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Talk:Alan Lomax

Untitled
Lomax was one of the major targets of McCarthyism and the "second great Red Scare" of the early 1950's. Fortunately, it did not succede in getting his music education program out of the public school system in Nashville, Tennessee, so fifteen years after the height of the Red Scare and thirty years after he created it, I was one of the beneficiaries of it and know who Woody Guthrie was beyond just being Arlo's dad and still know the tune to "Roll On, Columbia".

Negative Views
http://www.counterpunch.org/marsh0721.html

July 21, 2002

Mr. Big Stuff Alan Lomax: Great White Hunter or Thief, Plagiarist and Bigot?

by Dave Marsh

Seeing Alan Lomax's obituary on the front page of the New York Times irked the hell out of me. Harry Smith syndrome all over againthe Great White "Discoverer" as the axis of cultural genesis. Lomax, wrote Jon Pareles, "advocated what he called 'cultural equity: the right of every culture to have equal time on the air and equal time in the classroom.'"

He did?

In 1993, when Lomax published The Land Where the Blues Began, his memoir of blues research in the deep South, Peter Bochan invited him to do a WBAI interview. Bochan ventured to Lomax that Elvis Presley stood as a great product of the Southern folk cultures. Lomax firmly denied this, and said that Bochan couldn't even know that Presley had listened as a boy to Sister Rosetta Tharpe's gospel radio show because "You weren't there." He said this so persistently and adamantly -- with all the stupid "folklorist" purism that ruined the folk music revival--that Bochan went home and intercut Lomax's prissy voice and dumb assertions with excerpts from Beavis and Butthead. It aired that way...

 * That's ridiculous. LilDice 01:43, 28 October 2006 (UTC)

 * Pace Dave Marsh above, here is what Lomax really thought of Elvis:

 * "A way in which Elvis differs absolutely from all the other white singers who preceded him is that he never stops moving for an instant. Here he’s like the black singer. … It’s a high level of energy and dynamics that he’s always giving you. . . . Here he really captures the excitement of the Southern railroad engine pounding through the night, the whiz of the automobile, the rumble of the factory, and the tremendous dynamism of American productive life. I could understand why he was so much attacked. He really made the first white bridge across, in behavioral terms, between the whites and the blacks of the South. – in fact, between whites and blacks in America. Before him, everybody had stood and peered at blacks. Elvis joined them as best he could and took enormous delight in projecting emotion in the way they did, as close as he could do it. --Alan Lomax and Forrestine Paulay unpublished transcription from The Urban Strain study quoted in “Alan Lomax and the Big Story of Song” liner notes by Gideon D’Arcangelo to The Alan Lomax Popular Song Book, Rounder CD82161-1863-2 (2003)."   —Preceding unsigned comment added by 24.105.152.153 (talk) 19:32, 28 October 2008 (UTC)

 * I doubt if Lomax was a saint any more than Guthrie was, but he and his dad did record all the songs, transcribed them in books, and gave the gift of American folk music to later generations. If he hadn't, much of this music wold have been lost forever. Parsa (talk) 19:16, 10 April 2008 (UTC)
 * "Purism" (a derogatory term)-- Although, though he liked to tease, and may well have needled Bochan (who in point of fact, probably was still in diapers, if born at all, when Lomax was playing Rosetta Tharpe on the radio), Alan Lomax was not a "purist" in any sense:

 * "Though Popular Front musical theory is often described as "nationalist" because of its interest in folk traditions, all of the major Popular Front music theorists -- Finkelstein, Elie Siegmeister, Alan Lomax, and Charles Seeger -- rejected national and racial myths of musical purity in favor of what Finkelstein called 'the basic truth that beauty is a product of labor.'" --Michael Denning, The Cultural Front: The Laboring of American Culture in the Twentieth Century (London, NY: Verso, 1997), p. 460.

 * What's really surprising is how thin skinned some of these rock critics are. They can dish it out, but --24.39.129.178 (talk)July 17, 2008 —Preceding comment was added at 18:40, 18 July 2008 (UTC)
 * You mean like this?"How can we wrap our arms around Alan Lomax? He was a force of nature who appeared superhuman. I thought of Alan as a Minotaur — half man, half supernatural — who defied life as we know it. His very walk seemed untouched by gravity as he slid gracefully with his distinctive gait. Sally Yerkovich recalls seeing Alan one day at the National Endowment for the Arts as he and his sister Bess Lomax Hawes walked side by side down the hall. Each held reading glasses in their extended right hand. They moved with that familiar Lomax stride that covered great distances and led them both to people and places that we celebrate today. --William Ferris, former director of the National Endowment for the Humanities"
 * Or this?"Pete Seeger recalls that Alan “had a lot of youth and energy and the experience of working as his father’s assistant for a number of years. I think within five years he did more than most other archives had done in fifty years. He was a whirlwind of energy, and with no budget to speak of.”--ibid"
 * The accusation of plagiarism comes from a book about Muddy Waters by a rock musician called Robert Gordon, who accused Lomax of not acknowledging the assistance of black composer John Work on his first interview of Muddy Waters in his book Land Where the Blues Began . Unfortunately, Gordon had failed to read the Acknowledgments page of Land Where the Blues Began, where Work is listed first. Gordon imagined that Lomax's theories of Cantometrics were based on a remark by Work that in the past folklorists had studied texts rather than the music of folk songs, a commonplace statement that could have been (and was -- if Gordon had bothered to check) also uttered by any folklorist of the day before and after Work, since obviously before the invention of audio recording it was not possible to study the music adequately.

 * In an interview with Alan Maas, editor of the Trotskyite publication, Socialist Worker, Dave Marsh, who is married to the manager of Bruce Springsteen, expressed surprise that, when singing folksongs (attributed to Pete Seeger in the recent CD,We Shall Overcome, for which Marsh wrote the liner notes), Springsteen hadn't been attacked by "purists" for altering them: "I'm actually surprised that he hasn't been attacked more by folk purists--by people who think there is a right way to sing these songs," he says. (Accusing their enemies of being "purists" is a stock in trade of Trotskites and their neocon bretheren.) He also is apparently unaware that changing folksongs is what folksingers always do. Marsh also betrays his megalomania in the same interview, when he similarly expresses "surprise" that some of Springsteen's verses "didn't excite some Bill O'Reilly frenzy." (He is referring to incendiary TV personality Bill O'Reilly!)Mballen (talk) 20:12, 3 August 2008 (UTC)August 3, 2008

 * Trotskyites accuse other people of being "purists" because they themselves are purists for whom no other leftists are left enough. When they became Cold War anti-Communists, no other Cold Warriors were hard line or Anti-Communist (or anti-Muslim) enough to suit them -- hence PNAC, the Project for a New American Century and its call for "A new Pearl Harbor". It all comes down to this: when you are an ideologue you don't have to bother with facts or persuasion. Bullying and bluster will do.96.250.132.58 (talk) 14:36, 29 October 2008 (UTC)

Death Date
According to every source I've seen, including the Encyclopedia Brittanica, Alan Lomax was born in Austin TX on January 15th not January 31st as the article says. I haven't made the edit yet in case someone actually has an authoritative source for the Jan 31st date. Dick Gaughan (talk) 14:49, 3 April 2008 (UTC)

Interview with Lomax biographer John Szwed on "negative views"
The following interview appeared in the Washington [D.C] City Paper on May 4, 2010 http://www.washingtoncitypaper.com/blogs/artsdesk/music/2010/05/04/tomorrow-john-szwed-discusses-folklorist-alan-lomax-the-man-who-recorded-the-world/: "WCP: In a July 2002 piece for counterpunch.org, author Dave Marsh attacked Lomax as a prissy, stereotypical folklorist who stole a copyright credit from Leadbelly, failed to pay Muddy Waters, plagiarized and failed to credit John Work of Fisk University, and gained more attention for himself than for the talented musicians he recorded. Do you address these allegations in the book? Did you talk to author Robert Gordon regarding his research that he did for his Muddy Waters bio, and/or look at that work as it relates to Lomax?"

"JS: Yes, I take up all the Lomax stories, most of which I believe to be wrong. Why they’re wrong is not terribly interesting, but I was obliged to deal with it to get to what I think was the valuable and even exciting parts of his life and work. Let’s just say that Dave Marsh, who has done so much valuable and fine reporting, drove off a cliff with his obituary of Lomax. Talk about kicking a man when he’s down!"

"I never spoke to Gordon, but I did exchange e-mails with his co-author Bruce Nemerov… I tell a much simpler and less villain-laden story than they do, based on what I believe is more information."

"WCP: Because of the passage of time was it hard to do interviews because people have passed away, and documents and tapes and records may no longer be available?"

"JS: Those are not really problems… There are still a lot of people alive—Pete Seeger, for instance, and many others not so well known.. . And Lomax used the best equipment to record and film, and nearly everything has survived. In fact, a lot of his films and recordings are just coming out now for the first time. The problem, as with everything in life, is sorting out who has first-hand knowledge and who is guessing or passing on stories uncritically. Mballen (talk) 20:20, 1 June 2010 (UTC)"

Online legal archive
planned for late Feb. --Javaweb (talk) 03:58, 31 January 2012 (UTC)Javaweb
 * Thank you, Mick Gold, for adding this to the article. --Javaweb (talk) 12:25, 31 January 2012 (UTC)Javaweb

The list of Lomax's collaborators on Cantometrics was inexplicably shortened from: nt "Victor Grauer, Conrad Arensberg, Forrestine Paulay, and Roswell Rudd" to Victor Grauer and Roswell Rudd. Grauer and Rudd worked with Lomax only on the very beginning and end of the project, respectively. The others were more important and (arguably) more eminent, especially in the case of Arensberg. Paulay and Arensberg worked on Cantometrics with Lomax for over twenty years. It is misleading to omit their names. Mballen (talk) 22:41, 18 February 2012 (UTC)

Universal Declaration of Cultural Diversity
An editor blanked out this paragraph on the grounds that unless backed by a RS it represented a synthesis to connect Alan Lomax with the United nations:

"In 2001, in the wake of the attacks in New York and Washington of September 11, UNESCO's Universal Declaration of Cultural Diversity declared the safeguarding of languages and intangible culture on a par with protection of individual human rights and as essential for human survival as biodiversity is for nature, ideas first articulated by Alan Lomax."

In 2006 there was a conference, The Lomax Legacy: Folklore in a Globalizing Century, at the Library of Congress at which one of the attendees was Preston D. Hardison who served since 1995 on the UN Committee for cultural and biological diversity. I don't know this would count as a RS, but I would like to assure the doubting editor and wikipedia readers that it is true that while many anthropologists and biologists shared these concerns Lomax articulated them concerns before the committee was formed. Perhaps another editor will help out. Mballen (talk) 20:59, 29 April 2012 (UTC) Mballen (talk) 21:11, 29 April 2012 (UTC)

 * I spent just about 5 minutes reviewing diffs and a glance at quick glance history to try to learn if there is back story on this.  So at this point I only have a superficial first thought which should be devalued accordingly.  There is a sort of editor-implied cause-effect or credit to Lomax for the declaration.  I really don't see this is established by sources.  That implied cause-effect would also be a reason for inclusion, but not the only reason.  The other is that (possibly without that implied credit) it is simply germane enough to be useful specifically in this article. In your last paragraph, here you provided info that showed some relationship.  I would consider that source to be reliable for the specific facts that it states.  One idea might be put specifically what is in that source, mention Hardison's participation in both, and a briefer "just the facts" mention of the declaration.  Sincerely, North8000 (talk) 22:17, 29 April 2012 (UTC)

 * Thank you, North8000. I agree that there is no cause-and-effect -- not that can be established anyway -- though John Szwed's book mentions that Alan had been lobbying UNESCO for years to give money to document the music of the world's cultures -- though Szwed says that UNESCO never seemed to understand what he was talking about. According to John Szwed, as early as 1950 when he proposed using LP records (then the newest technology) to do this to at a scholarly conference of folklorists, he met with indifference. Lomax said "It made me so mad I decided to do it myself" -- hence the Columbia World Library --and Cantometrics & the Global Jukebox -- though this is a synthesis).  I feel sure that at least some UNESCO scholars were aware of him, but have no documentation of that fact. (Lomax wrote so many grant proposals and was such a powerful writer that arts administrators borrowed from them in their mission statements, I have been told -- off the record). There may be a way to fit in UNESCO, making it clear that there was no clear cause-and-effect, nor editorial intention to imply one. It is certain that Cavalli-Sforza, who mapped human genetic diversity, showed an interest in Lomax's projects (according to Szwed). Mballen (talk) 23:00, 29 April 2012 (UTC) Mballen (talk) 23:07, 29 April 2012 (UTC)

 * I have found this:Guha Shankar and Margaret Kruesi, American Folklife Center, Legislating (for) the Folk:
 * "The ideological basis for these projects [WPA and Library of Congress folksong collecting and archiving] was first expressed in legislative programs enacted to provide economic recovery and relief from the Great Depression of the 1930s, otherwise known as New Deal legislation. The Lomaxes’ work for the Library included work jointly sponsored by the WPA Music Projects, WPA Writers Projects, and the WPA Joint Committee on Folklore, all created by New Deal legislation. Subsequently, the cultural documentation work of the New Deal agencies was recast by Alan Lomax as a call for “cultural equity.” Lomax’s somewhat loosely defined notion of democracy for all local and ethnic cultures led him to argue for their right to be represented equally in the media, the schools, and in national cultural institutions ..... The Director of the [Library of Congress's] American Folklife Center, Dr. Peggy Bulger, serves as a delegate to the World Intellectual Property Organization (WIPO) Inter-Governmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge, and Folklore.  Her participation, as well as representation by the American Folklore Society and other governmental arts and culture organizations from the U.S., has resulted in considerable progress in understanding these critical issues. The broader issue of protection of all “indigenous knowledge” has recently been stated by the United Nations as a tenet of human rights protection.'"

 * Etc.
 * (Lomax's position, of course, was that more than mere collecting and archiving needs to be done to support traditional cultures, i.e., active advocacy and support for local artists who are "culture bearers", education projects in the schools, performance venues, and so on.) The paper also reports that the Library's position is that the rights to the material are held by the "producers" (i.e., artists and collectors), and are not in the public domain as commonly assumed. Mballen (talk) 00:22, 30 April 2012 (UTC)

 * Here is more, from Barry Jean Ancelet, "Lomax in Louisiana", an article  first published in the 2009 Louisiana Folklore Miscellany. Barry Ancelet is a folklorist and chair of the Modern Languages Department at University of Louisiana at Lafayette:

 * "Every time [Lomax] called me over a span of about ten years, he never failed to ask if we were teaching Cajun French in the schools yet. His notions about the importance of cultural and linguistic diversity have been affirmed by many contemporary scholars, including Nobel prize-winning physicist Murray Gell-Mann who concluded his recent book, The Quark and the Jaguar, with a discussion of these very same issues, insisting on the importance of 'cultural DNA' (1994: 338-343). His cautions about 'universal popular culture' (1994: 342) sound remarkably like Alan's warning in his 'Appeal for Cultural Equity' that the 'cultural grey-out' must be checked or there would soon be 'no place worth visiting and no place worth staying' (1972). Compare Gell-Mann:"

 * "Just as it is crazy to squander in a few decades much of the rich biological diversity that has evolved over billions of years, so is it equally crazy to permit the disappearance of much of human cultural diversity, which has evolved in a somewhat analogous way over many tens of thousands of years… The erosion of local cultural patterns around the world is not, however, entirely or even principally the result of contactwith the universalizing effect of scientific enlightenment. Popular culture is in most cases far more effective at erasing distinctions between one place or society and another. Blue jeans, fast food, rock music, and American television serials have been sweeping the world for years. (1994: 338-343)"

 * "and Lomax:"

 * "carcasses of dead or dying cultures on the human landscape, that we have learned to dismiss this pollution of the human environment as inevitable, and even sensible, since it is wrongly assumed that the weak and unfit among musics and cultures are eliminated in this way… Not only is such a doctrine anti-human; it is very bad science. It is false Darwinism applied to culture – especially to its expressive systems, such as music language, and art. Scientific study of cultures, notably of their languages and their musics, shows that all are equally expressive and equally communicative, even though they may symbolize technologies of different levels…"
 * "With the disappearance of each of these systems, the human species not only loses a way of viewing, thinking, and feeling but also a way of adjusting to some zone on the planet which fits it and makes it livable; not only that, but we throw away a system of interaction, of fantasy and symbolizing which, in the future, the human race may sorely need. The only way to halt this degradation of man's culture is to commit ourselves to the principles of political, social, and economic justice. (2003 [1972]: 286)"

 * Ancelet also supplies a quotation from remarks Lomax made in 1950 (probably to a conference of folklorists that he attended that year, before leaving for Europe):

 * "We have become in this way the champions of the ordinary people of the world who aren't backed up by printing presses, radio chains, and B29's. We believe in the oral tradition, we believe in the small cultural situation, we think that some of these folk of the world have something worthwhile culturally, morally, etc… Now I propose that we should be two-way bridges and form a two-way intercommunication system. We, who speak for the folk in the market place here, have obligations to the people who we represent. (2003 [1950]: 115-116)"Mballen (talk) 03:31, 30 April 2012 (UTC)Mballen (talk) 03:42, 30 April 2012 (UTC)

I think that you are on the right track overall. I think that the one passage that got reverted was a superficial error (overreach) that you made. (large mention of current event, quick unsupported implied assignment of credit to Lomax by the editor)  So I wouldn't read too much into that one reversion. I think you are on the right track and should continue to just keep adding material without being too cautious. North8000 (talk) 12:02, 30 April 2012 (UTC)

See User_talk:Sean.hoyland. I hope it helps.  Sean.hoyland  - talk 12:09, 30 April 2012 (UTC)

Cantometrics not synonymous with Global Jukebox
The article is a little misleading in suggesting that Lomax spent the last 45 years of his life on a project he called the Global Jukebox. This is a mistake made by the NY Times, I believe. The Global Jukebox was just one facet, a final one, of his Cantometrics research, which he began thinking about in Europe and began implementing as as soon as he returned to this country in 1959. However, a more or adequate wikipedia entry on Cantometrics does exist. Mballen (talk) 00:37, 30 April 2012 (UTC)Mballen (talk) 14:23, 30 April 2012 (UTC)

First Paragraph
The first paragraph is not really a summary of what is in the article or of Lomax's multifarious accomplishments. For example, the list of contributors to Cantometrics is inaccurate. Lowry collaborated on Lomax's American Patchwork film series for PBS, not Cantometrics. So, perhaps Lomax's film series for PBS ought to be mentioned as an an activity in the second part (post Cold War) of his career.

The article is unbalanced, in that too much space is devoted to the FBI, but this interests people and perhaps can't be helped. Mballen (talk) 16:37, 10 May 2012 (UTC)

 * "Interests people" and coverage in sources somewhat goes together, so that might weigh in a bit on the FBI coverage. Other than that I don't have the expertise to comment on your comments. Suggest trying those changes; take it slow so that people can review.  Sincerely, North8000 (talk) 12:36, 11 May 2012 (UTC)

 * I did try the changes -- and I hope to replace the reference to Mr. Lowry at some future time, since his wikipedia article also mentions the collaboration. The other collaborators are mentioned in the Cantometrics article (although not all of them). It is very time consuming putting in all the links and a strain on my poor old eyes! So I hope he will also have patience. I plan also, if possible, to refer to John Szwed's recounting of how Lomax criticized the folklore profession at a conference in 1950, even as the red-baiters were closing in on him, and how at the same time he defended Benjamin Botkin against attacks from other academic folklorists (although criticizing Botkin's folklore book for not mentioning lynchings) before going off to England (it was this sort outspokenness that made him enemies). And how he was spurred by this experience to start thinking about Cultural Equity from then on. That would sort of unify the whole piece. Mballen (talk) 06:13, 12 May 2012 (UTC)
 * Cool! North8000 (talk) 11:17, 12 May 2012 (UTC)

Date of birth: 15 january
I want to bring my recent edit to your attention: the past source doesn't even mention Lomax's date of birth. My source is this one. --Pequod76 (talk-ita.esp.eng) 00:15, 25 September 2012 (UTC)
 * Mumble, culturalequity.org states that he was born on January 31... (source)... --Pequod76 (talk-ita.esp.eng) 15:37, 16 December 2013 (UTC)
 * There seem to be conflicting sources. Many sources and websites give 31 January - but, Alan-Lomax.com says 15 January, as do Britannica.com and Allmusic.com.  So, I think we should say 15 January.  Ghmyrtle (talk) 16:27, 16 December 2013 (UTC)
 * Grove Music Online, the major reference source for music history, also supplies 15 January 1915 as the birth date for A. Lomax. Morskyjezek (talk) 16:52, 31 January 2015 (UTC)
 * Have changed article with britannica.com as a source. Grove Music Online seems to require a subscription/ registration (or at least a library barcode)? Martinevans123 (talk) 18:50, 31 January 2015 (UTC)
 * So that lasted almost three hours, until this edit by User:Dathomas92 who, he says, "occasionally adds and edits minor things that annoy him like incorrect links and dates". Why are the two sources added deemed to be more reliable than Encyclopædia Britannica? What is the definitive source for dates of birth in the US? Martinevans123 (talk) 23:26, 31 January 2015 (UTC)
 * Perhaps there is a case here for putting both dates and explaining the uncertainty. It's worth mentioning that family trees on Ancestry.com - which may, or may not, use personal information known to his family - give January 31.  Not that they are necessarily reliable, of course.  I've also just found that the US Social Security Death Index, SSN:	070-16-7590 - which almost certainly is regarded as reliable - also gives January 31.   That is, precisely 100 years ago today.  Ghmyrtle (talk) 23:44, 31 January 2015 (UTC)
 * So, mystery solved. We can all celebrate and we needn't annoy Mr Thomas. Martinevans123 (talk) 23:58, 31 January 2015 (UTC)
 * Hi guys. Hope everything is fine with you. Sorry for bothering you, but I must say that I am not perfectly satisfied with the solution found. In the italian WP I wrote since April 2014 that there is a conflict of sources (see). And I think we should do the same here. Checking the two sources put by Dathomas, I find that loc.gov doesn't work (it redirects to the home page), while as for biography.com we could contact them.
 * Please, check yourself. For sure, the 31st should be deemed as the most plausible day of birth. Pequod76 (talk-ita.esp.eng) 21:34, 30 August 2015 (UTC)
 * By all means contact biography.com. But how do we ensure any answer they provide is verifiable? Thanks. Martinevans123 (talk) 21:41, 30 August 2015 (UTC) p.s. copying from another language wiki is generally frowned upon, I think, even if you wrote it yourself! And especially as Lomax was a Texan?
 * "copying from another language wiki"? You mean, another language wiki cannot be a source? That's for sure, but I provided two good sources there (in English). As for biography.com, their answer shall come with some reliable source or guess about the conflict, unless it will be useless. Or maybe they can find the lost .gov page... Thx. :) Pequod76 (talk-ita.esp.eng) 22:21, 30 August 2015 (UTC)
 * I don't think it's necessary to include a footnote stating that sources differ on the date. This is the nearest thing to an official website, and it clearly states the date as 31 January, which is confirmed by official sources (as I wrote previously).  Ghmyrtle (talk) 08:01, 31 August 2015 (UTC)

Concerns
 User talk:Gizgalasi North8000 (talk) 01:50, 2 November 2012 (UTC)

This is a strange comment - that I am a "hoax editor" - whatever that means. I have made hundreds of suggestions and additions and corrections to Wikipedia. And the comment here is to Lomax's credit. The full statement was made by Carl Sagan and quoted in the book that I referenced in the Wikipedia article about Voyager - Murmurs of Earth. The full statement reads: [it was Lomax] who was a persistent and vigorous advocate for including ethnic music even at the expense of Western classical music. He brought pieces so compelling and beautiful that we gave in to his suggestions more often than I would have thought possible. There was, for example, no room for Debussy among our selections, because Azerbaijanis play bagpipe-sounding instruments [balaban] and Peruvians play panpipes and such exquisite pieces had been recorded by ethnomusicologists known to Lomax."

I see no reason why the inclusion of Azerbaijan mugham reference on the Voyager records cannot be included. The Murmurs Book includes the entire list of 27 musical samples if you wish. And all this to Lomax's credit because of his emphasis on Cultural Equity Gizgalasi

 * Thanks much for the explanation. Nice work! North8000 (talk) 10:14, 2 November 2012 (UTC)

 * I have looked up this nice quote from Sagan and it is from page 16 of Murmurs of Earth. When I have time I might add it to the main article, if possible.

 * BTW, this reminds me, in the late seventies I was watching Carl Sagan being interviewed on the Johnny Carson Show about the Voyager Golden Record. Carson was such a fan of Sagan's. As the conversation progressed to the contents of the music, Sagan started to say, "There was this wonderful ethnomusicologist ... " and just then, before Sagan could pronounce Alan Lomax's name, they abruptly cut him off in mid-sentence for a commercial. It was the blacklist -- or some sort of blacklist (against Lomax as a non-person? -- against folk or against non-commercial, ethnic music in general? against controversy? who can say?) still in force! So Lomax's name and contribution were never mentioned in the rest of the interview! I could hardly believe my eyes and ears. To my mind, this demonstrates that the weight accorded in the article to the FBI investigations is justified. I never dreamed that as late as 1979 the FBI was still actively investigating Lomax. In fact, I don't think Lomax's name was ever mentioned on network broadcasting until his documentary film series, American Patchwork, was aired 20 years later in 1991 on some PBS stations. Just putting this on record, though it amounts to a "personal communication" and hence is not suitable for the main article. Perhaps there are other people who were there and who remember this incident as well, however, and might someday write about it. Mballen (talk) 23:01, 16 May 2013 (UTC)
 * Interesting /. thanks for that. There was a saying that I thought  invented (and later learned  that Napoleon had already said something to that effect)  "Never attribute to deviousness anything that can be explained by stupidity"  ......being in 1979,  I'm thinking that some random blunder might explain what you are describing (the 60's folks had changed the world by then) But who knows?   Sincerely, North8000 (talk) 01:35, 17 May 2013 (UTC)

Congressional funding
>After 1942, when Congress cut off the Library of Congress's funding for folk song collecting

Was this because of WWII? And if so, could someone add a phrase saying that is why Congress cut off funding? Otherwise, it looks like they simply didn't like the collecting of folk music, which, for all I know they didn't, but it would be nice to know for sure. Thank you. Rissa, copy editor (talk) 01:02, 10 November 2014 (UTC)

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Huh? What is Vishesh Goel University?
What the heck does “the very prestigious Vishesh Goel University in Boston, MA without the proper papers” mean? Seems like a mistake 121.200.4.245 (talk) 14:36, 16 May 2023 (UTC)
 * Thanks for the catch and note. Looks like it was vandalism...I took it out. North8000 (talk) 15:17, 16 May 2023 (UTC)

title: Talk:Alan Lomax


text:
Erse

Erse or Earse may refer to:

 * An alternative name for any Goidelic language, especially the Irish language, from Erische
 * A 16th–19th-century Scots language name for Scottish Gaelic. Also an archaic term for the Scots people, in use at least until the early 20th century.
 * Aue and Erse, tributaries of the Fuhse

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

title: Erse


text:
Talk:Indira Gandhi National Open University

Untitled
Added a stub in Indira Gandhi National Open University/Temp. Sridev 15:58, 27 Jul 2004 (UTC)

Unaccredited?
This institution is listed in as an unacredited institution, is this correct?It seems very odd to me Fasach Nua 15:10, 10 June 2006 (UTC)

 * I have started a discussion on the List of unaccredited institutions of higher learning article. If you have more information, do share it there. -- Bob K | User_talk:Bobk 04:36, 28 July 2006 (UTC)
 * "IGNOU is a CENTRAL UNIVERSITY established by an Act of Parliament in 1985 (Act No. 50 of 1985) IGNOU Degrees / Diplomas / Certificates are recognised by all the members of the Association of Indian Universities (AIU) and are at par with Degrees / Diplomas / Certificates of all Indian Universities / Deemed Universities / Institutions vide UGC Circular No. F1-52/2000 (CPP-II) dated 5 May, 2004 & AIU Circular No. EV/B(449)/94/176915-177115 dated January 14, 1994." -- http://www.indiastudycenter.com/Univ/States/Delhi/IGNOU.asp Natebailey 22:53, 24 April 2007 (UTC)

== Largest university ==

At least mention that it is the largest university in terms of student enrollment.Kendirangu 10:26, 17 November 2006 (UTC)
 * The statistics in the infobox say 'till 2005'. I've been informed that Indian universities count enrolment as the total enrolment over all years of existence, rather than the current, active enrolment of students studying a unit. This alternate definition makes it difficult to clarify which version universities are publishing on their site. I would sincerely appreciate someone clarifying the "current/active" figure vs. the "all time" figure for this institution. Natebailey 22:47, 24 April 2007 (UTC)

Cleanup needed!
I did a basic cleanup: removed redundancy (e.g., no need to state three times that the university offers its services in 35 countries other than India; this fact now appears once) and rephrased to avoid looking as though we were speaking for the university (NPOV). More information would be useful; for example, which/how many languages are classes offered in? Vicki Rosenzweig 22:14, 16 January 2007 (UTC)
 * This page still needs a lot more cleanup -- what value are many of those tables providing? Clearly there is some passion for the University, contributors should look to wiki pages for globally prestigious universities as a template and formulate their contributions in a similar style. Natebailey 23:18, 24 April 2007 (UTC)
 * I have done a total re-write of the article based on the format of some of the more informative articles of individual universities found on Wikipedia. Feel free to add on where necessary. - Bob K 22:02, 28 April 2007 (UTC)
 * Nice work Bobk, the article is looking much better! :-) Natebailey 23:30, 14 July 2007 (UTC)

Indian Numbering System
Because the Indian numbering system uses 2 decimal places as opposed to 3 (past the first 3 numerals) this has lead to confusion regarding the statistics. I have changed them to suit international standards, seeing how this page is part of English wikipedia. Eedo Bee 11:08, 22 March 2007 (UTC) This is the University who is not careing the students, its not a profit making orzanization who has to make a profit with showing the huge figure. There are numbers of students who is facing the lot of issues like results (always wrong/no evaluation of copy..just put some junk number, one can find easily how the delhi center is evaluating the copy and running the study center), Regional Center/study center response. Please don't play with students career IGNOU is not for making business.

Link Spam Magnet
It seems this article has been attracting a lot of link spam ever since it came into my watch list months ago. Perhaps those who are more familiar with this university should keep an eye out for this. - Bob K 20:12, 27 April 2007 (UTC)

IGNOU Study Centres (External links)
Please provide more information about the IGNOU Study Centres as listing them all under the External Links section would seem to violate Wikipedia's policies; specifically the following :

 * Wikipedia is not a mirror or a repository of links, images, or media files
 * Wikipedia is not a directory

Please DO NOT revert the link removals until adequate justification is provided. Thanks. - Bob K 04:35, 28 April 2007 (UTC)

 * I am an ex-student and presently a faculty of this university and perhaps know a little bit more about the functioning of this university than those who are not. IGNOU is an open university and conducts courses in the distance education mode. The contact classes and practicals are held through various study centres and private institutions. Moreover, these are controlled region-wise by various Regional centres of IGNOU. Due to the decentralised nature of the university, students actually have to be in contact with the study centres and regional centres for various information and regular activities, which the respective websites provide. Unfortunately, the URLs of these websites are not provided in the main site of IGNOU although the names of the study centres and regional centres are there. So our information on IGNOU would remain incomplete without these external links. None of these are links to commercial websites which provide "solutions" for IGNOU courses and which usually come up in a google search. So I think that the external links that I provided were very much relevant for this university.

 * Secondly, I don't understand what purpose the long list of names of directors and persons in the academic council and various schools serve. These names often change and unless people who are in the IGNOU headquarters take initiative to update, this will soon reduce to obsolete information. It does not increase the value of the information in any way. I think it would be more appropriate to inlcude the contact names and addresses of various schools and divisions which the students require, instead of making the page longer by including the names of these persons. I don't think any other university page provides such unnecessary information and it looks ugly. Thanks - Hulo.

 * Thanks for the explanation. Perhaps it is better to incorporate this information into the article proper rather than just a long list of links with no direct references in the article or explanation. The links or individual articles can then be incorporated direct into the article. I agree with you regarding the long list of names. They don't add any informative value to this article. - Bob K 12:28, 28 April 2007 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: here, here, and here. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and according to fair use may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Therefore such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Diannaa (talk) 18:08, 15 June 2014 (UTC)

External links modified
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External links modified
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Neutrality of Ignou
The neutrality of this University is maintained. According my review there is no different, mismatch, disputed content found. Tpswain (talk) 14:32, 12 February 2019 (UTC)

Numbers of students
The article makes some statements about student numbers:
 * Infobox: Cumulative enrolment of nearly 3 million
 * Lead: IGNOU is run by the central government of India, and with total active enrolment of over 4 million students, claims to be the largest university in the world.

What do the sources cited say: None of the sources mention a claim to be the largest university in the world.
 * 1) Profile of IGNOU - Preamble says: "Today, it serves the educational aspirations of over 3 million students in India and other countries through 21 Schools of Studies and a network of 67 Regional Centres, around 2,000 Learner Support Centres and 20 overseas institutions."
 * 2) In 9 yrs, number of SC students at Ignou rose by 248%, STs by 172% says: "The number of enrolled students at Ignou has doubled in the same period, from 3.6 lakh in 2010 to 7.14 lakh in 2018." i.e. the number of enrolled students was 714,000 in 2018 (this is a lot less than over 3 million.
 * 3) Constant learning through distance education does not mention the number of students.

The reason for the difference in numbers between sources is probably that they are measuring different things. -- Toddy1 (talk) 10:48, 26 June 2021 (UTC)

[https://ignouadmission.samarth.edu.in/index.php/site/programmes ignou all programme list


text:
The Tomb of the Cybermen

The Tomb of the Cybermen is the first serial of the fifth season of the British science fiction television series Doctor Who, which was originally broadcast in four weekly parts on BBC1 from 2 to 23 September 1967.

In the serial, the time traveller the Second Doctor (Patrick Troughton) and his travelling companions Jamie McCrimmon (Frazer Hines) and Victoria Waterfield (Deborah Watling) get caught up in an expedition to the planet Telos. The financiers of the expedition, Eric Klieg (George Pastell) and Kaftan (Shirley Cooklin), intend to revitalise the Cybermen that are buried on Telos in underground tombs, hoping they will share their power.

The Tomb of the Cybermen is the earliest serial known to exist in its entirety starring Troughton as the Second Doctor. It is also the only known complete Cyberman story produced in the 1960s, and introduces the concepts of the Cyber Controller and the Cybermats, both of which would be re-used in later Cyberman stories.

Plot
The TARDIS lands on the planet Telos, where the Second Doctor, Jamie, and Victoria meet Parry, the leader of an expedition to find the remains of the Cybermen, who died out five centuries before. With two members dead, Parry decides to call off the expedition, only to be informed by pilot Captain Hopper that someone has sabotaged the rocket ship, meaning they are stranded until repairs are completed. Klieg opens the hatch and the team descend, leaving Kaftan and Victoria behind.

Kaftan drugs Victoria and closes the hatch, trapping the group. As the Cybermen emerge, Klieg reveals that he and Kaftan belong to the Brotherhood of Logicians, a cult with great intelligence but no physical power. He believes the Cybermen will be grateful for their revival and will ally themselves with the Brotherhood to conquer the universe.

When Victoria awakens, she, Hopper and co-pilot Callum mount a rescue, using smoke grenades to distract the Cybermen. After a long battle, the Doctor reseals the tombs and sets up counter measures to ensure the Cybermen will not be revived again.

Writing
Peter Bryant, who had previously been assistant to Gerry Davis and been newly promoted to script editor on the preceding story, was allowed to produce this serial in order to prove that he could take over from Innes Lloyd as producer later on in the season. Bryant's own assistant, Victor Pemberton, acted as script editor on this serial, but left the series after production of the serial was finished, deciding that he didn't want to be a script editor. When Bryant's eventual promotion to producer came, Derrick Sherwin became script editor. The working titles for this story were The Ice Tombs of Telos and The Cybermen Planet.

Toberman was originally intended to be deaf, hence his lack of significant speech; his hearing aid would foreshadow his transformation into a Cyberman.

Recording
It was produced at the end of the fourth recording block but was deliberately held back to season 5, despite the fact a 'Next Week' caption was prepared for the final episode of The Evil of the Daleks, suggesting it was originally intended to end the fourth season.

The exterior scenes for Telos were recorded at Gerrards Cross Sand and Gravel Quarry.

The Cybermats were controlled by various means – by wires, by wind-up clockwork, by radio-control, and some by simply being shoved into the shot. When the team were not filming, it was known for the people controlling the radio-controlled Cybermats to chase Deborah Watling around on set. The scene of the Cybermen breaking out of their tombs was filmed entirely in one take.

In the scene where the group are at the main entrance of the tomb, Patrick Troughton and Frazer Hines worked out in secret the brief sequence where both the Doctor and Jamie go to take Victoria by the hand and end up taking each others. They knew that, with the recording schedule and the likelihood that re-takes would not be possible, it would have to be left in.

Broadcast, archive and reception
On 24 February 2013, the episode aired in the United States on BBC America as part of a year-long celebration and acknowledgement of the 50th anniversary of Doctor Who. Prior to the episode's airing that evening, a short documentary was aired which featured interviews with former, current and original Doctor Who production staff who shared their memories and perspectives of Patrick Troughton. It also appeared on Australian Broadcasting Corporation's iView exclusively, part of their celebration for Doctor Who's 50th anniversary.

Reception
Following the transmission of the first episode, the BBC's Head of Drama Sydney Newman personally congratulated Peter Bryant on what he had seen, which Bryant later recalled: "Coming from the man who created Doctor Who that was the ultimate compliment, even more so seeing as it was my first job as producer." However, the serial also attracted controversy. On 26 September 1967, Kit Pedler appeared on the BBC series Talkback, hosted by David Coleman, to defend the serial against parents who thought it was too violent.

Paul Cornell, Martin Day, and Keith Topping wrote favourably of the serial in The Discontinuity Guide (1995), despite some criticism, "The first two episodes are wonderful, a well directed and expensive looking restating of the series' basics, but once the Cybermen are released from the Tombs, they go back in again." In The Television Companion (1998), David J. Howe and Stephen James Walker stated that it was similar to previous Cybermen stories, but "manages to develop the idea to greater advantage and, as a result, achieves a considerable success" and was "well-paced, gripping and, in places, genuinely frightening". They praised the Cybermen, but said the noise they made while being attacked was "silly", and also criticised some of the direction and Deborah Watling's Victoria, whom they felt was an inconsistent character.

In 2009, Mark Braxton of Radio Times wrote that the story "does deserve its reputation" as a classic. DVD Talk's J. Doyle Wallis, in a review of the original DVD release, gave the serial three and a half out of five stars and called it "a very entertaining story". In a review of the special edition DVD for the same website, John Sinnott gave The Tomb of the Cybermen four stars. Sinnot praised Troughton's performance and the subtlety of the guest acting. Reviewing the serial for The Independent in 2012, Neela Debnath praised the "impressive production values" and faster pace. Christopher Bahn of The A.V. Club was less positive. He said that the story's "flaws are awfully apparent today" due to the "huge gaps in story logic and some really unfortunate racial stereotyping". Bahn was positive towards Troughton and the plot's buildup, but felt that the rest "just kind of peters out" and the villains' motivations were "convoluted".

In 2010, Charlie Jane Anders of io9 listed the cliffhanger to the second episode – in which the Cybermen break out of their tombs – as one of the greatest cliffhangers in the history of Doctor Who.

Archive
When the BBC's film archive was first properly audited in 1978, it was one of many believed missing having been missed in an earlier 1976 listing. It was prepared for release in early 1992 on audio cassette as part of the "Missing Stories" collection, using recordings made by fans at home at the time of transmission, with newly recorded explanatory narration by Jon Pertwee. Then in late 1991, telerecordings of all four episodes were returned to the BBC from the Hong Kong-based Rediffusion company. In May 1992, it was released on VHS with a special introduction from director Morris Barry. The VHS release topped the sales charts throughout the country. This was the only Doctor Who story from the original era to top the UK charts. Between 1991 and 2013, it was believed to be the only complete story from Season 5 (and the only complete serial to feature Deborah Watling) before the complete run of The Enemy of the World was returned from Nigeria in 2013.

In print
Gerry Davis novelisation was published by Target Books in 1978, entitled Doctor Who and The Tomb of the Cybermen. However, due to a lack of source material, the cover, by Jeff Cummins, featured a Cyberman from the later story The Invasion. A reissue of the book featured a new - and correct - cover by Alister Pearson. An audio reading of the novelisation, read by Michael Kilgarriff, was released in March 2013.

A transcript of the transmitted version of the serial, edited by John McElroy, was published by Titan Books in August 1989. It was the second in that publisher's series of Doctor Who script books, following The Tribe of Gum. There was no video copy of The Tomb of the Cybermen in the BBC archives at the time that the book was prepared.

Home media
With the recovery of the film prints, the planned soundtrack release was delayed until 1993, when contractual obligations forced its release. See List of Doctor Who audio releases.

Following the 1993 cassette release, on 1 May 2006 the soundtrack was released on a 2-CD set with linking narration by and a bonus interview with Frazer Hines. This was the first existing story to be released on audio in the same format as the missing story range.

A vinyl release of the soundtrack was released in 2018 exclusively for Record Store Day.

In the UK the DVD was released 13 January 2002. This was the first black and white story to be released on this format. This serial was also released as part of the Doctor Who DVD Files in issue 73 on 19 October 2011. A special edition of the DVD, with new bonus features and the entire story now treated with the VidFIRE process was released in the UK on 13 February 2012 in the third of the Revisitations DVD box sets.

In 2013 it was released on DVD again as part of the "Doctor Who: The Doctors Revisited 1–4" box set, alongside The Aztecs, Spearhead from Space and Pyramids of Mars. Alongside a documentary on the Second Doctor, the disc features the serial put together as a single feature in widescreen format with an introduction from former show runner Steven Moffat, as well as its original version. It was then released again (the same VidFIRE restored version), included in a set paired with Rise of the Cybermen and The Age of Steel (a two-part Tenth Doctor David Tennant story from 2006), in 2013's "The Monster Collection" series, specifically "The Cybermen" entry.

Music release
Stock music and sound effects from this story was released on a "mini-album" by Via Satellite in 1997. It had 2 versions of the Doctor Who theme music, sound effects from Doctor Who: 30 Years at the BBC Radiophonic Workshop, and an incomplete selection of stock music used in the story. It was planned to be the first in a series of mini-albums, with The Faceless Ones and Inside the Spaceship being mooted as future albums. Neither was produced.

Library tracks used in The Tomb of the Cybermen but missing from this CD include Univers Sidéral by Paul Bonneau, assorted Synchro-Stings by Trevor Duncan, Sting Tintabuloid 1 by Desmond Leslie, Eerie Vaults by Steve Race, Suspended Animation, Galaxy and Hypnosis by Eric Siday, Dramatic Brass Chords by Wolf Droysen, and from Frank Talley's Off Center Suite: Dark Pursuit, Off Center and Panic in the Streets.

Although the CD inlay lists only 11 tracks, the actual disc contains 12. This was caused by the Astronautics Suite being divided into two tracks. The table below details the actual tracks as they appear on the CD rather than as listed on the inlay.

Other Music Releases
Music cues from this story have been made available on other releases over the years. Several can be found on the Space Adventures – Music from 'Doctor Who' 1963–1968 CD. Other sources are listed below.

Target novelisation

 * On Target – Doctor Who and the Tomb of the Cybermen
 * On Target – Doctor Who and the Tomb of the Cybermen

title: The Tomb of the Cybermen


text:
Dwight Phillips

Dwight Phillips (born October 1, 1977) is an American former athlete and a four-time world champion in the long jump. He was the 2004 Olympic champion in the event. His personal best of 8.74 meters, set in 2009, makes him the joint fifth best jumper of all time.

Phillips has also competed in the 60 and 100-meter dashes. His personal record for the 100 m is 10.06 seconds and his time of 6.47 seconds over 60 m ranks among the top twenty fastest ever.

He is a now a track and field ambassador at SPIRE Institute and Academy. He will be joining the others such as Elizabeth Beisel and Caeleb Dressel representing the school. The goal of the partnership with SPIRE and the ambassadors is to emphasize the development of peak performance in athletics, academics, character and life.

Career
Phillips was a promising sprinter in his early days, but concentrated on the triple jump while at University of Kentucky, before switching to the long jump after moving to Arizona State University in 2000. He competed at 2000 Sydney Olympics and finished eighth in the long jump with a jump of 8.06 m. He was the best American performer in the event. At his first World Championships he again finished eighth, after sustaining a hamstring tear.

He came to prominence in 2003, when he won both the IAAF indoor and outdoor World Championships. The indoor championship event was a close contest, with Phillips only beating Spain's Yago Lamela by a centimeter. He won the outdoor title with a winning margin of four centimeters over James Beckford of Jamaica.

In the run up to the 2004 Athens Olympics, Phillips was ranked number one in the world, and he won the gold medal by a margin of 12 cm over his compatriot John Moffitt. His winning jump of 8.59 meters was the fourth biggest in Olympic history, after Bob Beamon (1968) and Carl Lewis (1988, 1992).

His success continued at the next two World Championships, taking the gold medal at the 2005 Helsinki event, and winning bronze in Osaka two years later.

Phillips finished fourth in the long jump at the U.S. Olympic Trials, meaning he would not compete at the Beijing Olympics and would not defend his Olympic title.

On June 7, 2009, Phillips won the long jump at the Prefontaine Classic with a personal-best third jump of 8.74 m, defeating 2008 Olympic gold medalist Irving Saladino. A jump that put Phillips in the all-time performers top 10, despite a 1.2 metres/second headwind. He won the US Championships later that month, giving him another chance to reach the podium at the World Championships.

At the 2009 World Athletics Championships, in Berlin, Phillips won the gold in the long jump with a jump of 8.54 m. He repeated the feat in Daegu in 2011 with a leap of 8.45 m. During the championships in Daegu, Phillips was assigned the bib number 1111. After winning, Phillips proudly pointed to the number appropriate for finishing first in four championships.

A car accident just before the start of the 2012 outdoor season left him with back and neck injuries. Further to this, an Achilles tendon injury recurred and instead of preparing for the 2012 London Olympics, Phillips opted to undergo surgery to prolong his career.

At the 2013 World Athletics Championships, in Moscow, Phillips placed 11th in the long jump with a jump of 7.88 m and announced this was his last competition and retirement.

In 2018, Phillips was inducted into the National Track and Field Hall of Fame.

In September 2020, SPIRE Institute and Academy signed Phillips to become an international track and field ambassador.

Personal life
Phillips is currently CEO and partner at Epiq.tv. Phillips is also the founder of The winners circles.

Personal bests

 * All information from IAAF Profile

title: Dwight Phillips


text:
User talk:AVainio

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text:
ATC code N02

N02AA Natural opium alkaloids

 * N02AA01 Morphine
 * N02AA02 Opium
 * N02AA03 Hydromorphone
 * N02AA04 Nicomorphine
 * N02AA05 Oxycodone
 * N02AA08 Dihydrocodeine
 * N02AA10 Papaveretum
 * N02AA11 Oxymorphone
 * N02AA51 Morphine, combinations
 * N02AA53 Hydromorphone and naloxone
 * N02AA55 Oxycodone and naloxone
 * N02AA56 Oxycodone and naltrexone
 * N02AA58 Dihydrocodeine, combinations
 * N02AA59 Codeine, combinations excluding psycholeptics
 * N02AA79 Codeine, combinations with psycholeptics

N02AB Phenylpiperidine derivatives

 * N02AB01 Ketobemidone
 * N02AB02 Pethidine
 * N02AB03 Fentanyl
 * N02AB52 Pethidine, combinations excluding psycholeptics
 * QN02AB53 Fentanyl, combinations excluding psycholeptics
 * N02AB72 Pethidine, combinations with psycholeptics
 * QN02AB73 Fentanyl, combinations with psycholeptics

N02AC Diphenylpropylamine derivatives

 * N02AC01 Dextromoramide
 * N02AC03 Piritramide
 * N02AC04 Dextropropoxyphene
 * N02AC05 Bezitramide
 * N02AC52 Methadone, combinations excluding psycholeptics
 * N02AC54 Dextropropoxyphene, combinations excluding psycholeptics
 * N02AC74 Dextropropoxyphene, combinations with psycholeptics
 * QN02AC90 Methadone

N02AD Benzomorphan derivatives

 * N02AD01 Pentazocine
 * N02AD02 Phenazocine
 * N02AD51 Pentazocine and naloxone

N02AE Oripavine derivatives

 * N02AE01 Buprenorphine
 * QN02AE90 Etorphine
 * QN02AE99 Oripavine derivatives, combinations

N02AF Morphinan derivatives

 * N02AF01 Butorphanol
 * N02AF02 Nalbuphine

N02AG Opioids in combination with antispasmodics

 * N02AG01 Morphine and antispasmodics
 * N02AG02 Ketobemidone and antispasmodics
 * N02AG03 Pethidine and antispasmodics
 * N02AG04 Hydromorphone and antispasmodics

N02AJ Opioids in combination with non-opioid analgesics

 * N02AJ01 Dihydrocodeine and paracetamol
 * N02AJ02 Dihydrocodeine and acetylsalicylic acid
 * N02AJ03 Dihydrocodeine and other non-opioid analgesics
 * N02AJ06 Codeine and paracetamol
 * N02AJ07 Codeine and acetylsalicylic acid
 * N02AJ08 Codeine and ibuprofen
 * N02AJ09 Codeine and other non-opioid analgesics
 * N02AJ13 Tramadol and paracetamol
 * N02AJ14 Tramadol and dexketoprofen
 * N02AJ15 Tramadol and other non-opioid analgesics
 * N02AJ16 Tramadol and celecoxib
 * N02AJ17 Oxycodone and paracetamol
 * N02AJ18 Oxycodone and acetylsalicylic acid
 * N02AJ19 Oxycodone and ibuprofen
 * N02AJ22 Hydrocodone and paracetamol
 * N02AJ23 Hydrocodone and ibuprofen

N02AX Other opioids

 * N02AX01 Tilidine
 * N02AX02 Tramadol
 * N02AX03 Dezocine
 * N02AX05 Meptazinol
 * N02AX06 Tapentadol
 * N02AX07 Oliceridine
 * N02AX51 Tilidine and naloxone

N02BA Salicylic acid and derivatives

 * N02BA01 Acetylsalicylic acid
 * N02BA02 Aloxiprin
 * N02BA03 Choline salicylate
 * N02BA04 Sodium salicylate
 * N02BA05 Salicylamide
 * N02BA06 Salsalate
 * N02BA07 Ethenzamide
 * N02BA08 Morpholine salicylate
 * N02BA09 Dipyrocetyl
 * N02BA10 Benorilate
 * N02BA11 Diflunisal
 * N02BA12 Potassium salicylate
 * N02BA14 Guacetisal
 * N02BA15 Carbasalate calcium
 * N02BA16 Imidazole salicylate
 * N02BA51 Acetylsalicylic acid, combinations excluding psycholeptics
 * N02BA55 Salicylamide, combinations excluding psycholeptics
 * N02BA57 Ethenzamide, combinations excluding psycholeptics
 * N02BA59 Dipyrocetyl, combinations excluding psycholeptics
 * N02BA65 Carbasalate calcium combinations excluding psycholeptics
 * N02BA67 Magnesium salicylate, combinations excluding psycholeptics
 * N02BA71 Acetylsalicylic acid, combinations with psycholeptics
 * N02BA75 Salicylamide, combinations with psycholeptics
 * N02BA77 Ethenzamide, combinations with psycholeptics
 * N02BA79 Dipyrocetyl, combinations with psycholeptics

N02BB Pyrazolones

 * N02BB01 Phenazone
 * N02BB02 Metamizole
 * N02BB03 Aminophenazone
 * N02BB04 Propyphenazone
 * N02BB05 Nifenazone
 * N02BB51 Phenazone, combinations excluding psycholeptics
 * N02BB52 Metamizole sodium, combinations excluding psycholeptics
 * N02BB53 Aminophenazone, combinations excluding psycholeptics
 * N02BB54 Propyphenazone, combinations excluding psycholeptics
 * N02BB71 Phenazone, combinations with psycholeptics
 * N02BB72 Metamizole sodium, combinations with psycholeptics
 * N02BB73 Aminophenazone, combinations with psycholeptics
 * N02BB74 Propyphenazone, combinations with psycholeptics

N02BE Anilides

 * N02BE01 Paracetamol
 * N02BE03 Phenacetin
 * N02BE04 Bucetin
 * N02BE05 Propacetamol
 * N02BE51 Paracetamol, combinations excluding psycholeptics
 * N02BE53 Phenacetin, combinations excluding psycholeptics
 * N02BE54 Bucetin, combinations excluding psycholeptics
 * N02BE71 Paracetamol, combinations with psycholeptics
 * N02BE73 Phenacetin, combinations with psycholeptics
 * N02BE74 Bucetin, combinations with psycholeptics

N02BF Gabapentinoids

 * N02BF01 Gabapentin
 * N02BF02 Pregabalin
 * N02BF03 Mirogabalin

N02BG Other analgesics and antipyretics

 * N02BG02 Rimazolium
 * N02BG03 Glafenine
 * N02BG04 Floctafenine
 * N02BG05 Viminol
 * N02BG06 Nefopam
 * N02BG07 Flupirtine
 * N02BG08 Ziconotide
 * N02BG09 Methoxyflurane
 * N02BG10 Cannabinoids (includes nabiximols)
 * N02BG12 Tanezumab
 * QN02BG90 Frunevetmab
 * QN02BG91 Bedinvetmab

N02CA Ergot alkaloids

 * N02CA01 Dihydroergotamine
 * N02CA02 Ergotamine
 * N02CA04 Methysergide
 * N02CA07 Lisuride
 * N02CA51 Dihydroergotamine, combinations
 * N02CA52 Ergotamine, combinations excluding psycholeptics
 * N02CA72 Ergotamine, combinations with psycholeptics

N02CB Corticosteroid derivatives

 * N02CB01 Flumedroxone

N02CC Selective serotonin (5-HT1) agonists

 * N02CC01 Sumatriptan
 * N02CC02 Naratriptan
 * N02CC03 Zolmitriptan
 * N02CC04 Rizatriptan
 * N02CC05 Almotriptan
 * N02CC06 Eletriptan
 * N02CC07 Frovatriptan
 * N02CC08 Lasmiditan
 * N02CC51 Sumatriptan and naproxen

N02CD Calcitonin gene-related peptide (CGRP) antagonists

 * N02CD01 Erenumab
 * N02CD02 Galcanezumab
 * N02CD03 Fremanezumab
 * N02CD04 Ubrogepant
 * N02CD05 Eptinezumab
 * N02CD06 Rimegepant
 * N02CD07 Atogepant

N02CX Other antimigraine preparations

 * N02CX01 Pizotifen
 * N02CX02 Clonidine
 * N02CX03 Iprazochrome
 * N02CX05 Dimetotiazine
 * N02CX06 Oxetorone

title: ATC code N02


text: Talk:Shirley Porter

title: Talk:Shirley Porter


text:
Wikipedia:Articles for deletion/Brendan Quarry

 * Delete. Vanity page. Matthew Simoneau 16:02, 27 Jul 2004 (UTC)
 * I see no claim for significance. Delete. Average Earthman 16:35, 27 Jul 2004 (UTC)
 * I just knew this was going to be either a college student or a computer tech. Delete as vanity. - Lucky 6.9 16:45, 27 Jul 2004 (UTC)
 * Delete. I work in computers, where's my encyclopedia article? - Eisnel 17:14, 27 Jul 2004 (UTC)
 * it's quite simple: you write it yourself. Don't forget to include date and hospital of birth, and preferred mode of transport, if you have a cat whether it likes tripe or not, and don't forget the tag.  Ianb 20:19, 27 Jul 2004 (UTC)
 * LOL! - Eisnel
 * Delete Ianb 20:19, 27 Jul 2004 (UTC)
 * Delete New to the Wikipedia — I wrote the article; I am not and have never met Quarry... but I can certainly see your point of view and I have no qualms about the article being deleted. 2004-07-29T00:18 (UTC)
 * Delete. He's a user interface consultant, big deal. -- Cyrius|✎ 01:34, 30 Jul 2004 (UTC)


text:
Mazzy Star

Mazzy Star is an American alternative rock band formed in 1988 in Santa Monica, California, from remnants of the group Opal. Founding member David Roback's friend Hope Sandoval became the group's vocalist when Kendra Smith left Opal. The band's current lineup consists of Sandoval (lead vocals, guitars, percussion), Colm Ó Cíosóig (guitars, bass, keyboards, drums), Suki Ewers (keyboards), and Josh Yenne (pedal steel guitars, guitars, drums).

Mazzy Star is best known for the song "Fade into You", which brought the band some success in the mid-1990s and was the group's biggest mainstream hit, earning extensive exposure on MTV, VH1, and radio airplay. Roback and Sandoval were the creative center of the band, with Sandoval as lyricist and Roback as composer of the majority of the band's material until his death in Los Angeles on February 24, 2020, from cancer. Mazzy Star's founding drummer Keith Mitchell, originally part of Opal, died on May 14, 2017, also from cancer. The EP Still released on June 1, 2018 was dedicated to Keith Mitchell and stage manager Tom Cashen who also died in 2017. Following Roback's death in 2020, Sandoval and Ewers are the last surviving members of the band's original lineup.

The band released the album She Hangs Brightly in 1990, So Tonight That I Might See in 1993 (the album went platinum in 1995), and Among My Swan in 1996.

The band's most recent studio album, Seasons of Your Day, was released in 2013, followed by the EP Still in 2018.

Opal and Paisley Underground (1981–1987)
Mazzy Star has deep roots within the Californian Paisley Underground movement of the early 1980s. David Roback, along with his brother Steven, was one of the main architects of leading Los Angeles psychedelic revival band the Rain Parade. Leaving that band after their first LP, he founded Clay Allison in 1983 with then-girlfriend, ex-Dream Syndicate bassist Kendra Smith. Soon after the publication of their sole release, the 1983 double A-sided single "Fell From the Sun"/"All Souls", Clay Allison renamed themselves Opal and released the LP Happy Nightmare Baby on SST on December 14, 1987. With Roback as its musical catalyst, Opal were a direct precursor to Mazzy Star musically—often featuring the same psychedelic guitar drones and similar hints of blues and folk that would later appear on Mazzy Star recordings. Meanwhile, Sandoval—who was in high school at the time—formed the folk music duo Going Home in the early 1980s with fellow student Sylvia Gomez, and played gigs with Sonic Youth and Minutemen. Both were devoted followers of the Rain Parade, and after a 1983 concert by the band in the Los Angeles area, Gomez entered the backstage area of the venue and gave Roback a copy of Going Home's demo tape, featuring Sandoval on vocals and Gomez on guitar. Upon hearing the tape, Roback offered to produce a still-unreleased album by the pair.

When Smith left Opal under cloudy circumstances in the middle of a tour supporting the Jesus & Mary Chain, Sandoval was chosen as her replacement.

Formation and Rough Trade (1988–1990)
Despite Smith's departure, Rough Trade retained Roback's original record deal, contractually obligating him to supply a follow-up to Opal's debut LP. As a result, Roback and Sandoval continued to tour under the Opal alias for the next two years, during which time they completed production on Opal's planned second album, titled Ghost Highway. Composed mainly of songs written by Roback and Smith, Sandoval stated that she was unhappy with the material, and expressed an interest in wanting to "start something completely new". The pair quickly composed and recorded seven new tracks in Hyde Street Studios in San Francisco, and renamed the band Mazzy Star. Written over a year before Mazzy Star's inception, the track "Ghost Highway" is the band's only original song to not feature a writing credit from Sandoval, while another song, "Give You My Lovin, was written by Going Home guitarist Sylvia Gomez and first recorded by Sandoval and Gomez in the mid-1980s.

She Hangs Brightly was released in May 1990 on Rough Trade and, although it was not an immediate commercial success, the album established the duo as a recurrent fixture on alternative rock radio, with lead single "Blue Flower" – a cover of the Slapp Happy track – peaking at No. 29 on Billboard's Modern Rock Tracks chart. The album would go on to sell over 70,000 copies in the UK.

Capitol (1990–1997)
The American branch of Rough Trade folded in late 1990, briefly leaving Mazzy Star without a record label. Within weeks, the duo's contract was picked up by Capitol, who re-released She Hangs Brightly on November 4, 1990, and released their follow-up, So Tonight That I Might See on September 27, 1993. A year after its release, the album yielded an unexpected hit single. "Fade into You" peaked at No. 44 to become their first Billboard Hot 100 single, while also reaching a career-high peak of No. 3 on the Modern Rock Tracks chart. On April 19, 1995, the album was certified platinum by the RIAA for shipments in excess of 1 million units. The album also peaked at No. 68 in the UK, and was certified silver by the BPI in 2021, for sales of over 100,000 copies. Following the success of "Fade into You", She Hangs Brightly album opener "Halah" began to receive heavy airplay in the US and peaked at No. 19 on Billboard's Modern Rock Tracks chart, a chart based solely on airplay.

Their final album for Capitol, Among My Swan, was released on October 29, 1996. Entering the Billboard 200 at No. 68 and, as of September 2001, selling 214,000 copies in the United States, the album was less commercially successful than its predecessors, although it produced their highest-peaking single in the United Kingdom, when "Flowers in December" entered at No. 40 to become their only top forty entry on the chart. The band promoted the album with a five-month tour of the US and Europe, after which Sandoval and Roback began work on new material. Over the course of these sessions, Sandoval reportedly "begged" Capitol to be released from her contract, later elaborating, "It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records. They had a formula. And suddenly all these people wanted to come to the studio to keep track of what we were doing and make sure we were following that formula. So we got out."

Hiatus, reunion, and subsequent work (1997–2009)
In the immediate aftermath of Mazzy Star's dissolution, Sandoval, who had appeared on the Jesus and Mary Chain's 1994 release Stoned & Dethroned, made another guest appearance on their album Munki, and also collaborated with the Chemical Brothers, while Roback produced and mixed two songs found on Beth Orton's 1999 album Central Reservation.

In June 2000, the band reunited for a mini-tour of Europe. Performing up to seven new songs at each of these concerts, Sandoval revealed in interviews around this time that these new songs were written and recorded for Mazzy Star's fourth studio album, which was to be released independently sometime in the future. This did not materialize, however, as later that year, Sandoval joined with Colm Ó Cíosóig (formerly of My Bloody Valentine) to form Hope Sandoval & the Warm Inventions. In October 2000, Sandoval issued her first EP with the Warm Inventions, At the Doorway Again, and followed it up with her debut full-length album, Bavarian Fruit Bread, a year later. Around this time, Sandoval also contributed vocals to several songs by other artists, notably Air and Death in Vegas.

William Cooper (born 1957), Mazzy Star's violinist and keyboardist, died of neuroendocrine cancer on March 16, 2001.

Sandoval performed as part of Bert Jansch's 60th birthday celebration at Queen Elizabeth Hall on November 3, 2003. As well as Ó Cíosóig, Jansch and his son Adam, she was also joined on stage by David Roback for renditions of "Suzanne" and "All This Remains", a song Sandoval had contributed lead vocals and wrote lyrics to for Jansch's 2002 album Edge of a Dream. This would remain Sandoval and Roback's final appearance together on-stage until 2012.

David Roback made his debut appearance as an actor in the 2004 film Clean. He also wrote and produced three songs that were performed in the film by actress Maggie Cheung.

In 2009, So Tonight That I Might See album track "Into Dust" debuted at No. 71 and stayed one week on the U.K. singles chart when it featured on a commercial for Virgin Media. Two years later, the song appeared on the "Dust to Dust" trailer for Gears of War 3 and spent a further four weeks on the chart, reaching a new peak of No. 47; while it also became the band's first song to ever place on the Irish Singles Chart, where it peaked at No. 40.

Sandoval's second album with the Warm Inventions, Through the Devil Softly, was released via Nettwerk on September 29, 2009, and was followed on August 10, 2010, by a non-album single, a cover of Syd Barrett's "Golden Hair". Also released in 2010 was her vocal contribution to Massive Attack's Heligoland, "Paradise Circus". The song spent one week on the U.K. singles chart at No. 117.

Reformation and Seasons of Your Day (2010–2014)
The first substantive confirmation that the duo would reconvene to complete work on their fourth studio album came from Sandoval herself in a July 2009 interview with Rolling Stone magazine, where she was quoted as saying, "It's true we're still together. We're almost finished [with the record]. But I have no idea what that means." Later, in a September 2009 interview with Vancouver-based music website Straight.com, interviewer John Lucas wrote of the 8-year gap between Bavarian Fruit Bread and Through the Devil Softly, "That seems like a long time until you consider that Mazzy Star, Sandoval's partnership with guitarist David Roback, hasn't put an album out since 1996. Sandoval promises that will change; she and Roback have their very own Chinese Democracy in the works, but it won't see the light of day until the Warm Inventions have wrapped up their tour."

On October 12, 2011, Hope Sandoval's official website confirmed the duo would release their first new material in 15 years later that same month. The double a-sided single "Common Burn"/"Lay Myself Down" was released digitally on October 31, 2011. A limited edition blue-coloured 7-inch vinyl was also announced for release on November 8, though a manufacturing delay resulted in its release being pushed back to January 24, 2012. Their fourth studio album was expected to be released in the latter half of 2012, following completion of a tour earlier in the year.

The band completed an 18-date Californian and European tour in 2012, their first since 2000. Performing at several major European festivals, the band consisted of original members Suki Ewers and Keith Mitchell, and were also joined by Sandoval's Warm Inventions band-mate Colm Ó Cíosóig and Keith Mitchell's son Paul, whose band the Brook Lee Catastrophe also served as the opening act of select shows. Pedal steel guitar was performed by Josh Yenne. After the final date of the tour in August 2012, David Roback stated that production on the album had completed and that it would see release "soon". In late 2012, several unreleased song titles composed by Hope Sandoval and David Roback were registered with the band's long-time publisher BMI, including "Flying Low" and "Spoon", both of which were performed multiple times on the tour. The band also launched an official merchandise store.

On July 13, 2013, the band announced details of their fourth studio album, Seasons of Your Day, which was released on September 23, 2013, in the UK, followed a day later on September 24 in the US. The album reached a career-high No. 24 on the UK albums chart. The band began a North American tour on November 3, 2013, in support of the album. On April 19, the band released two new songs as part of Record Store Day 2014. "I'm Less Here" and "Things" were released on 7-inch vinyl, with the run limited to 3,000 copies worldwide.

Renewed solo activity (2016–2017)
Hope Sandoval and the Warm Inventions released a 7-inch vinyl single titled "Isn't It True" for Record Store Day 2016. The track also features Jim Putnam of Radar Bros. A music video for the song was released on April 19, and is dedicated to Richie Lee of Acetone. The Warm Inventions' third studio album, Until the Hunter, was released on November 4 through the band's own independent record label, Tendril Tales. A second single from the album, "Let Me Get There" featuring Kurt Vile, was released on September 23. A new four-song EP from the Warm Inventions, Son of a Lady, was released on September 15, 2017.

Sandoval contributed vocals to "I Don't Mind" by Psychic Ills, which was released on March 29, 2016. Four months later, Massive Attack released "The Spoils", which was her third collaboration with the band, following "Paradise Circus" and "Four Walls". A music video starring actress Cate Blanchett was released on August 9.

Keith Mitchell, who played drums on all four Mazzy Star albums, died on May 14, 2017.

Since 2018
In June 2018, the band reunited for their first concerts in five years, performing on three consecutive nights at the Sydney Opera House as part of Vivid Live. That same month, they released the EP Still.

David Roback died on February 24, 2020, of cancer.

Current members

 * Hope Sandoval – lead vocals, acoustic guitar, harmonica, Hammond organ, percussion (1988–1997, 2012–present)
 * Suki Ewers – keyboards (1988–1997, 2012–present)
 * Colm Ó Cíosóig – guitar, bass, keyboards, drums (2012–present)
 * Josh Yenne – pedal steel guitar, guitars, drums (2012–present)

Former members

 * David Roback – guitars, keyboards, piano (1988–1997, 2012–2020; his death)
 * Keith Mitchell – drums, percussion (1988–1997, 2012–2017; his death)
 * Jill Emery – bass (1993–1996)
 * William Cooper– keyboards, violin (1988–1997; died 2001)

Former touring members

 * Kurt Elzner – guitars (1990–1993)

Discography

 * She Hangs Brightly (1990)
 * So Tonight That I Might See (1993)
 * Among My Swan (1996)
 * Seasons of Your Day (2013)

title: Mazzy Star


text:
User:Cleath

http://j9k.org

title: User:Cleath


text:
Walter Tyler

Walter Tyler may refer to:

 * Wat Tyler, 14th century British rebellion leader
 * Walter H. Tyler (1909–1990), American film art director

title: Walter Tyler


text:
Fontvieille

Fontvieille may refer to:
 * Fontvieille, Bouches-du-Rhône, a commune in the French Bouches-du-Rhône department
 * Fontvieille, Monaco, a community within Monaco consisting of land reclaimed from the Mediterranean Sea

title: Fontvieille


text:
Talk:DIN connector

Date of publication
When was the DIN connector standard first published? — Preceding unsigned comment added by 177.132.17.182 (talk) 15:52, 26 June 2016 (UTC)

DIN 45522?
The text says "DIN 45322 (5-pin and 6-pin at 60°)", but the diagram of the 6-pin at 60° is labelled "DIN 45522: 6-pin, 60°, 240°". I strongly suspect that one of these is incorrect.

Searching online for "DIN 45522" mostly just turns up images that are on Wikipedia/Wikimedia (and images which are irrelevant, like pictures of people or random objects), while an image search for "DIN 45322" turns up many pictures of 6-pin DIN connectors that look just like the diagram labelled "DIN 45522". This leads me to believe that "45522" is a typo. Without access to the actual DIN spec I am unable to verify this, however. Laurence Gonsalves (talk) 18:12, 5 July 2016 (UTC)

Why "four channels"?
''used... for interconnecting analog audio equipment, for example a stereo tape recorder to a stereo amplifier or preamplifier, using the five pins for the four signal connections plus ground. The cord used for this has a connector on each end, and the pins are connected pin for pin, that is, pin 1 to pin 1, 2 to 2, etc. Pins on male connectors are numbered (from right to left, viewed from outside of the connector, with the 5 pins upwards, and facing them): 1–4–2–5–3. Holes on female connectors are also numbered 1-4-2-5-3, but from left to right (facing the holes). A four-channel cord wired in this way is sometimes simply called a DIN cord, a DIN lead or a DIN cable.''

Wouldn't a three-pin plug be sufficient for connecting stereo equipment (left signal, right signal, plus ground)? Why does the article speak of "four signal connections" and a "four-channel cord"? Wouldn't four signals indicate quadrophonic sound rather than stereo sound? Novel compound (talk) 17:04, 4 June 2017 (UTC)

 * Recorders (tape or otherwise) use separate analogue in (record) and out (playback) connections. So stereo in and stereo out requires four signal connections. An advantage of the DIN connector is that you get this in a single connector rather than the 4 phono connectors that are otherwise commonly used. (Note that only 1 of the 24 possible ways of connecting the phono connectors is correct.) GrahamN-UK (talk) 17:18, 30 November 2017 (UTC)

External links modified
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title: Talk:DIN connector