing their name to Big City Knights.

Fozzy's second album, Happenstance, was produced in 2002, again with mostly covers of bands such as Black Sabbath, Scorpions, W.A.S.P. and Accept.

All That Remains (2003–2006)
After the Happenstance tour ended in 2003, the band dropped its back-story and Chris Jericho's McQueen persona. In January 2005, they released their third album, All That Remains, which had entirely original tracks, including the singles "Enemy", "It's a Lie", "Born of Anger", and "The Test". All That Remains included guest appearances by musicians Zakk Wylde (Black Label Society, Ozzy Osbourne, Pride & Glory), Bone Crusher, Mark Tremonti (Creed, Alter Bridge), Myles Kennedy (Alter Bridge, Slash), Marty Friedman (Megadeth) and Butch Walker (Marvelous 3). The album sold over 100,000 copies. In 2005, "Enemy" was the theme song for WWE No Way Out and in 2006 for a promotional video for TNA Bound for Glory. In 2005, the band played the Download Festival at Donington Park, England.

Chasing the Grail (2009–2011)
Soon after the release of All That Remains, a fourth album was announced.

On March 4, 2009, MetalUnderground.com reported that Fozzy had signed a worldwide record deal with Australian-based Riot! Entertainment to release their fourth album, Chasing the Grail. The album's lead single, "Martyr No More", was announced as an official theme song for the WWE Royal Rumble pay per view. The album was released in America on January 26, 2010, followed by Australia (February) and Europe (March).

On February 19, 2011, Jericho said during an interview with Active Rock radio station WBSX in Wilkes-Barre, Pennsylvania, that he had completed lyrics for a brand new Fozzy album and that Ward was beginning work on writing the music. The band hoped to have the new album released in February 2012. According to Fozzy's official Facebook page, the recordings were done on May 4, 2012. Fozzy released a brand new music video on June 7, which was shot at the Golden Gods Awards for the track "God Pounds His Nails". On July 10, Fozzy played the Sonisphere Festival at Knebworth, England. A special, two-CD edition of Fozzy's live album Remains Alive was released with Chasing the Grail on July 18. The band then announced a headlining tour of the United Kingdom for November 2011.

On September 9, Sean Delson announced his "retirement" from Fozzy as their bass guitar player to resume work with Agent Cooper. Fozzy announced Paul Di Leo, the bass guitarist for Adrenaline Mob, as his replacement.

Sin and Bones (2012–2013)
On January 18, 2010, it was announced that Fozzy had signed with Century Media Records, and planned to release a new album later in the year. Jericho hinted the new album on his Twitter page, saying, 'New @FOZZYROCK album in August?!'. Jericho recently made a full-time return to the WWE on January 4, but despite this, Fozzy was announced to be a part of the Download Festival in the UK, in the summer. On July 17, Fozzy released the first single from their fifth studio album, Sin and Bones, titled "Sandpaper". The song features guest vocals by M. Shadows from Avenged Sevenfold and was also the Hell in a Cell theme song. Sin and Bones was released on August 14. Shortly after the album's release, Chris Jericho once again left the WWE with his final appearance being on SmackDown, on August 20, so that he could go on tour with the band. Fozzy played on the 2012 Uproar Festival tour, headlining the Jägermeister stage. After the Uproar Festival, Fozzy scheduled an international tour with stops in Europe and Australia. Fozzy made their return to the U.S. in 2013 touring as an opener for Saxon on the "Sacrifice and Sin" tour. One tour date (September 21, Joilet, Illinois) was rescheduled and became a Fozzy solo date on October 16.

Do You Wanna Start a War (2014–2015)
During 2013, it was confirmed that Fozzy would begin working on a new record in 2014 and would be looking for a release date during the summer of 2014. The band entered the studio in late January. The first single, "Lights Go Out", was released April 29. "Lights Go Out" reached number 29 on the Billboard Mainstream Rock Songs chart, becoming their first single to make it to the charts. Following the release of the new single, the band embarked on the "Lights Go Out" tour to promote their new album, playing festivals such as Carolina Rebellion, Rock on the Range, and Download, where they performed on the main stage for the first time in the band's history. The second single, "One Crazed Anarchist", was released on May 26, 2014, and was given away to people that pre-ordered the album. The album, Do You Wanna Start a War, was released on July 21 in the UK and Europe and July 22 in North America. The album also features guest appearances by Christie Cook and Steel Panther's Michael Starr. In September 2014, the band announced that Jeff Rouse would be their new bassist, as Paul Di Leo mutually parted ways with the band in May.

Judas (2016–2018)
Jericho confirmed that Fozzy hoped to have their seventh studio album written by January 2016. As of December 2015, the band had started working on the record and hoped to have a release date sometime in summer 2016. However, Jericho said in an interview that it was unlikely to be released in 2016 and was more likely to be released in 2017; this could be due to his return as a full-time WWE in-ring competitor.

On March 18, 2017, Jericho announced that Paul Di Leo had rejoined Fozzy on his Instagram page, replacing Randy Drake as the bassist.

On April 26, 2017, the band released a short snippet of their new single and music video titled "Judas", which premiered on Loudwire on May 2. "Judas" would later become one of the official theme songs for WWE's NXT TakeOver: Chicago, as well as Jericho's theme song in New Japan Pro-Wrestling and All Elite Wrestling. "Judas" instantly became a hit for the band, receiving over 30 million views on YouTube, and reaching number one on various charts worldwide, including reaching number 5 on the Billboard Mainstream Rock Songs, their highest charting position for a single. The band embarked on a show tour in May–June 2017.

Guitarist Rich Ward revealed in an interview with Blabbermouth that the album would be released in September 2017 and is also titled Judas. The album release date was revealed on Jericho's official Instagram account: Judas was released on October 13, 2017. After extensive touring through 2017 - 2018, Paul Di Leo would again part ways and again be replaced with Randy Drake for the remainder of the 2018 Judas tour, including Fozzy playing at Jericho's Rock'N'Wrestling Rager at Sea. On October 22, 2017, Fozzy played at the Aftershock Festival in Sacramento, California.

Boombox (2019–present)
On April 4, 2019, Fozzy announced that they were signing with Sony Music. Following this, they announced they had entered the studio to begin recording of their eighth studio album, later tentatively named as 2020 due for release in 2020. Chris Jericho debuted the album's first single, "Nowhere to Run" during a broadcast of The Rock of Jericho on August 23. "Nowhere to Run" was later released on August 29, 2019. However, in July 2020, Chris Jericho said the album's title had been scrapped, and the release was pushed to 2021. "The original idea was to call it '2020', until we realized that we're not gonna have this thing done till November/December, so it's not as contemporary anymore to put out an album called '2020' when it's 2021. Let's just leave it behind." The album, re-titled Boombox, was released on May 6, 2022.

Members
Current members
 * Chris Jericho/Chris Irvine – lead vocals (1999–present)
 * Rich Ward – lead guitar, keyboards, programming, backing vocals (1999–present)
 * Billy Grey – rhythm guitar, backing vocals (2010–present; 2002, touring only)
 * P. J. Farley – bass, backing vocals (2020–present)
 * Grant Brooks – drums (2022–present)

Discography

 * Studio albums
 * Fozzy (2000)
 * Happenstance (2002)
 * All That Remains (2005)
 * Chasing the Grail (2010)
 * Sin and Bones (2012)
 * Do You Wanna Start a War (2014)
 * Judas (2017)
 * Boombox (2022)

Awards
Loudwire Music Awards

 * 2012 || Sandpaper (featuring M. Shadows) || Cage Match Hall of Fame || Won
 * 2012 || Sandpaper (featuring M. Shadows) || Cage Match Hall of Fame || Won

title: Fozzy


text:
Wakhi people

The Wakhi people (, د واخان وګړي,, ; Ваханцы; ), also locally referred to as the Wokhik , are an Iranian ethnic group native to Central and South Asia. They are found in Afghanistan, Tajikistan, Pakistan and China—primarily situated in and around Afghanistan's Wakhan Corridor, the northernmost part of Pakistan's Gilgit−Baltistan and Chitral, Tajikistan's Gorno−Badakhshan Autonomous Region and the southwestern areas of China's Xinjiang Uyghur Autonomous Region. The Wakhi people are native speakers of the Wakhi language, an Eastern Iranian language.

Name
The Wakhi people refer to themselves as Khik and to their language as Khik zik. The exonym Wakhī, which is given to them by their neighbors, is based on Wux̌, the local name of the region of Wakhan, deriving from *Waxšu, the old name of the Oxus River (Amu Darya), which is a major river formed by the junction of the Vakhsh and Panj rivers on the border between Tajikistan and Afghanistan.

Demographics
Ethnic Wakhi-speakers have a total population of about 50,000–58,000. The population is divided between four countries: Afghanistan, Tajikistan, Pakistan and China's Xinjiang. The Wakhi people have been settlers of their lands for hundreds if not thousands of years. The machinations of The Great Game during the eighteenth and nineteenth century created boundaries which separated the large body of the Wakhis into living in four countries.

In Tajikistan, Wakhi are inhabitants of Roshtqal'a District and Ishkoshim District of Gorno-Badakhshan Autonomous Region.

In Afghanistan, Wakhi primarily live in the Wakhan District of Badakhshan Province.

In Gilgit-Baltistan in the north of Pakistan, Wakhi predominantly live in the upper region of Hunza popularly known as Gojal. Wakhi speakers also live in Ishkoman Valley of District Ghizer, and some villages of Yasin Valley.

In Pakistan, Wakhi also live in Broghal in Chitral district of Khyber Pakhtunkhwa province.

In China, Wakhi are inhabitants of Taxkorgan Tajik Autonomous County an administrative area within Kashgar Prefecture of Xinjiang, mainly in the township of Dafdar.

In China, the Wakhi people, together with the Sarikoli people, are officially recognized as "Tajiks", with ethnic-minority autonomous status. In Afghanistan, they are officially called "Pamiri". In Tajikistan, they are recognized by the state as "Tajiks", but self-identify as "Pamiri". In Pakistan, they refer to themselves as "Wakhi" or "Pamiri" or "Gujali".

The Wakhi predominantly adhere to Nizari Ismaili Shia Islam, which is regarded as their ethnic religion and are followers of the Aga Khan.

Economy
The Wakhi are primarily nomadic, depending on their herds of yaks and horses. They often have two residences—one for winter and one for summer. Their houses are built of stone and sod.

Cultural preservation
Activists and researchers have been working to preserve and record the language of the Wakhi people, and have developed Wakhi orthographies using the Arabic, Cyrillic, and Latin scripts.

In 1990, the Gojali Wakhis of Pakistan established the Wakhi Tajik Cultural Association to preserve, document, and publish their local culture. The association introduced a script that was applied into linguistic and literary textbooks, and organized cultural festivals. Radio Pakistan's Radio Gilgit also aired a daily Wakhi-language program named Bam-e Dunya ("Roof of the World").

title: Wakhi people


text:
Alejandro Viñao

Raul Alejandro Viñao (born 4 September 1951) is an Argentine composer based in London.

Early life
Viñao studied musical composition in Buenos Aires with the composer Jacobo Ficher. In 1976 he was awarded a British Council scholarship to study in London at the Royal College of Music and later on at the City University where he was awarded a PhD in composition.

Career
In the 1980s, Viñao worked at IRCAM in Paris where he developed a particular interest in sound interpolation (sound morphing) a technique that has featured in many of his compositions such as Chant D'Ailleurs which won the Prix Ars Electronica in 1992. Viñao has written orchestral and chamber music for the concert hall, opera and music-theatre, film scores, music for multimedia events and rock and popular music. He has also created and presented programmes for BBC Radio 3.

He has written a number of percussion works, such as Khan Variations for solo Marimba, which have become very well known in the US, Europe and Japan.

At the rhythmic level Viñao's work has been influenced by non-western musical traditions as well as by the music of Conlon Nancarrow. In percussion pieces such as Estudios de Fronteras (2004), Viñao used complex polyrhythms to realise with percussion instruments played by human performers ideas derived from Nancarrow's etudes for pianola. He also explored complex ideas on multi temporality using acoustic instruments combined with electroacoustic means, most noticeably in his string quartet Phrase & Fiction (1994/1995).

Viñao presented his views on Nancarrow and his influence on a generation of composer such as himself in a BBC radio programme entitled 'Children of Nancarrow'.

Later work by Viñao's focused on social and political issues, writing music-theatre or concert pieces concerned with themes such as the invasion of Iraq (The Baghdad Monologue, 2005), the fate of deprived children around the world (Chicos del 21, 2010) and the financial crisis of 2008 (Greed, 2012).

Personal life
Viñao has been a British citizen since 1994, holding dual nationality. He lives in Crouch End, North London with his wife, American-born actress Lachele Carl. They have a son, Matteo.

Prizes and awards

 * 1977 – Cobbett Competition, Royal College of Music, London.
 * 1981 – 1st prize at International Competition for Electro-Acoustic Music, Bourges, France.
 * 1984 – 1st Prize at The International Rostrum of the Unesco World Music Council.
 * 1989 – Distinction, Prix Ars Electronica, Austria.
 * 1990, 1992 – 2nd prize Sony Radio Academy Awards, UK
 * 1992 – Euphonie d'Or, Bourges, France.
 * 1992 – 1st Prize Golden Nica, Prix Ars Electronica, Austria.
 * 1994 – Guggenheim fellowship in composition, USA.
 * 2006 – Leverhulme Trust Artist in Residence at University of Cambridge Computer Laboratory, UK

Recordings

 * Chicos del 21+The Baghdad Monologue  – ArtZoyd/In-possible Records –
 * Son Entero/Triple Concerto – WERGO (WER 2019–50)
 * Toccata del Mago – Computer Music Currents 11 – WERGO (WER 20312)
 * Hildegard's Dream – Musidisc (MU 244942)
 * Percussive Counterpoint, label: CAG records
 * Voice Stories –  ALBEDO (Catalog no.: ALBCD012)
 * United Instruments of Lucilin, FUGA LIBERA, FUG 501
 * Vinao, Parmerud etc. "Sthlm Elektronmusikfestival 1981" – Fylkingen Records – FYLP 1026 -
 * Miniatures 1 – Cherry Red Records –

title: Alejandro Viñao


text:
User talk:Picapica/archive0407

Ireland
Hi there!

Great work on adding/tidying up/starting the Ireland town articles! Are you from Ireland? ''An bhfuil Gaeilge agat? Tá leagan Gaeilge den suíomh seo, Vicipéid. Is feidir leat cábhrú ansin chomh maith!''

Welcome to Wikipedia!

Zoney 16:39, 4 Jul 2004 (UTC)

Zoney, a chara:

Tá beagán Gaeilge agam, though not really enough to be contributing to the Vicipéid, faraor (except, perhaps, in the most rudimentary fashion).

Like you, I'm into current affairs, railways (I work in railway-related publishing), and all matters Irish - plus other historical-geographical-linguistic topics. In fact, I first got into contributing (anonymously) to Wikipedia by a wish to sort out some of the pages on Irish counties - before I finally took the plunge and registered.

It's only today that I noticed some of the work that's been done recently on Irish towns, and started to work my way through a few of the entries on the Towns of the Republic of Ireland page (plus "spin-offs", which is always the way once you start editing on Wiki...)

Many thanks for your encouragement. -- Picapica 17:36, 4 Jul 2004 (UTC)

Irish edits
I'm impressed by the quantity of edits you've made to Irish articles! It's a great incentive for me to make more of an effort - there are still many gaps in Irish topics covered (though fortunately, history and politics are very well covered - I think User:Jtdirl is mostly responsible!)! I've added Limerick Junction though (how did I miss that one!!!).

Zoney 15:09, 7 Jul 2004 (UTC)

Captions
Thanks for your gentle nudge on Captions. I think I've addressed your concernes in that article and its talk page. Please reply there if I haven't. -- ke4roh 17:20, Jul 8, 2004 (UTC)

Hello, again! I've started WikiProject Writing Captions, and I'd be much appreciative if you would care to comment on the project. (If you'd like to join, that'd be fantastic.) Thanks! -- ke4roh 00:28, Jul 22, 2004 (UTC)

Japanese funeral
Many thanks for your copyedit of Japanese funeral. The article needed it! -- Chris 73 | Talk 03:17, 10 Jul 2004 (UTC)
 * My pleasure. It's good to know that copyediting (which I do at work and, I have to admit, also as a hobby - it takes all sorts to make a world!) isn't invariably a source of annoyance to those on the receiving end. -- Picapica 08:35, 10 Jul 2004 (UTC)

Your recent edits
Dear Picapica,

I appreciate the extensive improvements you recently made to the List of alternative country names. However, I have a few questions for you.

(1) You changed the Greek transcription style for all country names from the more phonetic one (Vélyio, Vulgharía, Dhanía, Éyiptos, etc.) which has the advantage of providing a clue to the pronunciation and avoids confusion with phonetic g, d corresponding to orthographic gk, nt (as in "dolmadhes" spelled "ntolmades"), to the more orthographic one (Vélgio, Vulgaría, Danía, Égiptos, etc.), which closely reflects the Greek spelling, but does not provide a clue to the pronunciation. Fine. Personally, I have a preference for the former style, but I am not going to argue about that. However, you overlooked Souidhía which you should have changed to Suidía.

(2) You reversed the order of double entries such as: Gruusia or Georgia (Estonian), Gronelândia or Groenlândia (Portuguese), so as to alphabetize them. The reason I had not entered these in alphabetical order was so as to place the more commonly used name first. In both cases one name is definitely more common than the other. The order I had used was meant to reflect that. Now, that distinction is lost.

(3) I had used a double reference (English name/native name) for certain lesser-known languages, e.g Alsatian/Elsässisch, Luxembourgish/Lëtzebuergesch, Greenlandic Eskimo/Inuktitut (the last one is the name used in Ethnologue.com). (I happen to own a [somewhat old] grammar of "Greenlandic Eskimo" and that's what the language is called in it.) You changed the above names to Alsatian, Luxembourgish, Kalaallisut. Fine, but why did you use the self-description only for the last one?

(4) With regard to l'Índia (Catalan), el Japó (Catalan), el Marroc (Catalan), els Estats Units  (Catalan), which you didn't like, they are the forms used in the Catalan Wikipedia.

(5) Teyrnas Unedig Prydain Fawr a Gogledd Iwerddon (Welsh) [which you changed to y Deyrnas Unedig Prydain Fawr a Gogledd Iwerddon (Welsh)] is in fact the official Welsh name for the UK.

(6) I had tried to alphabetize the names that were identical but for the accent marks in the following way: first the forms with no accents, then the forms bearing accent marks, starting with the ones with the accent marks furthest to the left and ending with the ones with the accent marks furthest to the right. You have altered this order, so that now there is no clear ordering.

(7) You changed part of the intro from "The English version is followed by the current official name and then variants in other languages, in alphabetical order by name, and then by any historical variants and former names." to: "Each English name is followed by its currently best-known equivalents in other languages, listed in English alphabetical order (ignoring accents) by name and language. Historical and/or alternative versions, where included, are noted as such." Fine. However, the older one is the one that appears in the previously existing List of European cities with alternative names, which served as the model for this page when Halibutt created it.

My impression is that while your contributions are certainly valuable, they sometimes go a little beyond the call of duty. (And I am talking as a fellow copy-editor and linguist here.)

Pasquale 19:51, 19 Jul 2004 (UTC)

 * Ciao, Pasquale. Many thanks for the feedback, and I very much appreciate your taking the trouble to set out your reasoned objections. It's coming up to my bedtime now, but I will certainly try to return the compliment by putting my detailed reacties op uw reacties on this page tomorrow and attempt, in so doing, to reveal the method in my madness. Slán go fóill -- Picapica 21:15, 19 Jul 2004 (UTC)

My plans for yesterday went somewhat aglay, but here -- a day late -- are my answers to your questions, Pasquale.

 * (1) You changed the Greek transcription style for all country names from the more phonetic one (Vélyio, Vulgharía, Dhanía, Éyiptos, etc.) which has the advantage of providing a clue to the pronunciation and avoids confusion with phonetic g, d corresponding to orthographic gk, nt (as in "dolmadhes" spelled "ntolmades"), to the more orthographic one (Vélgio, Vulgaría, Danía, Égiptos, etc.), which closely reflects the Greek spelling, but does not provide a clue to the pronunciation. Fine. Personally, I have a preference for the former style, but I am not going to argue about that. However, you overlooked Souidhía which you should have changed to Suidía.

Yes, the questions involved in deciding upon a Roman-alphabet transcription of modern Greek are many-sided and all solutions are susceptible of being seen as partial in both senses of the word: failing to address all the issues, and exhibiting a conspicuous lack of impartiality. Let me at least assure you that my choices are far from aleatory: at my place of work we sweated long and hard to come up with a consistent and intellectually sustainable procedure for transcribing modern Greek proper names into the Roman alphabet -- and my transcriptions follow that procedure.

I do recognize the rationale behind wanting to be able to use "dh" and "gh". Our argument against these digraphs was that we were aiming, as far as possible, to come up with a one-symbol-to-one-phoneme system -- and the d/dh g/gh distinction is not only not phonemic but potentially confusing (what is the value of the "h"? -- especially considering that we wished to reserve that letter to express Greek χ). I think we largely succeeded (except that we retained "ng" for γγ -- thereby, of course, departing from the one-symbol-to-one-phoneme rule). A slightly more "picky" objection to "dh" and "gh" that I will own up to is that "d(r)" and "gh" end up sharing one positional bed, and "dh" and "y/g(r)" the other: I tend to feel that makes that "h" appear even more promiscuous!

As for Suidía, thanks for pointing it out -- pure oversight on my part.

 * (2) You reversed the order of double entries such as: Gruusia or Georgia (Estonian), Gronelândia or Groenlândia (Portuguese), so as to alphabetize them. The reason I had not entered these in alphabetical order was so as to place the more commonly used name first. In both cases one name is definitely more common than the other. The order I had used was meant to reflect that. Now, that distinction is lost.

A fair cop, guv'nor. I failed to see that principle borne out in the couple of "test cases" I ran (neither being those you mentioned): I clearly should have run more! However, I do feel that if frequency-ordering is to be applied to the other-language lists (as opposed to the English headwords, which -- be it noted -- are explicitly the "current best-known names"), then this ought to be spelled out in the premable. (I was going to offer to move them back, except that I've just had a quick look at the page and I see that large-scale reversion has taken place on more important matters anyway -- and I do try to make it a rule never to get involved in "reversion wars": there are so many other things to do in the constructive anarchy that is the chief delight of the Wikipedia.)

 * (3) I had used a double reference (English name/native name) for certain lesser-known languages, e.g Alsatian/Elsässisch, Luxembourgish/Lëtzebuergesch, Greenlandic Eskimo/Inuktitut (the last one is the name used in Ethnologue.com). (I happen to own a [somewhat old] grammar of "Greenlandic Eskimo" and that's what the language is called in it.) You changed the above names to Alsatian, Luxembourgish, Kalaallisut. Fine, but why did you use the self-description only for the last one?

Well, to be honest, I couldn't see how writing "Alsatian/Elsässisch" or "Luxembourgish/Lëtzebuergesch" would make those languages any better known than writing just "Alsatian" and "Luxembourgish", which to virtually all Europeans, at least, mean just what they say: "relating to, respectively, Alsace and Luxembourg".

Endonymic "Kalaallisut" because there isn't, AFAIK, any other satisfactory English name for the language. "Inuktitut" is, to my mind, too vague: like saying "Slavic" for "Polish". And "Eskimo" is, to say the least, a controversial term.

 * (4) With regard to l'Índia (Catalan), el Japó (Catalan), el Marroc (Catalan), els Estats Units (Catalan), which you didn't like, they are the forms used in the Catalan Wikipedia.

It's not so much that I "didn't like" l'Índia etc. as that I wasn't convinced these names merited their definite articles any more than those absent in the listings from the French names l'Inde, le Japon, le Maroc, les États-Unis... After all, the respective articles in the Viquipèdia are (despite your saying they are the forms used in the Catalan Wikipedia):  Índia,  Japó, Marroc, Estats Units -- sans article.

Now, it's a more than a quarter of a century since I last lived and worked in Barcelona and I didn't follow any formal instruction in Catalan at the time (Franco still being alive at the time, and young people I knew still risking a police beating for speaking the language too "ostentatiously" in public, such study was not particularly encouraged!). It's extremely possible, therefore, that my notion that Catalan parallels French in this respect is quite fallacious. Investigations are continuing!

Which "definite article" considerations bring me next to:

 * (5) Teyrnas Unedig Prydain Fawr a Gogledd Iwerddon (Welsh) [which you changed to y Deyrnas Unedig Prydain Fawr a Gogledd Iwerddon (Welsh)] is in fact the official Welsh name for the UK.

Having argued for the otiosity of the "el" in the Catalan listing for Japan, am I, Pica-Consistency-Kid-pica, about to be hoist with my own petard, find that I have opened Ockham's Razor only to cut my own throat with it? If you will allow me a few more moments on Death-to-Pedants Row, here is my plea:

You say that Teyrnas Unedig Prydain Fawr a Gogledd Iwerddon is in fact the official Welsh name for the UK but I wonder what you mean by official Welsh name and what your source is for this statement. The only source I have come up with so far is Nom officiel en Gallois, Y Deyrnas Unedig Prydain Fawr a Gogledd Iwerddon -- but that, of course, is in French. Am still looking for a relevant Act or other declaration of the National Assembly for Wales. In the meantime, I am still convinced that "y Deyrnas Unedig..." is the only form that makes sense: "Teyrnas Unedig..." means "a United Kingdom...".

"Teyrnas Unedig?" can appear in the kind of short-hand list that has Netherlands (when the actual English name is, of course, not Netherlands -- tout court -- but "the Netherlands") -- but that leads on to another discussion in itself, which I'd love to go into, but I have, unfortunately, to report for work in the morning...

Not only that but I promised faithfully to be somewhere else more than half an hour ago. In the interests of domestic harmony, then, I'd better leave my answers to questions 6) and 7) until tomorrow... -- Picapica 23:29, 21 Jul 2004 (UTC)

Fit the Second:
 * (6) I had tried to alphabetize the names that were identical but for the accent marks in the following way: first the forms with no accents, then the forms bearing accent marks, starting with the ones with the accent marks furthest to the left and ending with the ones with the accent marks furthest to the right. You have altered this order, so that now there is no clear ordering.

Well, your honour, now that you explain it, I grant you there was ordering - but "clear ordering"? With respect, I failed -- despite studying it for some time -- to crack your ordering-code. I came to the conclusion that it possibly had something to do with the particular sort function embedded in text-processing software you might have been using. And which diacritic is further to the left: the è of Bèlgica or the é of Bélgica?

I would dispute your claim that my statement "...listed in English alphabetical order (ignoring accents) by name and by language" means that now there is no clear ordering. "Bèlgica (Catalan), Bélgica (Portuguese)" follows my rule precisely (English alphabetical order -- which disregards accents -- by name and by language: Bèlgica is still distinguished from Bélgica, but the C of Catalan comes before the P of Portuguese). Once again, this is not a rule I came up without thought. I have been contributing for a number of years to a project, based in Łódź, Poland, which is building up a multilingual database of European toponyms - and this was one of the earliest ordering principles we established.

I think that if you want your left-to-right criterion to apply, then you must make this explicit in the preamble.

 * (7) You changed part of the intro from "The English version is followed by the current official name and then variants in other languages, in alphabetical order by name, and then by any historical variants and former names." to: "Each English name is followed by its currently best-known equivalents in other languages, listed in English alphabetical order (ignoring accents) by name and language. Historical and/or alternative versions, where included, are noted as such." Fine. However, the older one is the one that appears in the previously existing List of European cities with alternative names, which served as the model for this page when Halibutt created it.

I'm sorry, but I find your last sentence runs profoundly counter to what I take to be the spirit of the Wikipedia. Undo every last one of my changes if you wish. That is your prerogative and -- as I've already said -- les guerres de réversion, c'est pas mon genre. I put my two eurocents' worth in and if people don't like it they take it out again -- fair enough. But please don't ask me not to touch stuff "because that was how X created it". Wikipedia is an ongoing project not a traditionalist religion.

Well, Pasquale, I'll just put that Suidía right and then I'll leave you in peace to carry on with your page unmolested. Beir beannacht. -- Picapica 19:12, 22 Jul 2004 (UTC)

Response from Pasquale
NOTE: I WROTE THE FOLLOWING RESPONSE PRIOR TO READING YOUR ADDITIONAL REPLIES AND YOUR COMMENTS ON User talk:Pne.

Thanks, Picapica, for your extensive reply. Well, I can see that you have a lot of good points. I will try to give you brief rebuttals.

(1) With regard to the Roman-alphabet transcription of Greek characters, the solution which you adopted at your workplace, and which you advocate here, seems to have been driven by a one-symbol-to-one-phoneme principle. We are under no such pressure here. Why would you want to stick to a one-symbol-to-one-phoneme principle if the Greek characters do not? Compare the Greek phonemes /u/ written <ου>, /d/ written <ντ>, /g/ written <γκ>, etc. I could see perhaps a one-symbol-to-one-character principle, but that would entail writing Giougkoslavikê for Γιουγκοσλαβική, whereas it makes much more sense to transcribe it as Yiugoslavikí, as it currently is. Your statement that the d/dh g/gh distinction is not phonemic in Greek is incorrect, in my opinion. There are, actually, phonemic /d/ and /g/ in Greek, respectively spelled <ντ> and <γκ>, as I mentioned above, with plenty of minimal pairs. These cannot always be analyzed as underlying /n/ + /t/ and /n/ + /k/. I've had a detailed exchange with pne about which transcription style to use for Greek and we have opted for a more phonetic style of transcription. Please see my comments to pne and his responses on his discussion page: User talk:Pne.

(2) For Gruusia or Georgia (Estonian), Gronelândia or Groenlândia (Portuguese), I adopted a different solution as a workaround. I identified the primary forms as (Estonian) and (Portuguese) and the secondary forms as (Estonian variant) and (Portuguese variant). This way, I avoided altering your alphabetization principle, which still applies to cases in which the alternate forms need not be clearly ranked for frequency.

(3) I would still go for "Greenlandic Eskimo", no matter how controversial (most linguists still talk about the Eskimo-Aleut languages and mean no offense), or simply "Greenlandic". After all, we are trying to be understood by English-speakers, and I'm not sure what percentage of Wikipedia readers will know what "Kalaallisut" is.

(4) As for l'Índia (Catalan), el Japó (Catalan), el Marroc (Catalan), els Estats Units (Catalan), I believe there is a big difference between these Catalan cases and the French use of the article, which follows clear rules that apply across the board to all countries. In Catalan, the article is used only with a small number of countries. (Compare some varieties of Spanish, in which you say: "en Italia", "en Francia", etc., but "en la India".) Please refer to the articles Àsia, Àfrica, and Amèrica in the Catalan Viquipèdia.

(5) As for Teyrnas Unedig Prydain Fawr a Gogledd Iwerddon (Welsh), you have a very good point. All I can say is that I took it from the Wikipedia articles for "United Kingdom" in a number of languages, although not English. (Go to the English Wikipedia article for United Kingdom and click the links at left, e.g. Български, Dansk, Ελληνικά, Esperanto, Español, etc. For some reason, they all include the article for Scots Gaelic and Cornish, but not for Irish and Welsh.)

ADDENDUM: I will not push my points (6) and (7) further. I realize they are not very important. I quickly read your comments on User talk:Pne and they seem to lend support to my preference for a more phonetic transcription: obviously you would not want to write such absurdities as "Ntoumpróvnik" for Dubrovnik, etc. It is precisely that kind of reasoning that motivates my entire argument. As for Κάτω Χώρες, it is used repeatedly in the Greek Wikipedia, always specifically in reference to The Netherlands (I realize, of course, the Wikipedia is not the Bible...)

Pasquale 20:25, 22 Jul 2004 (UTC)

 * Pasquale, a chara:
 * re Go to the English Wikipedia article (..) and click the links (...for...) Esperanto, Español, etc. --
 * never underestimate the incestuousness of the Wikipedia!
 * Should anyone have ever wondered why an agreed method of transcription of modern Greek into the Roman alphabet has never been arrived at, let them do no more than look at our debate. We must part company, I am afraid, over Dimokratía and Vulgaría versus Dhimokratía and Vulgharía.
 * Before I bid you Ffarwél, however, let me just say -- on the question of the lack of an initial article in the Irish Ríocht Aontaithe na Breataine Móire etc that that is an ineluctable consequence of the gramatical rule forbidding two articles in one noun phrase: the first is always surpressed (see: fear an phoist - lit. man of the post - the postman).
 * It will be interesting to see if our paths ever cross again. -- Picapica 20:56, 23 Jul 2004 (UTC) (Jac-y-do)

Picapica,

Re: We must part company, I am afraid, over Dimokratía and Vulgaría versus Dhimokratía and Vulgharía.

I find it truly odd that you should stubbornly adhere to your arbitrary straitjacket of a one-symbol-to-one-phoneme principle (or one-symbol-to-one-character, whichever it is), even at the cost of using the same symbol for different phonemes. (Or maybe you really believe Dimokratía and Dubróvnik begin with the same phoneme in Greek?) What's the point? Is it perhaps that convenience in IT trumps all linguistic considerations? Or is your reasoning grounded in some phonological analysis? I don't know, I fail to see why this point is so important to you.

Pasquale 21:34, 23 Jul 2004 (UTC)

 * (Convenience in IT? Jamais! For me IT stands for Interfering Techies: people who turn up and say "we're just going to upgrade your computer" and after they've gone nothing works!)
 * I refer you to this and associated pages, in particular to the statement that: "this phenomenon [palatalization] is a phonetic, not a phonological aspect of the language" -- Picapica 22:49, 23 Jul 2004 (UTC)

That's funny. I ask you if you believe Dimokratía and Dubróvnik begin with the same phoneme in Greek and you reply with a link to palatalization, which concerns the gh vs. y for γ issue. So what if gh and y are allophones of the same phoneme? Remember, we are trying to make the transcription phonetic, not phonemic. You are the one who is hung up on the one-symbol-to-one-phoneme principle (or was it one-symbol-to-one-character?).

Pasquale 23:54, 23 Jul 2004 (UTC)
 * Dear Pasquale, leaving aside the question of who's the "we" in we are trying to make the transcription phonetic, not phonemic, I cannot think where you got the one-symbol-to-one-character idea from (you've implied at least twice now that that might be my principle when I've said that it wasn't). I've already told you that I'd gone for one-symbol-to-one-phoneme, and if I'm "hung up" on that then I'm quite happy to stay suspended there -- if in glorious isolation then so be it. In case you haven't got it yet, you've won as far as the list of alternative country names is concerned: I'm not going to interfere there any more. (Rejoice! in the words of M. Thatcher and A. Blair.)
 * The article, it seems to me from internal evidence, has a history of "repelling all boarders", so I'm casting off now voluntarily. You now have, as far as I'm concerned, an entirely free hand there (that has been the case, in fact, since my last intervention -- which I told you at the time would be my last). As I said before, our paths may across again, but this correspondence is now closed. J'ai tellement d'autres poissons à frier and life is just too short. My very best wishes to you. -- Picapica 01:16, 24 Jul 2004 (UTC)

Well, Picapica, in your great magnanimity, you will not deny me one last rebuttal. Indeed, you had referred only to the one-symbol-to-one-phoneme principle pursued at your place of work. My hypothesis that you might also be striving towards a one-symbol-to-one-character principle was, admittedly, based entirely on some of the empirical evidence of the data you had submitted (e.g. h for χ). On the other hand, you later stated that you would not transcribe "Ntoumpróvnik" for Dubrovnik, so that disproved my hypothesis right there. In my view, however, transcribing Dimokratía and Dubróvnik with the same symbol d, for what are, IMO, clearly different phonemes in Greek, directly violates the one-symbol-to-one-phoneme principle (as I've pointed out repeatedly and you have never quite explained, if I'm not mistaken).

By saying "we", as you well know, I was referring to the consultation I had with Pne, who was responsible for entering a whole lot of Greek names in Roman-alphabet transcription as well as in the Greek alphabet on 16 Jul 2004. It was in fact Pne, not I, who first implemented the phonetic transcription (albeit with some inconsistencies at first), which you then changed to the one that you favor. Now, it seems to me that you complain about the reversal wars only when you are reversed, not when you reverse others. As a matter of fact, I did not reverse the Roman-alphabet transcription back to the original, more "phonetic" style, until after I'd had a couple of exchanges with Pne. Now, if, instead of griping, you had successfully persuaded Pne (as the author of the Greek alphabet submissions) that your transcription style was superior, I would have been gladly overridden, despite my better judgment to the contrary.

As far as the you've won business is concerned, you are attributing emotions to me that are not mine. Perhaps you are projecting onto me feelings that you think you would have in my place. I believe I have always had a fairly dispassionate, scientific attitude towards linguistics, developed over decades of work in the field.

Finally, it's absolutely not true that the article has a history of "repelling all boarders". Just look at the recent history. In fact, on 19 Jul 2004, a certain Jiang highjacked the entire page for his own purposes, believing a decision (i.e. his) had been arrived at by consensus, after a discussion that had featured, in addition to him, only two other people: Halibutt, the creator of the page, and Zoney, one of its early contributors. It turns out that these two other people had not even actually understood what he wanted to do. But so be it. Not only did the article not "repel" this Jiang, it was actually taken over, moved, and renamed! (This is all documented in the discussion.)

I am truly sorry that I have taken up so much of your time. I have not enjoyed having this interchange either, but as long as you attribute ideas and notions to me that are quite inaccurate, I am forced to rebut.

Pasquale 22:29, 26 Jul 2004 (UTC)

title: User talk:Picapica/archive0407


text:
Elmer Snowden

Elmer Chester Snowden (October 9, 1900 – May 14, 1973) was an American banjo player of the jazz age. He also played guitar and, in the early stages of his career, all the reed instruments. He contributed greatly to jazz in its early days as both a player and a bandleader, and launched the careers of many top musicians.

Biography
Elmer Snowden was born in Baltimore, Maryland, United States, to Gertude Snowden, and had a brother, James. His mother worked as a laundress, but by the time of the 1917 World War I draft registration, a month before his 17th birthday, he was already listing his occupation as "musician," while living with his mother, and the 1920 Federal Census lists him still living at home, employed as a "musician in a dance hall."

Snowden was the original leader of the Washingtonians, a group he brought to New York City from the capital in 1923. Unable to gain a booking, Snowden sent for Duke Ellington, who was with the group when it recorded three test sides for Victor that were never issued. Ellington eventually took over leadership of the band, which contained the nucleus of what later became his orchestra.

Snowden was also a renowned band leader – Count Basie, Jimmie Lunceford, Bubber Miley, "Tricky Sam" Nanton, Frankie Newton, Benny Carter, Rex Stewart, Roy Eldridge and Chick Webb are among the musicians who worked in his bands.

Very active in the 1920s as an agent and musician, Snowden at one time had five bands playing under his name in New York, one of which was led by pianist Cliff Jackson. Most of his bands were not recorded, but a Snowden band that included Eldridge, Al Sears, Dicky Wells and Sid Catlett appeared in a Vitaphone Varieties short film, Smash Your Baggage (1932).

Although Snowden continued to be musically active throughout his life, after the mid 1930s, with the retirement of his long-time musical partner Bob Fuller, his career was one of relative obscurity in New York. He continued to play through to the 1950s, but outside the limelight. After a dispute with the musicians' union in New York, he moved to Philadelphia, where he taught music, counting among his pupils pianist Ray Bryant, his brother, bassist Tommy Bryant, and saxophonist Sahib Shihab, originally known as Edmond Gregory.

Snowden was working as a parking lot attendant in 1959 when Chris Albertson, then a Philadelphia disc jockey, came across him. In 1960, Albertson brought Snowden and singer-guitarist Lonnie Johnson together for two Prestige albums, assembled a quartet that included Cliff Jackson for a Riverside session, Harlem Banjo, and, in 1961, a sextet session with Roy Eldridge, Bud Freeman, Jo Jones, and Ray and Tommy Bryant—it was released on the Fontana and Black Lion labels.

In 1963, his career boosted, Snowden appeared at the Newport Jazz Festival. He then moved to California to teach at the University of California, Berkeley, and played with Turk Murphy as well as taking private students for lessons in guitar and banjo. He toured Europe in 1967 with the Newport Guitar Workshop.

In 1969, Snowden moved back to Philadelphia, where he died on May 14, 1973.

Discography

 * Harlem Banjo (Riverside, 1960) with Cliff Jackson, Tommy Bryant, Jimmy Crawford

title: Elmer Snowden