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Ageratum

Ageratum (whiteweed in the US) is a genus of 40 to 60 tropical and warm temperate flowering annuals and perennials from the family Asteraceae, tribe Eupatorieae. Most species are native to Central America and Mexico but four are native to the United States.

They form tussocks or small hills. They grow to a height of 30 in. The opposite leaves are cordate or oval, hairy or tomentose. The margins are slightly toothed or serrate. The leaves form compact clusters.

The fluffy flowers are lavender-blue, pink, lilac, or white, and spread in small compound umbels. They give small, dry fruits.

Cultivation
Ageratums are grown for their flowers, especially A. houstonianum.

Most common ageratums, "Hawaii" for example, are a short 6 - 8 in when full grown. Tall ageratum are also available in seed catalogues. They are about 18 in in height with blue flowers. There is also a medium-height snowcapped variety, white top on blue flowers. The blues are most popular and common, but colors also include violet, pink and white. Their size and color makes ageratums good candidates for rock gardens, bedding, and containers. They grow well in sun or partial shade, from early summer to first frost. They are quite easy to grow, producing a profusion of fluffy flowers all season long.

Toxicity
Several species of Ageratum are toxic, containing pyrrolizidine alkaloids. Ageratum houstonianum and Ageratum conyzoides cause liver lesions and are tumorigenic.

Weed risk
Ageratum conyzoides and Ageratum houstonianum are prone to becoming rampant environmental weeds when grown outside of their natural range.

Species
, Plants of the World online has 40 accepted species: • Ageratum albidum

• Ageratum ballotifolium

• Ageratum candidum

• Ageratum chiriquense

• Ageratum chortianum

• Ageratum conyzoides

• Ageratum corymbosum

• Ageratum corymbosum

• Ageratum echioides

• Ageratum elassocarpum

• Ageratum ellipticum

• Ageratum fastigiatum

• Ageratum gaumeri

• Ageratum grossedentatum

• Ageratum guatemalense

• Ageratum hondurense

• Ageratum houstonianum

• Ageratum iltisii

• Ageratum koulianum

• Ageratum littorale

• Ageratum lundellii

• Ageratum maritimum

• Ageratum microcarpum

• Ageratum microcephalum

• Ageratum molinae

• Ageratum munaense

• Ageratum myriadenium

• Ageratum oerstedii

• Ageratum paleaceum

• Ageratum peckii

• Ageratum petiolatum

• Ageratum platylepis

• Ageratum platypodum

• Ageratum riparium

• Ageratum rugosum

• Ageratum salvanaturae

• Ageratum scorpioideum

• Ageratum solisii

• Ageratum standleyi

• Ageratum tehuacanum

• Ageratum tomentosum

Selected synonyms include:
 * Ageratum altissimum – synonym of Ageratina altissima
 * Ageratum anisochroma – synonym of  Ageratina anisochroma
 * Ageratum isocarphoides – synonym of Ageratum echioides
 * Ageratum lavenia – synonym of Adenostemma lavenia
 * Ageratum lucidum – synonym of Ageratum corymbosum
 * Ageratum meridanum  – synonym of Ageratum microcarpum
 * Ageratum nelsonii  – synonym of Ageratum elassocarpum
 * Ageratum oliveri  – synonym of Ageratum oerstedii
 * Ageratum panamense  – synonym of Ageratum riparium
 * Ageratum pohlii  – synonym of Teixeiranthus pohlii
 * Ageratum radicans  – synonym of Ageratum peckii
 * Ageratum salicifolium  – synonym of Ageratum corymbosum
 * Ageratum stachyofolium  – synonym of Paneroa stachyofolia

Segregate genera
The genus Paneroa consists of one species, Paneroa stachyofolia, native to Oaxaca, which was first described in Ageratum but which seems to be more closely related to Conoclinium and Fleischmannia.

title: Ageratum


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Bunad

Bunad (, plural: bunader/bunadar) is a Norwegian umbrella term. In a broader sense, the term encompasses household, householding equipment, and livestock as well as both traditional rural clothes (mostly dating to the 18th and 19th centuries) and modern 20th-century folk costumes. In its narrowest sense, the word bunad refers only to clothes designed in the early 20th century that are loosely based on traditional costumes.

The bunad movement has its root in 19th-century national romanticism, which included an interest for traditional folk costumes not only in Norway, but also in neighbouring countries such as Denmark and notably Germany. However, in Norway, national romanticist ideas had a more lasting impact, as seen in the use of folk-inspired costumes.

History
The bunad movement has been carried forward by enthusiasts all over the country and new bunad variations are frequently created and proposed for approval. Designers such as Lise Skjåk Bræk have developed entire lines of costumes based on the bunad tradition. In the field of folk costumes it is common to differentiate between bunad and folk costume, the latter being the local dress in previous times with all its variations and use. Modern interpretations of these costumes have often modified or done away with completely parts of the traditional dresses in order to align them with a more conventional idea of beauty and fashion. For example, few Norwegians still use the headdresses and headpieces that were a part of the traditional costumes, preferring instead to show their hair, in accord with modern, Western fashions. These headdresses, like the one in the photo at the top of this article, were often seen as the most important part of the costume for native practitioners of the customs as the headdress often indicated an individual's social or marital status.

There is a continuing debate about the extent to which bunads must conform to the standards, or whether it is acceptable to vary or improvise based on general themes. Some groups (sometimes derisively referred to as the bunad police) argue that bunads must be sewn and worn according to strict standards; others advocate a more creative, lenient approach. Traditionally it is correct for women to wear proper bunad shoes and purses, and to avoid wearing sunglasses, earrings, and heavy makeup when dressed in a bunad.

Bunads are nowadays often viewed as a status symbol, ranging in the price of $2,000−10,000, depending on the desired design, material, embroidery, gold, silver and accessories. The price also depends on whether the customer buys from a well-established company like Husfliden, from local sewers or decides to sew or do part of the embroidery themselves. It usually takes up to a year to finish making the bunad, and it has become a tradition for parents to give their children a bunad as a confirmation gift, which they will wear on their confirmation day.

Traditions
In Norway in the postwar era, especially in more recent times, it is common, but by no means mandatory, to wear bunad at various celebrations such as: folk dances, weddings, baptisms, confirmations, Christmas, graduations and especially the May 17 National Day celebrations. In recent years, its use has reached far outside folk dancing, folk music, and particular holidays. Accepted as proper gala attire, it is increasingly common to see people, and especially women, dressed in bunad. The former Norwegian foreign minister, Thorvald Stoltenberg, made history by presenting his accreditation as ambassador to Margrethe II of Denmark dressed in a bunad. Bunads were also conspicuous among those present at the Blessing of the Reign of King Harald and Queen Sonja, demonstrating that the bunad is now considered acceptable as an alternative form of formal wear even on the most solemn public occasions.

There is ongoing debate about the official status of various outfits, and what allowed variations are. Due to ongoing discussions on the status of bunads, it is not possible to state accurately the number of different types of bunads in Norway, but most estimates place the number at around 200. In 1947 an official institution, the National Committee for Bunad-related Questions (Landsnemnda for Bunadspørsmål) was organized to act in an advisory capacity on all questions dealing with bunads in Norway. That function is presently assigned to the Norwegian Institute for Costume and Folk Costume (Norsk institutt for bunad og folkedrakt), a national institution dealing with documentation and research of folk costumes as a cultural expression. Since 2008, the institution's management has operated in cooperation with the Valdres Folkemuseum (Valdresmusea) with which it shares facilities in Fagernes. The institute has established an archive of costume registrations, photo, cut patterns and sketches, and writings of traditional material from various districts.

From the late 19th century until quite recently the image which was most commonly used to represent the Norwegian traditional rural dress in general was that of the Hardanger woman's bunad, but in more recent times this image is being increasingly superseded by that of the East Telemark woman's bunad. As the bunad most often is based upon older designs from specific areas, the particular bunad will get its name from that area. Most people with roots from an area will choose (if not the same) bunads from their own area or their (grand)parents birthplace. People in general will expect that your bunad represents an area that you have a strong connection to. However, there is no specific rule that states your choice, and you are free to pick whatever kind you like. In the meantime, local bunad-sellers might have some difficulties with getting the right bunad if it is not from their area.

Origins
The various bunads have been designed through different means. Some of them are based on old local customs; other models are constructions made in the 20th century, relying (often very loosely) on local and historical material. The interest for bunads dates back to Norwegian romantic nationalism and gained increasing interest with the folk-dance movement at the beginning of the 20th century.

While the contemporary bunad tradition has most of its roots in folk costumes from the 18th and 19th centuries, records documenting the use of folk costumes go as far back as the Middle Ages. Setesdal in Southern Norway, for example, had a folk costume tradition dating back to the 14th century that remained relatively untouched until the middle of the 20th century. Norwegians from Setesdal still wear this time-honored traditional costume as a bunad today. Such long-standing folk costume traditions can be found all over Norway, but not all regions have retained these traditions as well as areas like Setesdal. In Trøndelag in central Norway, for example, the traditional costumes fell by the wayside in favor of modernized versions, but are now starting be revived in the local populations and used as conventional bunad again. The names of these traditional bunads are based on their geographic origin, and traditionally, people choose their bunad based on their own or their ancestors’ origin.

Hulda Garborg (1862–1934) and Klara Semb (1884–1970) are cited as pioneers in bringing bunads into mainstream culture. With Garborg's publication of the pamphlet Norsk Klædebunad in 1903, the focus moved from the creation of a single national costume to the development of several regional bunads. Although bunads are based on traditions in various areas, these designs are embellished by additions such as embroidery. The overarching sense of bunad design is to preserve the way people dressed for festive occasions in one particular era. This has led local and national councils to impose official constraints on various details in the bunad, including colors, fabric, embroidery, jewellery, cut, and allowable headwear.

Designs and popularity
The designs are typically elaborate, with embroidery, scarves, shawls and hand-made silver or gold jewelry known as sølje. There are bunads both for men and women, although women's bunads are more diverse and popular. However, according to daily manager Turid Liss Agersborg at Husfliden Oslo, they now produce and sell more men's bunads than women's for the first time in history. The male customers are often characterized as urban and modern, and range between the ages of 20 and 40 years old.

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

title: Bunad


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The Sentinals (band)

The Sentinals were a surf rock band from San Luis Obispo, California (1961–1965). The band is notable for a Latino influence in some works, such as "Latin'ia" (1962). Notable band members included Tommy Nuñes, drummer John Barbata (later of The Turtles and Jefferson Starship) and Lee Michaels (then known as Michael Olsen) on keyboards.

Background
Even though a surf group, they added an appealing Latin accent to their music. According to band member John Barbata, as mentioned in Craig Fenton's Take Me to a Circus Tent: The Jefferson Airplane Flight Manual, the group was actually rhythm and Blues.

1960s
In the summer of 1962, the group toured the country and opened for bands including The Coasters and The Righteous Brothers. Also that year, through Norman Knowles, the group came across Tony Hilder, whose company Anthony Music would later become involved in legal action with Del-Fi records, slapping the label with a $122,000 lawsuit as a result of royalties not being paid. This was relating to an alleged agreement for the masters of albums by The Sentinels, The Centurians, Dave Myers and the Surftones, etc.

In 1963 the band was featured in the March 16 issue of Central Coast Living section of The Tribune. Kenny Hinkle was pictured on the cover. Also that year, their Big Surf album was released on the Del-Fi label.

According to Robert J. Dalley's book Surfin' Guitars: Instrumental Surf Bands of the Sixties, the 1965 line up consisted of John Barbata, Ron Gornell, Kenny Hinkle, Norman Knowles, and Tommy Nuñes.

1970s to 1980s
In August 1984, they got together and played at the San Luis Obispo Officer's Club. This live reunion was for their twenty-year class reunion.

1990s to present
In 1996, Del-Fi released the Big Surf Hits various artists compilation album, featuring their track "Big Surf". Other artists on the album were The Impacts, Dave Myers and The Surftones and The Lively Ones.

Members

 * John Barbata: drums, 1961–66
 * Ron Gornell: organ, 1965–66
 * Peter Graham: guitar, 1961–62
 * Kenny Hinkle: vocals & bass, 1962–66
 * Bobby Holmquist: saxophone, 1961–64
 * Norman Knowles: saxophone, 1963-66
 * Lee Michaels (Michael Olsen): organ, vocals, 1966
 * Tommy Nuñes: guitar 1961–66
 * Ronnie Page: vocals, 1966
 * Ben Trout: bass, 1962-64
 * Harry Sackrider: guitar, 1962-64
 * Doug Scott: drums
 * Gary Winburne: bass, 1961–62,

title: The Sentinals (band)


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Anders Björgerd

Anders Björgerd (Bjoergerd) (8 November 1920 – 18 July 2017) was a Swedish businessman who was deputy CEO of Sweden's largest publicly listed utility, Sydkraft AB (now E.ON Sverige AB. ), between the years 1970-1987. He started his career as a trainee with Siemens AG, and later gained employment with Swedish engineering firm ASEA before embarking on his career path with Sydkraft in Malmö, Sweden.

Björgerd was also the Chairman of the Board for Sydgas AB, a wholly owned subsidiary of Sydkraft and one of Scandinavia's largest suppliers of LPG. He is one of the founders and former owner of Swedpower AB, Scandinavia's largest energy consultancy firm (now operating under the name Vattenfall Power Consultant AB, a wholly owned subsidiary of Vattenfall).

He also served as Chairman of one of the national state pension funds, 5:e AP Fonden (now 3:e AP Fonden), as well as being a member of the Advisory Board of the Swedish Energy Commission. Björgerd died in July 2017 at the age of 96.

title: Anders Björgerd


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U.S. Route 191

U.S. Route 191 (US 191) is a north–south highway in the Western United States and a spur of parent route U.S. Route 91 that has two segments. The southern segment runs for 1102 mi from Douglas, Arizona on the Mexican border to the southern part of Yellowstone National Park. The northern segment runs for 442 mi from the northern part of Yellowstone National Park to Loring, Montana, at the Canada–US border. Unnumbered roads within Yellowstone National Park connect the two segments. The highway passes through the states of Arizona, Utah, Wyoming, and Montana.

The highway was designated in 1926 and its routing has changed drastically through the years. The modern US 191 bears almost no resemblance to the original route, which was primarily in the state of Idaho. Most of the current route of US 191 was formed in 1981. Since the extensions in the 1980s and 1990s, U.S. Route 191 is much longer than its parent route to which it no longer connects, and it is one of the longest U.S. three-digit routes.

Route description

 * AZ
 * 516.50 mi
 * UT
 * 404.74 mi
 * WY
 * 181.14 mi
 * MT
 * 442.16 mi
 * -class="sortbottom"
 * Total
 * 1544.54 mi
 * }
 * -class="sortbottom"
 * Total
 * 1544.54 mi
 * }
 * }

Arizona
US 191 begins in Cochise County, Arizona at a signaled intersection with Arizona State Route 80 (SR 80) and Historic U.S. Route 80 (Historic US 80) near Douglas. The highway then proceeds north past Bisbee Douglas International Airport passing through the hamlets of Elfrida and McNeal. Near Sunizona, US 191 intersects with the western terminus of SR 181. US 191 then curves west for 7.5 mi before turning northwest through Sunsites and Cochise. US 191 intersects Interstate 10 (I-10) near Cochise at a trumpet interchange (I-10 Exit 331). US 191 and I-10 run concurrent for 20.9 mi around Willcox. In Willcox, I-10/US 191 serves as the northern terminus for SR 186 at Exit 340. The city itself is served by the Willcox I-10 Business Loop, which begins and ends at I-10/US 191 southwest and northeast of the city. In Bowie Junction at Exit 352, US 191 leaves I-10 and heads north, exiting Cochise County and entering Graham County. US 191 has a 10 mi overlay with US 70 east of Safford. The route links to State Route 366 (SR 366) and SR 266 to the south of Safford. The route between Springerville and Morenci was designated a National Scenic Byway and given the name of Coronado Trail Scenic Byway, as this approximates the path taken by Francisco Vásquez de Coronado between 1540 and 1542. This is a very dangerous mountain road with many sharp curves and little or no shoulders on steep cliffs. North of the byway, the highway is the primary route to access Canyon de Chelly National Monument. US 191 traverses the Navajo Nation before entering Utah.

US 191 has a detached business route in Arizona, running from SR 80/Historic US 80 in Douglas, along Pan American Ave to the US Customs/Immigration Port of Entry at the border with Mexico. The portion of this route between its intersection with SR 80 near Douglas and the intersection with Interstate 40 at Sanders was formerly the major Arizona portion of US 666. Part of US 191 through the Navajo Nation is designated by the Arizona Department of Transportation as the Tse'nikani Flat Mesa Rock Scenic Road.

Utah
US 191 serves the eastern half of the state. The road enters Utah in a remote portion of the Navajo Nation. The highway passes through mostly desolate areas of eastern Utah. Several portions are National or Utah Scenic Byways. It passes through Bluff, Blanding, Monticello (the seat of San Juan County), and Moab, the largest city in southeastern Utah and the seat of Grand County. It connects with U.S. Route 6 and 50 (temp)as it joins Interstate 70 going due west through the town and crossing the major river at Green river, home to the John Wesley Powell Museum. A few miles out of town it splits off I-70 and continues north between the San Rafael Reef to the west and Book cliffs to the east through Emery County. It then enters the historic coalfields of Carbon County, passing through Wellington, Price, largest city in Eastern Utah home to the USU Eastern Prehistoric museum, and historic Helper, the main stop for Amtrak between Provo Ut and Grand Jct. Colorado.In addition to linking many rural towns in Utah to I-70 and US 40, the highway served to interconnect several national and state parks for tourism, namely Canyonlands National Park, Arches National Park, Bears Ears National Monument, and Dead Horse Point State Park. The highway exits Utah just after crossing the Flaming Gorge Reservoir.

Wyoming
US 191 enters Wyoming near a geographical feature known as Minnie's Gap, just east of Flaming Gorge National Recreation Area. The route proceeds north through rugged desert country following an alignment mostly constructed during the 1970s, to a junction with Interstate 80 at Exit 99, just west of Rock Springs. This segment of the route is known locally as "East Flaming Gorge Road."

The route is then concurrent with Interstate 80 eastward for approximately 5 mi, passing just north of Rock Springs. US 191 diverges northward at Exit 104, following the former route of US 187. Traveling through high desert country, the route passes through Eden, Farson, and Pinedale before meeting US 189 at Daniel Junction. Continuing north, the road traverses increasingly mountainous terrain, entering the Bridger-Teton National Forest and passing through the small community of Bondurant before descending through the narrow Hoback River Canyon to an intersection with US 26 and US 89 at Hoback Junction. The route then follows the Snake River valley northward to Jackson. US 191 is concurrent with US 189 between Daniel Junction and Jackson, and with US 26 and US 89 between Hoback Junction and Jackson.

North of Jackson, US 191 soon enters Grand Teton National Park, running concurrently with US 26 and US 89. The highway meets US 287 at Moran Junction, inside the park; US 191, US 89, and US 287 are concurrent north of Moran, but the highways are not signed. Continuing through forested, mountainous country, the route passes through the John D. Rockefeller Jr. Memorial Parkway before ending at the South Entrance of Yellowstone National Park. While US 191 and other U.S. Routes are officially discontinuous through the park, some commercially produced maps show these highways running inside Yellowstone National Park itself along its unnumbered roads and across the Wyoming–Montana state line.

Montana
US 191 in Montana begins at the West Entrance to Yellowstone National Park, at the edge of the town of West Yellowstone. The highway heads north, running concurrently with US 287 for 8 mi before veering slightly east and entering Yellowstone. US 191 continues northward through Yellowstone, traversing forested, mountainous terrain and briefly looping into the state of Wyoming, before leaving the park in the upper reaches of the Gallatin River canyon. The route travels northward through the narrow canyon, past the resort community of Big Sky, then entering the Gallatin Valley near the town of Gallatin Gateway, Montana. US 191 travels north and east through the valley to the city of Bozeman, which is the largest city along the entire US 191 route.

From Bozeman, US 191 is concurrent with I-90 eastward 58 mi to Big Timber, where it proceeds north. The road travels through hilly ranch country near the eastern edge of the Crazy Mountains to Harlowton, where US 191 is briefly concurrent with US 12. North of Harlowton, US 191 is concurrent with Montana Highway 3 for 37 mi, to Eddie's Corner. US 191 proceeds eastward from Eddie's Corner to Lewistown, on a roadway shared with US 87 and Montana 200, in a wrong-way concurrency.

US 191 reaches the Canada–US border after going through Lewistown, across the Missouri River at the Charles M. Russell National Wildlife Refuge, and through Malta. It ends at the international border at Port Morgan, and the road continues into Saskatchewan as Highway 4 toward Swift Current.

Background
The routing of US 191 has drastically changed through the years having been extended and shortened several times. The original route designated in 1926 ran from Idaho Falls, Idaho, to West Yellowstone, Montana along the route now numbered U.S. Route 20. West Yellowstone is the only town that has been continuously served by the highway since its commissioning. On February 1, 1935, US 191 was extended over Montana Highway 187 (also known as the Gallatin Way) to Bozeman, Montana.

At one time US 191 connected to its parent, US 91, twice: at Idaho Falls, Idaho and Brigham City, Utah. Today the highway does not connect to its parent, or even enter Idaho. In Utah, there have been 2 completely different iterations of U.S. 191 serving different areas of the state. The original iteration is now State Route 13, which is mostly a frontage road for Interstate 15. In this alignment, the route in between Idaho Falls and the Utah line also paralleled I-15. As US 191 has mostly been extended while US 91 has largely been truncated, US 191 is now ten times longer than its parent.

1981 extension

By 1981, due to the construction of Interstate 15 and extension of other U.S. Highway designations, US 191 had been truncated to a route between West Yellowstone and Malta, Montana. Utah and Wyoming lobbied AASHTO to create a single highway that would connect several National Parks in their states to facilitate tourism. The initial proposal was to extend U.S. Route 163 north into Wyoming. However it was later decided to add Arizona to this proposal for a new highway and instead extend US 191 south. Most of the southern extension recycled existing U.S. and state highways. However, some new sections were constructed. When the 1981 extension was finished, US 191 reached Interstate 40 in Arizona.

In Wyoming, the new US 191 absorbed what was U.S. Route 187, formed in 1926 as a branch from US 87W (now US 287) at Jackson Lake Junction, Wyoming south to US 30 in Rock Springs. Although it became part of US 191 in 1981, the American Association of State Highway and Transportation Officials still lists it in their latest log (1989), with a short independent section in Rock Springs between former US 30 (now US 30 Business) and I-80.

A combination of new construction and the upgrading of county roads created a more direct route between Interstate 80 in Wyoming and Flaming Gorge Reservoir.

Through Utah, US-191 absorbed SR-33, SR-260, and most of SR-44. From Crescent Junction to Bluff was previously numbered U.S. Route 163, eliminating all but a short segment of that route. US 191 was extended over BIA Route 12 from Bluff, Utah to a junction with U.S. Route 160 in Arizona. The 1981 extension caused US 191 to enter Arizona for the first time in its history, ending at I-40 in Chambers, Arizona. Between US 160 and I-40 the highway absorbed the route of former State Route 63.

Later extensions
In 1992, Arizona requested a new number for its portion of US 666. The state wished to remove the US 666 designation from within Arizona, due to public concerns relating to the biblical reference to the number "666". A secondary reason given by the state was the constant theft of US 666 shields and navigational markers along the highway. As a result, US 191 was extended over I-40 to Sanders, where it absorbed the route of US 666 from Sanders to the Mexican border at Douglas, Arizona. Following the extension of US 191, US 666 was truncated out of Arizona to I-40 in Gallup, New Mexico. In 1996, it became the latest U.S. highway to travel from border to border, with the extension from Malta, Montana to the Canada–US border, absorbing former Montana Secondary Highway 242. In 2003, the remainder of US 666 between I-40 and US 191 in Monticello, Utah was renumbered US 491. The x91 number was decided because the road meets US 191 in Monticello.

Major intersections

 * Southern segment
 * Arizona
 * in Douglas
 * north-northwest of Cochise. The highways travel concurrently to northeast of Willcox.
 * in Safford. The highways travel concurrently to San Jose.
 * in Alpine. The highways travel concurrently to St. Johns.
 * in Springerville. The highways travel concurrently through Springerville.
 * in Sanders. The highways travel concurrently to Chambers.
 * south-southeast of Mexican Water. The highways travel concurrently to southeast of Mexican Water.
 * Utah
 * in Bluff
 * in Monticello
 * west-southwest of Thompson Springs. I-70/US 50/US 191 travels concurrently to west of Green River. US 6/US 191 travels concurrently to north of Helper.
 * in Duchesne. The highways travel concurrently to Vernal.
 * Wyoming
 * in Purple Sage. The highways travel concurrently to Rock Springs.
 * north of Daniel. The highways travel concurrently to Jackson.
 * in Hoback Junction. US 26/US 191 travels concurrently to Moran. US 89/US 191 travels concurrently to the South Entrance to Yellowstone National Park.
 * in Moran. US 191/US 287 travels concurrently to the South Entrance to Yellowstone National Park.

 * Yellowstone National Park segment (unofficial designation)
 * travels concurrently from the park's South Entrance to north-northwest of West Thumb.
 * travels concurrently from the park's South Entrance to the park's West Entrance.
 * in West Thumb. US 20/US 191 travels concurrently to the park's West Entrance.

 * Northern segment
 * Montana
 * from the West Entrance to Yellowstone National Park; the highways travel concurrently to West Yellowstone.
 * Wyoming
 * No major intersections
 * Montana
 * in Bozeman. The highways travel concurrently to southwest of Big Timber.
 * in Livingston. The highways travel concurrently to northeast of Livingston.
 * in Harlowton. The highways travel concurrently to east of Harlowton.
 * west-northwest of Moore. The highways travel concurrently to Lewistown.
 * in Malta. The highways travel concurrently through Malta.
 * at the Canada–United States border north-northeast of Loring

title: U.S. Route 191


text:
User talk:Pmcd90

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Image copyrights
I saw you uploaded Image:PIC00046.JPG and I wanted to make sure that you included the source of the information (who took the photograph, when) and the copyright info (for instance, if you took it, you can licence it under the GFDL so we can use it; see Copyrights). Thanks, [[User:Meelar|Meelar (talk)]] 18:10, 2004 Aug 16 (UTC)

 * Hi, no problem. all you have to do is click on the link above. That will take you to the image page. You edit that page, adding the source of the photo and the licence it's under (you can just type ). This should be done for all the images you uploaded. Thanks, [[User:Meelar|Meelar (talk)]] 18:39, 2004 Aug 16 (UTC)

 * I noticed that you updated the photos. Thanks very much. Please note the source (for example, whether you took them yourself). Thanks again, [[User:Meelar|Meelar (talk)]] 18:49, 2004 Aug 16 (UTC)

 * Hi, thanks for the update. Has Mr. van Daal actually released his photos into the public domain? For that matter, are you Mr. van Daal? If so, then pardon my paranoia, but...The creator of the works needs to release them. Thanks a lot, [[User:Meelar|Meelar (talk)]] 18:55, 2004 Aug 16 (UTC)

 * Oh, OK, no problem then. Those images should be fine, as long as the creator of the images says it's alright (either you, if you took the photo, or him, if he did). Feel free to use them, and sorry about the confusion. Best wishes, [[User:Meelar|Meelar (talk)]] 19:03, 2004 Aug 16 (UTC)

File permission problem with File:Sset1.jpg
Thanks for uploading File:Sset1.jpg. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file agreed to license it under the given license.

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title: User talk:Pmcd90


text:
Wikipedia:Articles for deletion/Directions

To Northeast, To Southwest, To Northwest, To Southeast, To East, To West, To North and To South was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Rossami 22:51, 8 Sep 2004 (UTC)

Not articles, no longer needed as nothing links to them. - SimonP 17:51, Aug 16, 2004 (UTC)
 * Eligible for speedy deletion, I'd say. - 18:12, 16 Aug 2004 (UTC) Lee (talk)
 * I concur. --Golbez 21:18, 16 Aug 2004 (UTC)
 * Delete. Bot-crud.   — Gwalla | Talk 22:30, 16 Aug 2004 (UTC)
 * Comment: waiting for a day or two until I see whether I get an answer to the query I left at User_talk:Rich_Farmbrough. I would have said these were eligible for speedy deletes, but at this point I'm very curious to know what their intended purpose was. He's been on WIkipedia for a few months at least and a couple of random edits I've checked look good. He fixed a typo in something I'd written, for example. [[User:Dpbsmith|Dpbsmith (talk)]] 23:16, 16 Aug 2004 (UTC)
 * Comment: I know I've seem at least one article on an Australian town that linked to articles similar, if not identical, to these. - RedWordSmith 03:10, 17 Aug 2004 (UTC)
 * For the original uses of these, see this edit as an example.   The articles were never meant to be created, they were just place holders.  See also WikiProject Melbourne/Suburbs -- Chuq 06:16, 17 Aug 2004 (UTC)
 * And this one! Talk:To North -- Chuq 06:19, 17 Aug 2004 (UTC)
 * It would seem, then, that
 * the ones which have no links to them should be deleted
 * the ones which do have links, where it's obvious how to remove or replace the links, the links should be removed or replaced
 * For the ones that remain: the wording of the article should be improved as it's utterly baffling now--it's too general, and should refer to the specific articles that have the problem. And quite possibly the article and the links to it should be moved, either out of the main namespace or to some very obscure portion of the namespace? [[User:Dpbsmith|Dpbsmith (talk)]] 11:10, 17 Aug 2004 (UTC)

There is a major project (with which I am not associated) to build articles on all significant suburbs of either Melbourne or all Australian towns (as mentioned by Chuq). The first pass results in the type of article Chuq refers to above. This is obviously a transient effect, however http://en.wikipedia.org/wiki/Special:Wantedpages shows these as "most wanted pages" and anyone navigating from one of these part built pages by clicking on a "To Northwest" link would be confuse if they expected to navigate to the page of the location to the NW as would not be unreasonable. By building these pages I hoped to firstly remove them from the most wanted pages list, and secondly provide an explanation for any naif who was navigating from a work-in-progress page. Further, it appears that there have been several (possibly many) tranches of such geographical pages created, so it seems likely that more will be created in the future (in the last few days there were about 170 articles linking to them). Fourthly it seems unlikely that the 8 articles (To North, etc.) would be navigated to by mistake, so they should do little harm.

If the wording is as bad as the comments on this VfD pages imply, then I would suggest that a master page be created with a better wording on it, and the others be turned into redirects. Thanks to Dpbsmith for notifying me of the VfD. Rich Farmbrough 21:00, 17 Aug 2004 (UTC)

It would be possible to have them link to a page maintained by the Melbourne project, but this presumes that other similar projects won't occur in the future. Rich Farmbrough 22:25, 17 Aug 2004 (UTC)

Comment I'm not at all sure I understand who or what is creating the links, or, in particular, why they need to be created. If it's a bot, it seems to me that it would be better if the bot didn't create the links at all... or created them to some much more obscure place, such as To West or To West. But never mind that. I guess I am going to vote...

Keep and reword, because if I understand the situation, it seems to me that the intention is that the people participating in the project will eventually clean up after themselves, and that the articles need to be kept because deleting will do no good and might create further confusion. The wording of the pages does need improvement. I am not sure it is worthwhile to try to tell people who land on the pages how to fix the links. Either they can figure it out for themselves, or they should be directed to some project page that explains more and invites their participation. Maybe something like this?

It will be removed when the project is complete, which is expected to be no later than December 31, 2004. Please see WikiProject Melbourne/Suburbs/About Placeholder Links for a further explanation. If you'd like to help with the project, please see WikiProject Melbourne/Suburbs/SomeAppropriatePage

There isn't going to be a To North-northeast or a To Northwest by North and... well you get the drift. I think' I'm joking. I hope I'm joking. [[User:Dpbsmith|Dpbsmith (talk)]] 23:05, 17 Aug 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete based on new comments by Chuq, Rich Farmbrough and others below. [[User:Dpbsmith|Dpbsmith (talk)]] 14:58, 19 Aug 2004 (UTC)
 * Delete. Maintenance-type pages do not belong in the article namespace. -- Cyrius|✎ 23:27, 17 Aug 2004 (UTC)
 * Also, check the discussion on Wikipedia talk:WikiProject Melbourne/Suburbs. It is planned to change all the suburbs over to an Infobox format, which doesn't include the links.  -- Chuq 23:29, 17 Aug 2004 (UTC)
 * Delete. There *once* existed almost 200 links that led to these but now they've all been removed, and I heavily contributed in the effort of that removal also -- which took digging in dozens and dozens of pages and was tiresome. Now these leftover pages only represent a stupidity that should have never existed. Aris Katsaris 17:29, 18 Aug 2004 (UTC)
 * Delete. As it seems the Melbourne project now has the cause under control, and presumably any future project copying them will copy the best practice. Rich Farmbrough 13:34, 19 Aug 2004 (UTC)


text:
Butch Johnson

Richard Andrew "Butch" Johnson (August 30, 1955 – May 27, 2024) was an American archer. He competed in the Summer Olympics five times, and was a part of the gold medal U.S. team at the 1996 Olympics and the bronze medal U.S. team in the 2000 Olympics.

2004 Summer Olympics
At the 2004 Olympics, he was surprisingly eliminated by Ron van der Hoff with 135-145 in the round of 64, placing 52nd overall in men's individual archery. He later placed 4th as a member of the United States team.

2008 Summer Olympics
At the 2008 Summer Olympics in Beijing Johnson finished his ranking round with a total of 653 points. This gave him the 40th seed for the final competition bracket in which he faced Andrey Abramov in the first round. Both scored 109 points in the regular match and they had to go to an extra round. In this extra round Abramov scored 25 points, while Johnson advanced to the second round with 26 points. There he faced eight seeded Im Dong-Hyun, who was too strong with 115-106.

Together with Brady Ellison and Vic Wunderle he also took part in the team event. With his 653 score from the ranking round combined with the 664 of Ellison and the 652 of Wunderle the Americans were in 10th position after the ranking round. In the first round they were not able to win against Chinese Taipei that won the confrontation by 222-218.

After the Olympics
Johnson maintained himself as one of the best recurve shooters in the country, having ranked in the top five in the United States and placed sixth in the 2012 U.S. Olympic Team Trials. Amid speculation that he would retire following the Trials, Johnson came back to finish second in the 2012 National Target Championships and won a silver medal in the 2012 Hoyt World Open, second only to number one world ranked archer Brady Ellison.

Personal life
Johnson was married to Teresa and had at least one child. He died in Woodstock, Connecticut on 27 May 2024, at the age of 68, after several years of living with chronic lymphocytic leukemia.

title: Butch Johnson


text:
Jacques Doriot

Jacques Doriot (26 September 1898 – 22 February 1945) was a French politician, initially communist, later fascist, before and during World War II.

In 1936, after his exclusion from the French Communist Party, he founded the French Popular Party (PPF) and took over the newspaper La Liberté, which took a stand against the Popular Front.

During the war, Doriot was a radical supporter of collaboration and contributed to the creation of the Legion of French Volunteers against Bolshevism (LVF). He fought personally in German uniform on the Eastern Front, with the rank of lieutenant.

Early life and politics
Doriot moved to Saint Denis, near Paris, at an early age and became a labourer. In 1916, in the midst of World War I, he became a committed socialist, but his political activity was halted by his joining the French Army in 1917. Participating in active combat during World War I, Doriot was captured by enemy troops and remained a prisoner of war until 1918. For his wartime service, especially for rescuing a fellow wounded soldier from no-mans-land, Doriot was awarded the Croix de guerre. After being released, he returned to France and in 1920 joined the French Communist Party (PCF), quickly rising through the party - within a few years, he had become one of the PCF major leaders. In 1922 he became a member of the Presidium of the Executive Committee of the Comintern, and a year later was made Secretary of the French Federation of Young Communists. In 1923, Doriot was arrested for violently protesting French occupation of the Ruhr Area. He was released a year later, upon being elected to the French Chamber of Deputies (the Third Republic equivalent of the National Assembly) by the people of Saint Denis.

Fascism
In 1931, Doriot was elected mayor of Saint Denis. Around this time, he opposed the "social fascism" theory and came to advocate a Popular Front alliance between the Communists and other French socialist parties with whom Doriot sympathized on a number of issues and worried that exclusion would alienate valuable political allies. Although this would soon become official Communist Party policy, at the time it was seen as heretical and Doriot was expelled from the Communist Party in 1934. This expulsion provoked a great sadness in Doriot, but above all a great anger and a thirst for revenge against the PCF leadership. Still a member of the Chamber of Deputies, Doriot struck back at the Communists who had renounced him: now bitter towards the Comintern, his views turned to embrace the French nation, evolving into a 'national' socialism—as opposed to the socialism of the Third International. By now embodying fascist more than socialist ideals, Doriot founded the ultra-nationalist Parti Populaire Français (PPF) in 1936. Doriot and his supporters were vocal advocates of France becoming organized along the lines of Fascist Italy and Nazi Germany and were bitter opponents of Socialist Premier Léon Blum and his Popular Front coalition.

Collaboration
When France went to war with Germany in 1939, Doriot was mobilized and fought at the front as a sergeant. After the armistice in June 1940, he was demobilized. He became a staunch pro-German and supported Germany's occupation of northern France in 1940, specifically due to Hitler's anti-Bolshevik policy. Doriot resided in collaborationist Vichy France for a time and was made a member of the National Council of Vichy France in January 1941, but he eventually found that the Vichy regime was not nearly as Fascist as he had hoped it would be and moved to occupied Paris, where he espoused pro-German and anti-communist propaganda on Radio Paris. In 1941, he and fellow fascist collaborator Marcel Déat founded the Légion des Volontaires Français (LVF), a French unit of the Wehrmacht. Doriot fought with the LVF and saw active duty on the Eastern Front when Germany invaded the Soviet Union in June 1941 and was awarded the Iron Cross in 1943. In his absence leadership of the PPF officially passed to a directorate, although real power came to lie with Maurice-Yvan Sicard. In December 1944, Doriot travelled to Germany and made contact with the former members of the Vichy regime and other collaborators who had gathered together in the Sigmaringen enclave. Doriot's PPF struggled to assume a leadership role within the French expatriate community, basing itself in Mainau and setting up its own radio station, Radio-Patrie, at Bad Mergentheim and publishing its own paper Le Petit Parisien. The PPF was also involved in conducting intelligence and sabotage activities by supplying some volunteers whom the Germans dropped by parachute into liberated France. He was killed on 22 February 1945 while traveling from Mainau to Sigmaringen when his car was strafed by Allied fighter planes. He was buried in Mengen.

title: Jacques Doriot


text:
Marmalade (band)

Marmalade are a Scottish pop rock band originating from the east end of Glasgow, originally formed in 1961 as The Gaylords, and then later billed as Dean Ford and the Gaylords, recording four singles for Columbia (EMI). In 1966 they changed the band's name to The Marmalade and were credited as such on all of their subsequent recorded releases with CBS Records and Decca Records until 1972. Their greatest chart success was between 1968 and 1972, placing ten songs on the UK Singles Chart, and many overseas territories, including international hits "Reflections of My Life", which reached No. 10 on the US Billboard Hot 100 Chart and No. 3 on the UK chart in January 1970, and "Ob-La-Di, Ob-La-Da", which topped the UK chart in January 1969, the group becoming the first-ever Scottish artist to top that chart. The original members began to drift away in the early 1970s, resulting in the band departing Decca in 1972. In 1973 the first evolved line up of the band rejoined EMI Records and with their first record release became known simply as Marmalade. All subsequent record releases are credited similarly.

Graham Knight (an ongoing member from the pre-Marmalade "Dean Ford and the Gaylords" lineup) remained until September 2010. The band still exists, with none of the founding members, and many additional further evolved lineups including vocalist Sandy Newman, a member since 1975, touring the nostalgia circuit.

The Gaylords
The Gaylords (named after the notorious post war Chicago Gaylords street gang) were originally formed by Pat Fairley and Billy Johnston in Baillieston, a suburb east of Glasgow, in 1961. Their initial line-up included Tommy Frew on drums and lead guitarist Pat McGovern, fronted by vocalist Wattie Rodgers. William Junior Campbell joined on his 14th birthday on 31 May 1961 replacing McGovern, and Rodgers was then himself replaced, initially by two new lead vocalists, Billy Reid and Tommy Scott, although Reid soon departed leaving Scott as the sole frontman. Bill Irving, from local Baillieston group the Cadillacs, then took over from Johnston on bass.

The group began gathering notice and in 1963 Fairley and Campbell spotted Thomas McAleese, singer with local group the Monarchs, at the Barrowland Ballroom in Glasgow, and it was not long before he replaced Scott as lead singer. McAleese then adopted the stage moniker Dean Ford, and they then became known as Dean Ford and The Gaylords. Raymond Duffy, from Glasgow group the Escorts, then came in on drums after Frew departed. For a few months, they had an organist, Davey Hunter. By early 1965, Graham Knight, from the local group the Vampires, had displaced Irving on bass.

Becoming popular in Scotland, and under the management of Billy Grainger, in early 1964 they were championed by Scottish music journalist Gordon Reid, which led to them being signed to EMI's Columbia label by Norrie Paramor after auditions at Glasgow's Locarno Ballroom. They went on to record four singles, including a cover of the 1963 Chubby Checker US hit "Twenty Miles", which was a big seller locally but failed to chart nationally. The Columbia releases, although uncredited, were all produced by Bob Barratt, EMI staff producer, with Norrie Paramor as executive. Paramor played the celesta on "What's The Matter With Me"; the b-side of "Twenty Miles". In 1965, they played a long stint in Germany at the Storyville in Cologne and also in Duisburg. By this time The Gaylords had attained status as one of the top groups in Scotland, borne out in music poll results, but were ambitious, and so on their return from Germany to London in early 1965, they decided to try for success in the UK as a whole, and remained in London, where they changed management and agency representation, as Billy Grainger wished to remain in Glasgow.

Name change and the CBS era
On the recommendation of the Tremeloes, who had played with them in Glasgow, the Gaylords were invited to join the London-based agency Starlite Artistes, owned and managed by Peter Walsh. They then began to build up a club reputation as a tight, close harmony band and in 1966, finding themselves in the middle of the 1960s swinging London scene, they decided to update their image and instrumentation. On the advice of their new manager, they changed the band name to "The Marmalade". According to a 2009 interview with Graham Knight, the inspiration behind the Marmalade name came when their manager was eating breakfast and across from him was a jar of marmalade featuring a Golliwog on the label, their manager said "it were staring me in the face as I were having my breakfast [sic]". The Golliwog character use to be on the Alan Whitehead's bass drum. Unusually, they now had two bass players, Knight on four-string and Fairley on six-string (Fairley having dropped the standard rhythm guitar normally associated with rock groups of the early 1960s).

With their EMI Columbia contract at an end, Walsh, with the help of John Salter, Walsh's booking agent, was successful in signing the band to CBS Records with producer Mike Smith, who was having great success with the Tremeloes, now their agency stablemates. But their first few CBS singles also failed to chart in the UK.

Drummer Ray Duffy (who later played with Matthews Southern Comfort and Gallagher and Lyle and also on Campbell's later solo recordings), decided to leave in 1966 to return to Scotland to get married just after their first CBS release, "Its All Leading up to Saturday Night". The band then placed adverts in the New Musical Express and Melody Maker, and after various auditions, former postman Alan Whitehead ex member of London outfit the Loose Ends became their new drummer, debuting on their next single, "Can't Stop Now", which failed to sell despite the group's performing it on a TV play, The Fantasist, written by Alun Owen, for the BBC Two Theatre 625 series.

Their third CBS single, the self penned "I See the Rain", written by Campbell and Ford, was praised by Jimi Hendrix as the "best cut of 1967". It became a chart-topper in the Netherlands the same year. Graham Nash of the Hollies contributed to the session, but it too flopped in the UK, although the track, with its distinct 1960s feel, has since attained a cult following and been resurrected by artists such as Susanna Hoffs of the Bangles and Matthew Sweet. (see Under the Covers, Vol. 1)

19 January 1967 proved to be a turning point in the band's progress when they made their debut at London's Marquee Club where they supported Pink Floyd. Two weeks later, on 3 February, they supported the Action. After that, they never supported anyone again at the Marquee and on 16 March 1967 they began a long residency which carried through to the autumn of the following year, building a reputation and following, including touring with the Who, Joe Cocker, Traffic, Gene Pitney and the Tremeloes. This culminated with summer appearances at the Windsor Jazz and Rock Festival, directly preceding Jerry Lee Lewis, and Festival of the Flower Children Woburn Abbey.

CBS, concerned at Marmalade's lack of commercial success, threatened to drop them if they did not have a hit. So after the failure of another self-penned single later that year, "Man in a Shop", they were urged to record more chart-orientated material. Mike Smith offered the band "Everlasting Love", but they declined as they preferred to continue to record group based material rather than with large orchestral accompaniment. The song was then given to Love Affair, arranged by Keith Mansfield, which became a No. 1 for them. They later gave in to pressure and recorded "Lovin' Things" written by Artie Schroeck and Jet Loring in 1967, and arranged by Mansfield using a similar orchestral formula (Mansfield already knew the band and had previously arranged earlier cuts including their previous single "Man in a Shop") It reached No. 6 in the UK Singles Chart in the summer of 1968. This was covered by the Grass Roots in the US in 1969, using virtually the same arrangement. Marmalade's debut album, There's A Lot Of It About, featured a mix of some of their singles and cover versions of current popular tunes, and was released in 1968.

Marmalade made a cameo appearance on the big screen in the film Subterfuge that year.

After a lesser hit with their follow-up single "Wait For Me Mary-Anne" (written by Alan Blaikley and Ken Howard), which made No. 30, they enjoyed their biggest UK success with their cover of the Beatles' "Ob-La-Di, Ob-La-Da", which topped the UK chart in January 1969, the group becoming the first Scottish group to top that chart. Their version of "Ob-La-Di, Ob-La-Da" sold around half a million in the UK, and a million copies globally by April 1969. This was followed by further success with "Baby Make It Soon" (written by Tony Macaulay), which reached No. 9 in the summer of 1969.

In February 1969, the band appeared on the BBC's flagship program Colour Me Pop, (precursor to The Old Grey Whistle Test) performing a halfhour slot. They also appeared on the BBC's review of the 1960s music scene, Pop Go The Sixties, performing "Ob-La-Di, Ob-La-Da" live on the broadcast on BBC 1 on New Year's Eve 1969.

Decca era
In November 1969, the band was signed to Decca Records by Decca head of A&R, Dick Rowe under a lucrative advance deal, allowing the band to write and produce their own songs, with no studio time restraints, and in their first Decca recording session, they recorded "Reflections of My Life", which would become their biggest worldwide hit, rewarding Decca's and Dick Rowe's faith in the band. Topping the charts in Europe (also Top 10 in United States and No. 1 in most of South America), it was written by Campbell and Ford, and featured a "backwards" (backmasking) guitar solo by Campbell. "Reflections of My Life" has recorded over two million sales, and the writers were awarded a Special Citation of Achievement in 1998 by BMI in attaining radio broadcast performances in excess of one million in the US alone.

Other UK hits for Decca included "Rainbow" (UK No. 3 and US No. 51) and "My Little One" (UK No. 15)., "Cousin Norman" and "Radancer" (both reaching UK No. 6).

Their manager, Peter Walsh, was a 1960s and 1970s pop entrepreneur whose portfolio also included the Tremeloes, Bay City Rollers, the Move, Billy Ocean, the Troggs and Blue Mink.

Their first Decca album, Reflections Of The Marmalade was released in the US as Reflections Of My Life on Decca's London Records subsidiary. Their US singles during this era likewise came out on London. But their manager, Walsh, turned down an offer to tour the US opening for Three Dog Night, thus blowing an opportunity for further exposure there. To be fair to Walsh, he did not much care for the fact that Marmalade would have had to pay a substantial dollar premium to do so, a practice common in the US but totally alien to Walsh's traditional UK management and agency style.

After Campbell, who co-wrote most of the group's original material with Ford, left the band in March 1971 for a solo career, and to study orchestration and composition at the Royal College of Music, they began a series of line-up changes, including the loss of drummer Whitehead.

Marmalade recruited guitarist Hugh Nicholson, an ex-member of the Poets, to replace Campbell, and after the first post Campbell release, "Cousin Norman", it was Dean Ford who insisted on sacking Whitehead and recruiting from the Poets, Dougie Henderson. This caused Marmalade to suffer adverse publicity from the UK's News of the World after an embittered Whitehead gave them stories of the band's experiences with groupies.

Marmalade released Songs in November 1971, with Nicholson taking over most song compositions, which met with limited success. However, Nicholson penned two of their last hits, "Cousin Norman" (brass arranged by Campbell) and "Radancer", as well as the lesser hit "Back on the Road", on which he sang lead vocal.

Fairley quit the band circa 1972 to run the group's music publishing company, then Nicholson, who was discouraged over the failure of their Songs album, also left in 1973 to form Blue (not to be confused with a later boy band of the same name). Ford, Knight and Henderson carried on with Marmalade. Nicholson was eventually replaced by Mike Japp, a rock guitarist from the Welsh band, Thank You.

The group returned to EMI and released a new single, "Wishing Well", credited simply as Marmalade (dropping the "The"). But Knight left during the recording of their next album, Our House Is Rocking (which showcased a heavier rock sound and was delayed until the autumn of 1974) and the group was briefly a trio before Joe Breen (ex-Dream Police) came in on bass. Refusing to play most of the band's old hit records on stage, the group slowly came to a standstill.

1975–1978
In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.

Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at the Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.

Newman (ex-Chris McClure Section, 1968–1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.

Smith departed in 1977 to join Nicholson in Blue and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).

Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dance club.

Subsequent years
Charlie Smith returned in 1980, as the band's drummer this time. Alan Holmes (vocals, guitars, keyboards), a former member of the Bristol-based band Federation, succeeded Withington. A 1980 US only album, Marmalade, on G&P Records, featured a re-recorded mix of their Decca, EMI and Target material, alongside some Junior Campbell-penned tracks. Another unsuccessful album, Heartbreaker, came out in the UK in 1982 on the Spectra label.

Graham Knight remained as the sole original band member touring the nostalgia circuit with Newman, Smith and Alan Holmes. In 1982, Glenn Taylor replaced Smith on drums, though Smith returned from 1989 to around 1998, before Taylor took over permanently.

Dave Dee began appearing as guest singer for Marmalade in 1987 and recorded a single with the band, "Scirocco", in 1989. He continued to make live guest appearances with them until his death in 2009.

In September 2010 Graham Knight, the last remaining member of the original band, departed. Drummer Taylor also left to join the Fortunes. The new players were drummer Damon Sawyer and bassist Mike Steed. In 2011, guitarist and vocalist John James Newman joined, making the band a quintet once again.

2013 saw the current Marmalade line-up release their first new studio album since 1979. Entitled Penultimate and released in CD and vinyl formats, it featured six new compositions, together with re-recordings of many Marmalade songs. The album was launched on 4 October 2013 to coincide with the start of a 52-date UK tour.

In 2015, Jan Robinson (vocals, bass) and Chris North (drums, percussion) were brought in as the new rhythm section, in place of Steed and Sawyer.

Original band members — evolved history
2011 saw the release of Fine Cuts–The Best Of Marmalade on the Union Square Music BMG Salvo label (SALVOMDCD26), a double album containing all of the Marmalade original studio recordings between 1966 and 1972, including all of their chart hits. The complete catalogue was also made available via digital download.

Ford was one of many lead vocalists contributing to the Alan Parsons Project. Although for some years he withdrew from the music industry and battled alcoholism, settling in Los Angeles, he became active in music again and released a single of his own composition "Glasgow Road" with Joe Tansin (ex-Badfinger) in 2012. He later recorded a version of "Reflections Of My Life" in 2015 and in 2016 released a PledgeMusic album entitled Feel My Heartbeat, available for digital download. Ford died on 31 December 2018 at the age of 73 at his home in Los Angeles of complications from Parkinson's disease. His final album, a two-disc collection called This Scottish Heart, was released just weeks before his death.

Fairley also moved to Los Angeles in the late 1970s having worked in music publishing for the RSO Group Robert Stigwood and for the band Yes. He retired from the music business many years ago and set up a bar and music venue called The Scotland Yard Pub, in Los Angeles in the early 1980s: he sold the business in March 2018 and retired. He died at his home in Los Angeles on 11 August 2020, at the age of 76.

Whitehead continues in artist management and can be seen reviewing the Onyx range of tuned sports cars on the Together TV programme "Rock 'N' Roll Cars" (he also provides the voice-over for this show, which features pop acts such as Go West and Tony Hadley talking about their motoring history).

Knight retired from Marmalade in September 2010.

Campbell became a solo recording artist, songwriter, television and film composer, record producer and music arranger, and lives in Sussex. He continues to oversee all of the master rights to the original band recordings on behalf of the whole band, which they retain, and also their publishing rights.

Current members

 * Sandy Newman – lead vocals, lead guitar, keyboards (1975–present)
 * Alan Holmes – vocals, acoustic/electric guitar, keyboards (1980–present)
 * John James Newman – vocals, acoustic guitar (2011–present)
 * Jan S. Robinson – vocals, bass (2015–present)
 * Chris North – drums, percussion (2015–present)

Classic lineup

 * Dean Ford – lead vocals, guitar, harmonica (1966–1975; died 2018)
 * William "Junior" Campbell – vocals, guitars, keyboards (1966–1971)
 * Patrick Fairley – vocals, six string bass/rhythm guitars (1966–1972; died 2020)
 * Graham Knight – vocals, bass (1966–1973, 1975–2010)
 * Alan Whitehead – drums (1966–1971, 1975–1978)

Further members

 * Dougie Henderson – drums (1971–1975)
 * Hugh Nicholson – vocals, guitars (1971–1973)
 * Joe Breen – vocals, bass (1973–1975)
 * Mike Japp – vocals, guitars (1973–1975; died 2012)
 * Charlie Smith – vocals, guitar (1975–1977; drums 1980–1982 and 1989–1998)
 * Garth Watt-Roy – vocals, keyboards (1977–1978)
 * Ian Withington – vocals, guitar (1978–1980)
 * Stu Williamson – drums (1978–1980)
 * Glenn Taylor – drums (1982–1989; 1998–2010)
 * Damon Sawyer – drums (2010-2015)
 * Mike Steed – vocals, bass (2010-2015)

Gaylords members

 * Patrick Fairley (1961–1966)
 * William Junior Campbell (1961–1966)
 * Bill Irving – bass (1961–1964)
 * Tommy Frew – drums (1961–1963)
 * Tommy Scott – vocals (1961–1963)
 * Billy Johnston – bass (1961)
 * Wattie Rodgers (Dunlop) – vocals (1961)
 * Pat McGovern – lead guitars (1961)
 * Billy Reid – vocals (1961)
 * Dean Ford (1963–1966)
 * Raymond Duffy (1963–1966)
 * Davey Hunter – organ (1963)
 * Graham Knight (1965–1966)

Unofficial members

 * Dave Dee – vocals (occasional guest appearances, 1987–2009; died 2009)

title: Marmalade (band)


text:
User talk:Xinconnu

Gone daddy gone.

Proposed deletion of TMI Mudlib

The article TMI Mudlib has been proposed for deletion  because of the following concern:
 * Unsourced, Unnotable mudlib

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Proposed deletion of MSQL-JDBC

The article MSQL-JDBC has been proposed for deletion  because of the following concern:
 * This JDBC interface for mSQL was probably never independently notable; now that mSQL itself is now only of historical importance, there is no reason to have a separate article - especially one containing so little information as this. (JDBC drivers are invariably written in Java. An mSQL driver will naturally use the mSQL protocols. If the obvious was removed from the article, what would be left?)

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Mauritania
Please don't revert again today, see wP:3RR. I take your point and will be trying to deal with the editor who is clearly edit-warring. Dougweller (talk) 06:31, 21 March 2012 (UTC)

Orphaned non-free media (File:EnStratusLogo.png)
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Speedy deletion nomination of Enstratius

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Proposed deletion of TMI Mudlib

The article TMI Mudlib has been proposed for deletion  because of the following concern:
 * Article topic lacks significant coverage from reliable, independent sources. It had no meaningful hits in a Google Books search or searches of other major databases.

While all constructive contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

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Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. czar 22:08, 7 May 2016 (UTC)

Proposed deletion of Lima Mudlib

The article Lima Mudlib has been proposed for deletion  because of the following concern:
 * Article topic lacks significant coverage from reliable, independent sources. It had no meaningful hits in a Google Books search or searches of other major databases.

While all constructive contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on |the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. czar 22:11, 7 May 2016 (UTC)

Category:LPMud mudlibs has been nominated for deletion
Category:LPMud mudlibs has been nominated for deletion. A discussion is taking place to decide whether this proposal complies with the categorization guidelines. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the categories for discussion page. Thank you. czar 21:04, 25 October 2020 (UTC)

title: User talk:Xinconnu


text:
Template talk:Message box

We need different colors
Say, info is yellowish white, cream or gray (#f9f9f9); warning is light red, pinkish or other; notice is green? They could be. Spiff 18:31, 16 Aug 2004 (UTC)

 * I just added a . --Cantus 19:24, Aug 16, 2004 (UTC)

 * See User talk:Cantus for the message I didn't get to posting here (and, again, sorry for the confusion). Fwiw, I think I prefer having more than one, differently-colored Template:Message box — OwenBlacker 20:04, Aug 16, 2004 (UTC)

Overlapping box/table
Check out Harry Potter (character). The spoilers box covers the table, atleast in my version of IE. Aris Katsaris 00:35, 17 Aug 2004 (UTC)

Proposal
By Cantus 02:46, Aug 18, 2004 (UTC)

I'm looking at standarizing all message boxes across Wikipedia.

My idea is to handle the formatting for all these messages using one Template. This Template would carry the format, some of the style, but would leave the background color (and the message content, obviously) as customizable.

The code for the formatting Template would look something like this:

 * {| align="center" id="" style="width: 95%; background: ; border: 1px solid #aaa; padding: 5px; color: #222; font-size: 95%;"
 * |}
 * |}
 * |}

This template would be the master template that would take care of the basic format of the messages.

Next is generating the code to be used at the message Templates.

For example, for the Protected message Template, the code would look like this:

And the result would look something like this:

Then, you would just reuse this code on the rest of the messages, changing the parameters (backgroundcolor, heading, message) accordingly.

This gives all the messages a standard and more professional look and format which can then be easily changed by editing only one Template.

If somebody wants to change the text of the message or the background color, they edit the message Template.

If somebody disagrees with the format of the messages, they edit the format template, which would be located at Template:Message box.

Do you support this change?

Support

 * 1) Cantus 02:46, Aug 18, 2004 (UTC)
 * 2)  — siro  χ  o  02:30, Aug 21, 2004 (UTC)
 * 3) • Benc • 08:45, 26 Aug 2004 (UTC)
 * 4) El Chico!  Talk 13:11, 23 Sep 2004 (UTC)
 * 5) – [[User:Smyth|Smyth]] 19:19, 22 Oct 2004 (UTC)

Oppose

 * 1) blankfaze | (беседа!)  02:49, 18 Aug 2004 (UTC)
 * 2) Eequor

Neutral

 * 1) squash 09:04, Aug 19, 2004 (UTC) Maybe keep every message box grey as suggested except for the speedy delete message box which should have a red background... just an idea

Comments
I generally like this idea, it will allow for consistency in Wikipedia templates that can give a professional design look. Some things to think about when editing this box:

 * It should not conflict with the general wikipedia design. (e.g. use 1px solid border)
 * It must be readable (contrast, coloring)
 * Subtle, yet distinctly separating text of message from article
 * It should not be an eyesore, but if it follows above points, that should not be a problem.

— siro χ  o  17:55, Aug 16, 2004 (UTC)

I agree with what siroxo said. I also think that if we're going for consistency, the colors should be consistent as well. There is no need to have different colored boxes on every page. It is starting to look ridiculous. I suggest that if any color is needed at all, we just go with a pale gray so as not to overwhelm the actual content of the page. Angela. 07:55, Aug 18, 2004 (UTC)
 * Echo that, why do we need different colours? ··gracefool |☺ 11:53, 21 Aug 2004 (UTC)

 * Not all message boxes perform the same function; why should they all be the same color? I'm still not convinced at the need for this metatemplate; I'd need to give it a little more thought before I can explain why, though. — OwenBlacker 12:28, Aug 21, 2004 (UTC)
 * There should be a limited number of different colours, otherwise these boxes could quickly become a real eyesore as different people have different ideas about what looks good etc. ··gracefool |☺ 02:46, 26 Aug 2004 (UTC)

What would you do about templates with links to edit or history? doesn't work inside a template parameter. (I notice the example above just has the link removed.) Goplat 16:29, 18 Aug 2004 (UTC)

Strong support, this is why templates exist in the first place! Centralization and conformity for sanity's sake. One comment, though: different people have differing opinions on what should be a "message box" and what should be a simple italized message (e.g.: Template:Spoiler, Template:NPOV). If we use the centralized "message box" template, some might see it as an official seal of approval. This might be a good thing, preventing silly edit wars... or it might fan the flames higher. Just something to watch out for. • Benc • 08:56, 26 Aug 2004 (UTC)

New format
I have changed the format somewhat. From DIV to TABLE, and added a new tag. The drop-shadow is optional and should be removed if people dislike it. See Template:Current. —Cantus… ☎   23:56, Dec 28, 2004 (UTC)

Meta-templates
I have written Meta-templates considered harmful, with input from User:Jamesday, the main database developer on the project. Meta-templates are basically templates used to commonize the format of yet other templates. One example is Template:Message box. There are a number of problems with using these, which look to outweigh the benefits. -- Netoholic @ 19:33, 2005 Feb 4 (UTC)

Alternative to metatemplates
As an alternative, I think usable CSS classes should be added to all the skins. This would allow a consistent style without the server load. For example:

Then the CSS would be something like (off the top of my head):

div.messagebox { border: 1px solid #aaa; padding: .2em; margin-bottom: 3px; font-size: 95%; width: auto; }

div.messagebox img { width: 40px; padding-left: 4px; padding-right: 4px; float: left; border: none; }

This should be done for any metatemplate as general as this one.

– flamuraiTM 01:50, Feb 7, 2005 (UTC)
 * A .messagebox class wouldn't be very helpful since there's a lot of variation in message boxes. The top/bottom margins are sometimes 0 and sometimes 0.5em; the left/right margins are sometimes 2%, sometimes 2.5%, and sometimes 1em; the left/right padding is sometimes 10px, sometimes 1em; sometimes text is justified, sometimes not. The only thing all message boxes have in common is a 1px solid border, and those come in all different colors. Goplat 15:51, 7 Feb 2005 (UTC)

 * I thought the point of this template was to standardize all that (except the background color). That's where I pulled those numbers from. – flamuraiTM 16:25, Feb 7, 2005 (UTC)

protect?
Seems dumb that some of the templates that use this metatemplate are protected, but this one is not. I guess it hasn't been hit with vandalism yet, but someone may catch on. – flamuraiTM 18:44, Feb 6, 2005 (UTC)

 * This page is now protected from edits by non-sysops, considering how important it is to all those other templates. - Mark 14:56, 8 Mar 2005 (UTC)

Unprotect
Please unprotect. I would like to make some improvements to this template which I began. —Cantus… ☎   09:29, Apr 2, 2005 (UTC)

Broken!
Someone please fix this template as it is broken. Look at any page that does not use an image to see what I mean. (this discussion page or my user page, for example) The image part needs to handle non-existent images. →Vik Reykja 06:44, 15 Apr 2005 (UTC)

 * Just add a placeholder image like Image:Wiki.png. Don't panic. —Cantus… ☎   18:31, Apr 15, 2005 (UTC)

 * You could also just use instead.  —  S e b a s ti a n  ( T ) 16:21, 2005 Apr 26 (UTC)

recent changes
I wanted to incorporate the same CSS class and id methods that most other templates use. This added complexity with centering in some browsers. The "extra" div is necessary because this template uses a table, rather than just a div box. I'd like to find an all-div solution, but that's not so easy. Until then, I've used this page to help. -- Netoholic @ 8 July 2005 21:57 (UTC)

Adding a second image
I figure I should get a consensus before implementing this, since reverts in a meta-template could get hairy for its transclusions. Would anyone object to the addition of another parameter, image2, which would add a second image on the right side of the box? Specifically, I'm looking at adding a scales of justice icon to TotallyDisputed-section, a template that deals with both factual accuracy and neutrality (two subjects seems to merit two images).

Proposed code change:

Usage idea for TotallyDisputed-section:

I could imagine other templates may use this as well.

~ Booya Bazooka 00:20, 14 August 2006 (UTC)

title: Template talk:Message box


text:
The Wednesday Play

The Wednesday Play is an anthology series of British television plays which ran on BBC1 for six seasons from October 1964 to May 1970. The plays were usually original works written for television, although dramatic adaptations of fiction (and occasionally stage plays) also featured. The series gained a reputation for presenting contemporary social dramas, and for bringing issues to the attention of a mass audience that would not otherwise have been discussed on screen.

Some of British television drama's most influential, and controversial, plays were shown in this slot, including Up the Junction and Cathy Come Home. The earliest television plays of Dennis Potter were featured in this slot.

Origins and early series
The series was suggested to the BBC's Head of Drama, Sydney Newman, by the corporation's director of television Kenneth Adam after his cancellation of the two previous series of single plays. Newman had been persuaded to join the BBC following the success of the similar programme Armchair Theatre, which he had produced while Head of Drama at ABC Weekend TV from 1958 to 1962. Armchair Theatre had tackled many difficult and socially relevant subjects in the then-popular 'kitchen sink' style, and still managed to gain a mass audience on the ITV network, and Newman wanted a programme that would be able to tackle similar issues with a broad appeal. Newman also wanted to get away from the BBC's reputation of producing safe and unchallenging drama programmes, to produce something with more bite and vigour, what Newman called "agitational contemporaneity".

The Wednesday Play succeeded in meeting this aim, and the BBC quickly developed the practice of stockpiling six or seven Wednesday Plays in case there were problems with individual works. One production, The War Game (1965), was withdrawn from broadcast by a nervous BBC under pressure from the government, while John Hopkins' Fable (20 January 1965), an inversion of South Africa's Apartheid system, was delayed for several weeks over fears that it would incite racial tensions.

Intended as a vehicle for new writers, several careers began thanks to the series. Television programmes had a much shorter lead time in this era, and Dennis Potter's first four accepted television plays were shown during the course of 1965. The two Nigel Barton plays (8 and 15 December 1965) first brought him to widespread public attention and the slightly earlier Alice (13 October 1965), about Lewis Carroll's relationship with Alice Liddell, developed themes to which Potter would return.

In the first half of 1966 a series of 26 Wednesday Plays were produced by Peter Luke, the playwright, and story edited by David Benedictus. Highlights included The Snow Ball (20 April 1966), adapted from the novel by Brigid Brophy, Toddler on the Run adapted by Shena Mackay from her novella and directed by James MacTaggart, (25 May 1966), Cock Hen and Courting Pit (renamed A Tour of the Old Floorboards, 22 June 1966) by David Halliwell and two plays by Frank O'Connor (which Hugh Leonard adapted) virtually without dialogue and which, renamed Silent Song, won The Prix Italia award in 1967 for 'original dramatic programmes' jointly with a French programme. The other O'Connor/Leonard work was The Retreat (11 May 1966). These two plays starred Milo O'Shea and Jack MacGowran. Cathy Come Home by Nell Dunn and Jeremy Sandford was offered to the Luke/Benedictus team who passed it on to Tony Garnett.

Tony Garnett and Ken Loach
Garnett was quickly seen as someone capable of delivering plays which would gain much publicity for the BBC and its Drama department. He had the enthusiastic support of Newman, his immediate superior, who lobbied for increased funding to allow for more location shooting on film rather than shooting productions in the multi-camera electronic television studio, a practice which was felt to impair realism, the preferred mode.

Director Ken Loach made ten plays in all for The Wednesday Play series. Two of them are among the best remembered of the entire run: an adaptation of Nell Dunn's Up the Junction (3 November 1965), and the saga of a homeless young couple and their battle to prevent their children being taken into local authority care: Cathy Come Home (16 November 1966). The latter began Loach's 13-year collaboration with Tony Garnett as his producer, although Garnett had been closely involved with Up the Junction as well.

Plays like Up the Junction though were controversial among more conservative viewers. The 'Clean-Up TV' campaigner Mary Whitehouse accused the BBC of portraying "promiscuity as normal" in Up the Junction and The Wednesday Play as featuring "Dirt, Doubt and Disbelief". The writer on television Anthony Hayward quoted Garnett in 2006: "Mary Whitehouse was on the prowl, which was an added frisson, but it was actually very good free publicity and helped the ratings." The "drama documentary" approach was criticised by television professionals who thought it was dishonest. In a Sunday Telegraph article published before its first repeat transmission Grace Wyndham Goldie complained that Cathy Come Home "deliberately blurs the distinction between fact and fiction ... [viewers] have a right to know whether what they are being offered is real or invented." Loach has admitted that "[w]e were very anxious for our plays not to be considered dramas but as continuations of the news" which preceded The Wednesday Play ' s slot.

Later series
The last three years of the strand were predominantly produced by Irene Shubik and Graeme MacDonald; by this time the BBC Drama head Sydney Newman had left the BBC. Highlights from this period include several plays by David Mercer such as In Two Minds (1 March 1967) and Let's Murder Vivaldi (10 April 1968) and Potter's Son of Man (16 April 1969), a modern interpretation of the story of Jesus.

Suffering from declining audience figures, the run of The Wednesday Play ended in 1970 when the day of transmission changed, and the series morphed into Play for Today.

Reputation and availability
It is regarded as one of the most influential and successful programmes to be produced in Britain during the 1960s and is still frequently referenced and discussed. In a 2000 poll of industry professionals conducted by the British Film Institute to find the 100 Greatest British Television Programmes of the 20th century, two Wednesday Plays made the list: The War Game was placed twenty-seventh, and Cathy Come Home was voted the second greatest British television programme of the century.

Some examples of The Wednesday Play, such as The War Game (which was not screened by the BBC for 20 years) and Cathy Come Home (1966), a television play exploring the theme of housing and homelessness, were, according to filmmaker Roger Graef, "a giant wakeup call for the whole nation," and some of the Potter plays, surfaced on VHS and DVD; the Potter play, Alice was a bonus feature of a Region 1 DVD in 2010 of Jonathan Miller's surrealist version of Alice in Wonderland. The Ken Loach material has resurfaced in a Ken Loach at the BBC set, and the two plays directed by Alan Clarke in the Alan Clarke at the BBC set. However, as with much British television of this era, many episodes are lost, leaving 79 surviving in the archives (along with 3 with some surviving sequences) out of 182 transmitted.

Productions
This table is based on records in the BBC Genome archive of the Radio Times. Titles billed as The Wednesday Play (or The Wednesday Play presenting: ...) in the Radio Times listings for their first or a subsequent transmission are included, plus an additional two for the reasons given in the notes. Repeats of the individual productions are excluded, as are some additional repeats from Theatre 625 shown in the Wednesday Play slot during 1968–69 but not billed as such in the Radio Times. All episodes were broadcast on BBC1, with the introduction of colour from November 1969.

The archival status has been ascertained for almost all productions based on the BFI National Archive and TV Brain online databases. Most of the extant versions are in the form of 16mm or 35mm black & white telerecordings (prints or negatives), or in a few cases original film versions where that was the original medium used for production. Some of the later plays exist in videotape formats.

The Wednesday Play on DVD

 * Alice (written by Dennis Potter; directed by Gareth Davies), as an extra on the DVD of Jonathan Miller's 1966 Alice in Wonderland
 * Cathy Come Home (written by Jeremy Sandford; directed by Kenneth Loach)
 * The End of Arthur's Marriage (written by Christopher Logue; directed by Kenneth Loach)
 * In Two Minds (written by David Mercer; directed by Kenneth Loach)
 * The Nigel Barton Plays: Stand Up, Nigel Barton and Vote, Vote, Vote for Nigel Barton (written by Dennis Potter; directed by Gareth Davies)
 * The Big Flame (written by Jim Allen; directed by Kenneth Loach)
 * The War Game (written and directed by Peter Watkins)
 * 3 Clear Sundays (written by James O'Connor; directed by Kenneth Loach)
 * Up the Junction (written by Nell Dunn; directed by Kenneth Loach)
 * The Golden Vision (written by Neville Smith and Gordon Honeycombe; directed by Kenneth Loach)
 * The Vortex (written by Noël Coward; directed by Philip Dudley), in the Noël Coward Collection, BBCDVD2566
 * The Year of the Sex Olympics (written by Nigel Kneale, directed by Michael Elliott), DVD released by the BFI
 * The Last Train through the Harecastle Tunnel (written by Peter Terson, directed by Alan Clarke), in the 'Alan Clarke at the BBC' box set from the BFI.
 * Sovereign's Company (written by Don Shaw, directed by Alan Clarke), in the 'Alan Clarke at the BBC' box set from the BFI.

title: The Wednesday Play