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Wikipedia talk:Collaboration of the week/History

A listing of the to-do lists for all non-featured CotW articles is available at: Collaboration of the week/To do.

Easy way to find out statistics?
This may be a stupid question, but is there an easy way to find out the statistics (how many edits and unique editors, and file sizes)? -- ALoan (Talk) 18:10, 19 Jul 2004 (UTC)

 * Nope- there isn't. I have used manual counting of edits, but in the case of Siege, I used command line tools like uniq and sort to do it for me. File size counting is done by pasting the source into a text editor of choice and using a character count. [[User:Sverdrup|❝Sverdrup❞ ]] 23:09, 6 Aug 2004 (UTC)

Removed from page
This is my official "doh" moment. I recently learned about the phenomenon of instruction creep, and now I'm fixing the places where I'm guilty of it. (Luckily, I only made four of these faux pas.)

What I removed was: (x votes over y days) and also the note about how Renaissance and Baghdad were tied. I had added both of these factoids mainly for my personal reference, but in doing so, I had created more work for the tireless maintainers of this page. Really, the vote info doesn't tell anyone how the article improved, so I think the page is actually better without it, even discounting the instruction creep issue.

Of course, if the maintainers as a whole really want to keep the extra info, they're free to revert. (Last edit before my removal in page history: .) I'd recommend keeping this page simple and easy to update, though.

Apologies for any extra work I caused anyone through my careless edits. Now that I know about instruction creep, I'm opposed to it in all forms. • Benc • 15:19, 29 Aug 2004 (UTC)

 * It's okay. I thought those were simply 'how-to' suggestions for anyone interested in doing the same things. :-) -- PFHLai 23:19, 2004 Aug 29 (UTC)
 * I've restored the (x votes over y days) info, as they may be useful in future, perhaps when a policy change is being considered. How come the losers get better documentation (at Collaboration of the week/Removed) than the winners ?  Rather odd .... -- PFHLai 02:20, 2004 Aug 30 (UTC)

I'm glad to see that my additions were desired by the majority, after all. :-) I'm still against instruction creep, though. • Benc • 17:18, 31 Aug 2004 (UTC)

Updating
Would it be possible for someone with the appropriate know-how to update the size increases for the last month or so? Ambi 06:48, 1 Sep 2004 (UTC)

 * --bing [[User:Sverdrup|❝Sverdrup❞ ]] 09:19, 1 Sep 2004 (UTC)

 * Thanks! Ambi 09:23, 1 Sep 2004 (UTC)

Attila the Hun
Since this page seems to be the page noting the success of COTW, it seems fitting to me to note that as of 9-29-04, Attila the Hun, a former COTW candidate that did not win since it was saved from its stubbiness while being voted on became a featured article. I know it doesn't fit this page exactly, but it fits the spirit of it. - Taxman 01:44, Oct 1, 2004 (UTC)

 * Have any other failed COTW candidates become featured? Even if not, perhaps we could should a separate section for them. -- ALoan (Talk) 10:43, 1 Oct 2004 (UTC)
 * I am nearly positive that no other failed candidates have even been nominated as FAC. It is also unlikely that any other failed candidate will reach FA status soon after they are on COTW.  I think if it happened again it would be several months after failing COTW.  So I think this is unusual enough to not make a special provision for it except for noting it in the proper spot in the timeline. - Taxman 20:27, Oct 1, 2004 (UTC)

Incorrect numbers
The recent numbers do not seem to be correct. Congo Civil War is far smaller than 40,000 bytes and NAACP is not nearly 33,725. - SimonP 17:22, Oct 16, 2004 (UTC)

 * It seems User:PlasmaDragon is miscounting characters -- he added very large sizes for Space Race, which I corrected. ✏ Sverdrup 00:22, 17 Oct 2004 (UTC)

 * Sorry about the inaccurate numbers; I had used the file->properties option in my browser instead of copying the source into a text editor and doing the counting there; in retrospect, I see how my method caused an inaccurate count. I have added the numbers for ancient warfare with the right method, so they should be accurate.-PlasmaDragon 16:15, 18 Oct 2004 (UTC)

Statistics
Since the statistics (how many edits, how many contributors...) have to be done manually, I suggest a method: edits should be counted from the day they have been a collaboration of the week, to the day before the next collaboration. And also when counting contributors, Logged on users and anonymous users should be separated. I'll start soon by completing the statistics column, and corecting older ones (eg: the article Dinosaur, has had 26 edits, not 19). Regarding the article size, Could you tell me how is it done (is there another way than saving the page on your computer, and check its size?). I'll start as soon as I get some responses to this message. 500LL 14:43, 18 Mar 2005 (UTC)

 * I think the rule was to count edits and compare sizes from 18:00UTC on the Sunday when the new COTW is chosen until 18:00UTC the following week, when the new article is chosen (although you could also look at when Current-COTW was added, or when CurrentCOTW was amended, but that is likely to be off by a bit).

 * Re determining size, I asked how this was done before: the answer was that saving offline and checking the size is the only way.

 * But if you are going to fill in the statistics (please be my guest, if you have the time) then I think you should set the rules ;) -- ALoan (Talk) 16:21, 18 Mar 2005 (UTC)
 * Thanks, and by the way I thought about comparing the number of words rather than the size, by saving the page a .txt, copying the content to Microsoft Word, then click on "word count". 500LL 17:15, Mar 19, 2005 (UTC)

After editing some statistics, I realised that the number of users (editors) beside the number of edits should be deleted, first because it is not relevant, and second because it takes a lot of time. So what do you think? 500LL 22:04, Mar 19, 2005 (UTC)

reasons
I've bin sniffin around, and wondered if theres a page around here which gives the reason for the nominations for the pages that got COTW status? the COTW/Removed has it for the not-so-lucky ones, and i'm curious to know who is the most prolific COTW nominator (i.e. who has nominated the most articles that have got to COTW status?) --Thewayforward 09:15, 7 Apr 2005 (UTC)


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USS Heermann

USS Heermann (DD-532) was a World War II-era Fletcher-class destroyer in the service of the United States Navy. The ship entered service in 1943 and took part in several battles during World War II in the Pacific theatre of operations, including the Philippines campaign, Battle off Samar and the Battle of Iwo Jima among others. Heermann gained fame during the "last stand of the Tin Can Sailors" in which she and several other destroyers of Task Unit 77.4.3 ("Taffy 3") engaged a far superior Japanese task force during the Battle off Samar in October 1944. Heermann was the only American destroyer of "Taffy 3" to survive the engagement. Following the end of the war in 1945, the ship was placed in reserve from 1946 to 1951, when the destroyer was reactivated. Heermann remained in active service until 1957, when the ship was returned to the reserve. In 1961, Heerman was loaned to Argentina and was renamed ARA Almirante Brown (D-20) while in service with the Argentinian Navy. Almirante Brown remained in Argentinian service until 1982, when the ship was decommissioned.

Namesake
Lewis Heermann was born on 3 August 1779 in Kassel, Germany. He was commissioned as a Surgeon's Mate in the United States Navy on 8 February 1802. On 16 February 1804, during the First Barbary War, Lieutenant Stephen Decatur left Heermann in command of the bomb ketch USS Intrepid (1798) while he led a group of American seamen to board the captured frigate USS Philadelphia (1799) in Tripoli Harbor and set the frigate ablaze.

When hostilities with the Barbary States closed in 1805, Heermann returned to the United States but soon took leave of absence to study in Europe until 1808 when he returned to active duty in Norfolk, Virginia. Largely due to his pleas for better medical care for the men of the Navy, Congress passed a bill authorizing the construction of hospitals at several naval stations, but the first official U.S. Naval Hospitals were not actually built until after Dr. Heermann's death.

He was transferred to New Orleans, Louisiana in August 1811; and, with the exception of a year in the North for his health and an assignment in 1830 in the Mediterranean where he served for an unknown time as Fleet Surgeon of the Mediterranean Squadron, he remained there until he died in May 1833.

Description and design
The Fletcher-class design departed from US destroyer design, having a larger displacement than previous classes and more extensive armament. The flush deck added to the strength, but the number of systems aboard the ship led to a cramped design. Heermann was among the Fletcher-class ships that got a new bridge design. The standard Fletcher-class ship had a standard displacement of 2325 LT and was 2942 LT at full load. The destroyers were 376 ft long overall and 369 ft long at the waterline with a beam of 39 ft and a draft of 13 ft at full load.

The Fletcher class were powered by steam from four Babcock & Wilcox boilers driving two General Electric turbines turning two shafts rated at 60000 shp. The destroyers carried 492 LT of fuel oil. The ships had a maximum speed of 38 kn and a range of 6500 nmi at 15 kn. The ships had a complement of 273 officers and enlisted personnel.

The class were initially armed with five 5 in/38 caliber guns in Mk30 dual-purpose turrets for anti-aircraft and surface warfare, aligned along the centreline. Ten 21 in torpedo tubes were also equipped. Four single-mounted 1.1 in guns and four 20 mm cannon were equipped for anti-aircraft (AA) defense. For anti-submarine defense, six depth charge throwers and two depth charge racks were installed. Later, three twin-mounted 40 mm guns and the number of 20 mm cannon increased to eleven on Heermann. This would later change again to five twin 40 mm gun mounts and seven 20 mm cannon. The destroyers also had some armor, with 0.75 in side armor and 0.5 in armor on the decks over the machinery.

Service history
Heermann was launched on 5 December 1942 by the Bethlehem Shipbuilding Co. of San Francisco, California and sponsored by Mrs. Edward B. Briggs, wife of Lieutenant E. B. Briggs, USCGR, great grandson of the namesake. The destroyer was commissioned on 6 July 1943.

After shakedown training out of San Diego, California, Heermann joined the 5th Fleet on 21 October 1943 for Operation Galvanic, the assault on the Gilbert Islands. She arrived off Tarawa in Rear Admiral Harry W. Hill's Southern Attack Force on 20 November. Her guns sank a small enemy craft inside the lagoon and the next two days assisted troops ashore with close-in fire support. With the island secured, she returned to Pearl Harbor for repairs and training which ended on 23 January when she sailed in the screen of an attack transport reserve force. After the American assault on Kwajalein on 31 January Heermann spent two weeks patrolling off the island and operated in the screen of escort carriers which were launching strikes in support of troops ashore, followed up by a visit to Eniwetok Atoll and then bombardment duties of Japan and Parry Island. Following the invasion, the destroyer performed fire support and patrol operations off the atoll during mop-up operations.

Heermann was then assigned to the Third Fleet and Task Force 39 on 18 March 1944 after stopping at Majuro Lagoon and then Port Purvis on Florida Island, in the Solomons. For the next month the destroyer escorted convoys which were occupying Emirau Island and seeking out enemy supply barges along the coast of New Hanover. Following a stop at Purvis on 3 June, Heermann took part in the bombardment of a tank farm on Fangelawa Bay, New Ireland on 11 June, and then performed ASW patrols from the Solomons towards the Admiralty, Caroline, and Marshall islands until 26 June. In mid-1944, Heermann escorted merchant shipping from Espiritu Santo, New Hebrides and Nouméa, New Caledonia. The destroyer returned to Port Purvis and departed on 6 September 1944 with Rear Admiral William Sample's escort carrier force, providing escort during the invasion of the Palau Islands. Following this, the destroyer was detached for operations in the Philippine Islands.

Battle off Samar: October 1944
Heermann screened transports and landing ships to the beaches of Leyte under the command of recently promoted Commander Amos T. Hathaway, then joined Rear Admiral Thomas L. Sprague's Escort Carrier Group (Task Group 77.4) which was made up of three escort carrier task units, known as the "Three Taffies" because of their voice calls: "Taffy 1", "Taffy 2", and "Taffy 3". Destroyers USS Hoel (DD-533) and USS Johnston (DD-557) joined her in screening Rear Admiral Clifton Sprague's unit, "Taffy 3" which also included his flagship USS Fanshaw Bay (CVE-70) and five other escort carriers.

On 25 October 1944 found the task group east of Samar steaming north as the Northern Air Support Group. At 06:45 lookouts observed anti-aircraft fire to the north and within three minutes, were under heavy fire from Japanese Admiral Takeo Kurita's Center Force of four battleships, six heavy cruisers, two light cruisers, and 11 destroyers. In an effort to withdraw away to the south from Kurita's force, the escorts began to make smoke screens to mask the movement of the larger ships. Heermann, on the opposite side of the carriers from the Japanese force at the opening of the battle, steamed into the action at flank speed through the escort carriers which, after launching their planes, formed a rough circle as they made for Leyte Gulf. Smoke and intermittent rain squalls reduced visibility to less than 100 yd which led to near collisions, with Heermann forced to avoid the destroyer escort USS Samuel B. Roberts (DE-413) and destroyer Hoel.

As the escorts began torpedo runs at the Japanese force, Heermann began firing her 5-inch guns at one heavy cruiser, JAPANESE CRUISER Chikuma, while directing torpedoes at JAPANESE CRUISER Haguro. Heermann then changed course to engage a column of four battleships whose shells began falling around the destroyer. Heermann targeted JAPANESE BATTLESHIP Kongō, the column's leader, at which the destroyer launched three torpedoes. Then Heermann switched targets to JAPANESE BATTLESHIP Haruna, and fired three torpedoes, which were launched from only 4400 yd. The destroyer retreated after believing one of the torpedoes had struck a target. Japanese records claim that the battleship successfully evaded all of the torpedoes from Heermann, but they were slowed in their pursuit of the American carriers. The battleship JAPANESE BATTLESHIP Yamato was forced out of the action altogether after reversing course when caught between two spreads.

Heermann laid another smoke screen along the starboard quarter of the carrier formation and then returned to engage the Japanese force of four heavy cruisers. Here the destroyer dueled with Chikuma. A series of 8 in hits stuck the forward section of the destroyer, flooding it and pulling the bow down so far that the anchors were dragging in the water. One of the 5-inch guns was put out of action but in conjunction with strikes from the carrier aircraft forced Chikuma to withdraw, and the Japanese cruiser sank during her retreat. Chikuma's sister ship JAPANESE CRUISER Tone took up her sister's battle and engaged Heermann until the destroyer withdrew to lay more smoke. At this point, support from "Taffy 2" arrived to aid the escorts and aircraft attacked Tone forcing the cruiser to withdraw. As more support arrived, the Japanese withdrew. For his skillful maneuvering and leadership Heermann's Commanding Officer, Commander Amos Hathaway, was awarded the Navy Cross.

Repairs and return to service
Heermann sailed to Kossol Passage for temporary repairs before making for Mare Island and overhaul, which was completed on 15 January 1945. The destroyer was then assigned to fast carrier task forces in the western Pacific. During the Battle of Iwo Jima, Heermann performed radar and anti-submarine picket duty. On 20 March 1945 the destroyer sank a small surface vessel and rescued seven Japanese crew. Seven days later she took part in the night bombardment of Minami Daito Jima. During the Okinawa campaign she took several enemy planes under fire as she guarded carriers. On 18 April in collaboration with destroyers USS Mertz (DD-691), USS McCord (DD-534), USS Collett (DD-730), and USS Uhlmann (DD-687) and planes from aircraft carrier USS Bataan (CVL-29), Heermann sank JSUB I-56 (1944), a carrier of the kaitens—human-guided torpedoes. She continued to support carrier operations off Okinawa until sailing to Leyte Gulf for replenishment and repairs in late June. On 1 July she helped to screen the fast carrier force that devoted the ensuing five weeks to almost continuous air strikes and bombardment.

On 15 August 1945 Heermann was on radar picket station some 200 mi southeast of Tokyo when, several hours after the announcement of the end of hostilities, a kamikaze emerged from a cloud bank and began to dive in Heermann's direction—only to be splashed by the destroyer's gunners in one of the final naval actions of World War II. In the following weeks Heermann operated in the screen of the fast carrier task force providing air cover and air-sea rescue service. The destroyer entered Tokyo Bay on 16 September 1945 and remained in the area to support the occupation forces until 7 October when she sailed for the United States. Heermann was decommissioned at San Diego on 12 June 1946.

1951–1957
Heermann remained in reserve at San Diego until re-commissioning on 12 September 1951. After training in local waters off California, she departed San Diego on 4 January 1952 for her new base, NS Newport, Rhode Island, where she arrived on 23 January. She spent 1952 training along the eastern coast from New England to the Virginia Capes, followed by ASW and fleet problems during winter months in the Caribbean. The destroyer returned to Newport for operations along the Northeastern seaboard. After a voyage to Plymouth, England, in June and July 1953, she participated in antisubmarine maneuvers between Newport and the Virginia Capes. Heermann departed on a world cruise 3 December 1953. First she sailed for Yokosuka, Japan, by way of the Panama Canal, San Diego, and the Hawaiian Islands. After a two-day replenishment in Yokosuka, she set course for Okinawa where she acted as part of the escort for 3d Marine Division amphibious warfare landings and conducted barrier patrol in support of the exercise. After more maneuvers took her to Korea, Iwo Jima, and the South Coast of Japan, she returned to Yokosuka which she cleared 22 May 1954 to resume her world cruise, calling at Hong Kong and Singapore on her way to the Suez Canal. In the Mediterranean she visited Port Said, Naples, Villefranche, and Barcelona before returning to Newport 17 July 1954.

For the next year and a half Heermann participated in training exercises along the Atlantic coast. On 1 February she sailed to join the 6th Fleet in exercises along the coast of Lebanon, Israel, and Egypt. In April she was invited by Prince Rainier to be in port for his wedding to Miss Grace Kelly from 19–24 April 1956. Heermann furnished a 40-man honor guard for the occasion. From Monaco she joined the 6th Fleet off Greece, and then departed for Fall River, Massachusetts, where she arrived 28 May 1956. Heermann operated out of Newport until 6 November, when she sailed for the Mediterranean where she proved to be a first-rate antisubmarine ship in joint exercises with the Italian Navy.

After revisiting Monaco at the invitation of Prince Rainier and Princess Grace, she returned to Fall River 20 February 1957. She served as gunnery school-ship out of Newport until 30 June when she joined USS Charles J. Badger (DD-657) in the screen of antisubmarine warfare carrier USS Leyte (CV-32) for two weeks of air operations for the training of Naval Academy midshipmen. She decommissioned at Boston 20 December 1957 and was assigned to the Boston Group of the U.S. Atlantic Reserve Fleet.

Argentine service
On 10 August 1961, the ship was commissioned into the Argentine Navy. On 14 August 1961 Heermann was formally transferred on a loan basis to the government of Argentina under terms of the Military Assistance Program. She served in the Argentine Navy under the name Brown (D-20). The ship was decommissioned in 1982.

Awards
In addition to the United States Presidential Unit Citation, Heermann received the Philippine Presidential Unit Citation and nine battle stars for World War II service.

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

title: USS Heermann


text:
Talk:Internet democracy/Archive 2

Ok. Here we go.

If you look carefully these links you obtained, you can easily notice this term you are talking about is already defined as e-democracy. Actually, this is not a term, but two lousily related words, such as "clearly defined". You can notice internet democracy you define, is not a concept at all.

Some relate interent democracy to regulatives on the internet, some relate e-democracy projects under internet democracy etc. Steve, you can notice that you never use this term on your site, nor anywhere else. That is understandable, because it is e-democracywhat you are talking about.

What I want to say is that term you are forcing here is just a lame and it does not have place in wikipedia. In the other hand, concept of the new political order, based on opennes and transparency is clearly described as concept and it can be placed in wikipedia.

Especially if we know that this concept is being used by many mambers, especially on the CICDD list. It is not only me, or people around me who use this clearly defined concept. What I can also notice is that internet democracy I am talking about is better defined than any other political concept, such as democracy, direct democracy etc.

All in all, lets sublime:

1. What you are talking about is not a concept and does nto have place in encyclopedia 2. What I am talking about is clearly defined concept that is being used around

So. Stop you ego bullshit and let this concecpt become a part of the wikipedia. We live in too dynamic information interface to make some concept known by everybody, which is actually impossible if you do not let it be accepted and placed by things like this one is.

Now, I am removing the old part, even it is collorfull and well designed. But accept it. It is completelly empty thing. Though, being that formal, you can make internet democracy true concept become that beatufull if you help out for difference.
 * It's all simple. You can rename your concept to a term not already in use.  Further, you can stop your vandalism here before you are banned. -- Stevietheman 13:01, 21 Jun 2004 (UTC)

No! This term is not used! Internet democracy as a concept did not exist before we developed it. Face it, you little man.

PS. I can be banned, but your karma wont be able to handle it. Ever.
 * Your position is abject nonsense. -- Stevietheman 13:13, 21 Jun 2004 (UTC)

For wider public. Write in the google search engine internet democracy. You will get EVERYTHING imaginable. What you can notice is that you wont notice any concept coined to these two words.

So, if internet democracy is going to exist on this site, it has to be some concept. In contrary it makes no any sense.

One more important thing. Me, being a democrat did let to Stevie to has his definition of internet democracy even I do not find it be satisfactory for this encyclopedia, but he continued to delete this under the color of many lousy arguments.

So, Steve, write down what are these arguments for deleting one concept and leaving something that insults sommon sense. I wont enter your motives anymore, even I do find your negative approach be very harmful for this idea, for my time, but what is the most important for you, is for the fact that you are building up too big shit, that you wont be able to swallow.

What I do encourage is to delete this concept from encyclopedia, if there is no common interest to share this brand new concept. Keeping the empty shall, newspeech is supported, which is even more dangerous, than having nothing.

But. I am really dissapointed in the fact there are no users who understand the importance of keeping this new concept on this place.

Looking for the brighter future.

Did anybody actually read the whole history around establishment of the new concept in wikipedia? Does anybody find it sick that the person who was strictly against introduction of the new concept is now fighting for this empty phrase? I do. And what is more important is that I find on this place to many jerks that I wonder what is your problem? Why cant you accept that there are people who understand some things better than you?

This reminds me on the fact that over 4 000 000 of the books "Find the genious in yourself" are sold, just because people can ignore the fact they are not so smart. In the other hand, people can not ignore the fact thay can not play football good, because it is too obvious.

But please, dont you have any decency to do something that makes sense instead of stoping people who have something to say? You idiots.
 * It was already explained to you (ad nauseum) that the Wikipedia is expressly _not_ for the establishment of new concepts, nor for the advertising of same. Since nobody has agreed with your position, it's now time to accept that and move on. -- Stevietheman 16:38, 29 Jun 2004 (UTC)

It is really pretty new concept. But what are you talking about is no concept at all. Deal with it and buzz off.

BTW, these are the links you are adressing to:

 * 1) CitizenSpace/UKonline (http://www.ukonline.gov.uk/CitizenSpace/CitizenSpace/fs/en) -- Citizens shape government policy by taking part in online consultations.

Not a one mentioning of internet democracy.
 * Online consultations are a form of e-democracy using the Internet (that is, Internet democracy). -- Stevietheman 13:35, 30 Jun 2004 (UTC)

 * 1) Democracy 2.0 (http://www.democracy2.org) -- A nonprofit organization dedicated to promoting and effecting Pervasive Democracy and direct, nonpartisan resolution of community issues in U.S. states/territories and localities.

You never dealed with this concept before. You even insisted to remove this concept as this is concept already part of e-democracy, you idiot.

 * See the definition of "Pervasive Democracy" on this page. Note that I haven't created a Wikipedia article for my coined concept.  So why do you insist on doing that for yours? -- Stevietheman 13:35, 30 Jun 2004 (UTC)

 * 1) ICANN at Large Member Signup (http://www.icannatlarge.com/) -- Individual participation in the governance of the Internet.

Not a one mentioning of the concept of internet democracy.
 * The title strongly suggests a commonly known use of the term "Internet democracy", which is Internet users deciding how the Internet is governed. -- Stevietheman 13:35, 30 Jun 2004 (UTC)

 * 1) International E-Democracy Meetup Day (http://edemocracy.meetup.com/)

e-democracy. Not internet democracy, again.
 * Internet democracy is a derivative of e-democracy... in fact, its most common derivative. -- Stevietheman 13:35, 30 Jun 2004 (UTC)

 * 1) Internet Democracy Project

Wow. Internet democracy is mentioned. But not as a concept.
 * The Wikipedia's purpose is _not_ to establish new concepts. The use of "Internet democracy" on this page is a commonly known use of the term. -- Stevietheman 13:35, 30 Jun 2004 (UTC)

So, These are the facts. You are standing for something that only your vanity insist to be, just because you can not let to one Gale to put the new concept to the wikipedia.

But I am doing that. And I am doing that just because this what I mentioned is getting to the use more and more. If your ego was not so hurted, you would notice that on the list you participate and in the same time, you could notice that when you make a google search.

You idiot I trully despise.
 * It's interesting that one committed to democracy as you supposedly are cannot accept the will of the vast majority to your minority of 1. If you really accept democratic values, you will move on and find another way to promote your special unencyclopedic concept. -- Stevietheman 17:37, 29 Jun 2004 (UTC)

If we use cheap political concepts that are available to your mental setting, I have to remind you that democracy is based on the protection of the minorities rights.
 * The right to add unencyclopedic content that breaks the established rules of the Wikipedia? Surely you jest. I really don't understand why you insist on acting so irrationally. A rational person realizes that he cannot win all battles in life. Move on. -- Stevietheman 18:32, 29 Jun 2004 (UTC)

Wikipedia has to be in line with time. If it does not follow that rule, it will become irrelevant. People can and have to have the approach to the new concepts even they are not known in a number of billions. This is an information age and you can not be an obstacle between taht new information and the consumer of that information. Especially not in a manner of introducing of non existing concepts.

One more thing. Search the google, ask the leading world list for this issue what is Internet democracy? The answer might actually suprise you.

title: Talk:Internet democracy/Archive 2


text:
Talk:Short form cricket

Twenty/20 and bowler restrictions
I made an edit the other day that was subesequently reverted, concerning the restricting of bowlers to four overs each. I removed it from the "changes to the laws" section.

Having just looked at the copy of the laws maintained on the MCC website, then the claim is correct in a way: the laws of cricket does mention limited-over cricket, but it doesn't mention restricting bowlers in any way.

However, I'm standing by the intent of what I did: I removed it because, while the restriction of bowlers is commonplace in any competitive limited-overs match, it is *not* a defining feature of Twenty/20 cricket: indeed, any competitive limited-overs game I've ever come across has been played with a restriction on the number of bowlers, in order to force teams to use at least five bowlers during a match. This formula means that a competitive 20-over match will limit the bowlers to four overs each, because 4 x 5 = 20.

In my view, therefore, mentioning the four-over restriction in the "changes from the laws" section on the Twenty/20 suggests (especially to people who are unfamiliar with cricket) that it is the only 20-over competition in which the bowlers are restricted to four overs each, instead of it being the recognised standard.

Hig Hertenfleurst 18:12, 19 Jul 2004 (UTC)

 * Firstly, sorry for reverting your change so aggressively - I should have dropped a note here. To respond: The section is quite clearly labelled as changes from the standard Laws of Cricket, and any restriction on the number of overs allowed to each bowler is such a change. The sections for Cricket Max and Sixes Cricket both also list explicitly the number of overs allowed to each bowler as a change from the Laws. To not list this detail would either deny the reader the knowledge that bowling is restricted in this way or (if the reader knows about) imply that it is part of the Laws of Cricket. Also, Pro Cricket does not follow the same restrictions - it uses a 20 over format with bowlers restricted to a maximum of 5 overs each, not 4 - so it cannot be said that all limited overs cricket uses a formula requiring 5 bowlers.

 * I think it may be a good idea to include in the introductory section a blanket statement saying that normally overs are restricted in some way. I'll have a go at adding this - please see what you think. --dmmaus 22:06, 19 Jul 2004 (UTC)

It's a wonderful little semantical question, isn't it? The trouble (as I see it) with talking about over limits in general in short form cricket is that the limitation is not specific to short-form cricket, and that its natural home is in one-day cricket (I did add a brief sentence to this article to a while ago).

I've just had a great idea. I'll go back and lob something more substantial in one-day cricket that mentions the unusual limits in Pro Cricket. You take the bit about over limits back out of here, and modify the sentence in the Twenty/20 section to something like "bowlers are limited to 4 overs, which is the general standard for 20 over cricket, for more information on bowler limits see one-day cricket." Or possibly putting the "for more information about bowler limits" in the bit about Pro Cricket, mentioning it alongside the unusual rule. Maybe in both. Whichever looks better.

This removes the nagging feeling that the bit in short form cricket about over limits is out of place, while keeping the reference in the 20/20 section. Thoughts? Hig Hertenfleurst 23:53, 19 Jul 2004 (UTC)

 * Sounds workable to me. If you want to go ahead and do all this, please do. I'm just as happy leaving it how it is, really, and a bit busy, so I probably won't do it myself. --dmmaus 00:16, 20 Jul 2004 (UTC)

Cricket Max
It is actually a very short form of 2-innings a side cricket (i.e. 3, 4, or Test 5-day)

India & Dhoni
Why is Mahendra Singh Dhoni specifically mentioned as winning captain of India for 20/20 2007? No other captains appear for any of the other matches and it just seems a bit too... fan like. ClamsonJ (talk) 12:42, 26 June 2008 (UTC)

Super 8s
I'm very surprised not to see Super 8s mentioned here. Super 8s was a format devised by Greg Chappell in 1996. That year saw two midyear tournaments: an international tournament in Malaysia (held in one weekend), and a state competition held in Cairns, Townsville and Brisbane. Three international tournaments were held: Australia A won in 1996 and 1997, and New Zealand won in 1998.

Changes to the rules: 8 players per team. 14 overs per innings. 2 players bowl 3 overs, 3 players bowl 2, 2 players bowl 1, wicket keeper doesn't bowl. Batsmen were required to retire upon reaching 50, but were permitted to resume if wickets were in hand (as per Hong Kong Sixes). The last man batted on as per Sixes too. Fielding restrictions were in place for the first 6 overs, and bowlers were limited to 15m runups maximum. And balls hit over the boundary were worth 8 runs instead of 6.

I guess the trouble is finding source material to verify this... surely I'm not the only person to remember the format. Bricks J. Winzer (talk) 00:22, 19 December 2012 (UTC)
 * I have added the super 8s section now that more information about it exists on the web. NJM2010 (talk) 04:55, 30 December 2022 (UTC)

About "Last Mans Stands"
Hi all, This is apparently a short form of cricket established in 2005. This comment copies text not currently included in the article. In previous edits to the article it was asserted that it was "a profit making organisation who raise money by charging fees to teams to register to play a game similar to cricket" and that it was " the widest reaching amateur cricket league in the world, bringing together like minded individuals from all walks of life, countries, religions, and races, to enjoy this wonderful format of cricket". It would appear to me that no mention of this purported form of cricket at all should be included in the article. My rationale is: Your thoughts about this? Pete "worst right-arm leg-spinner that has ever liveth" AU aka --Shirt58 (talk) 11:17, 11 August 2016 (UTC)
 * that "Last Mans Stands" is at best a trivial short form of cricket, with no references to support its inclusion in the article
 * that if "Last Mans Stands" is at best a trivial short form of cricket, with no references to support its inclusion in the article, then there is no reason to include criticism of it in the article.
 * The whole article is unsourced, and has been so for years. -Roxy the dog™ bark 11:22, 11 August 2016 (UTC)
 * Indeed. Most of the other content is harmless and generally accurate, if largely unreferenced. "Last man stands" is as you say an extremely trivial short form of cricket invented by a profit making operation as a means of monetising casual cricket. It is not really very successful and is certainly not notable enough to be included in Wikipedia. It has frequently been listed here in the past, apparently mainly as a desperate attempt at marketing the product. Cricket Max, as a defunct version of the game, is not really notable either. 6-aside cricket and evening cricket are popular enough to remain notable.

 * TBH I'm not sure we really need this article at all, as most of it could be transferred to the relevant section of Forms of cricket.

Evening cricket
This section is far too specific. Evening cricket has been played for many decades in England, at least 50 years, probably more. It is generally a variation of T20, but there are many different varieties. Some are 15 8 balls over, some twenty overs. Some have fielding restrictions, some don't. Some oblige a batsman to retire after 25 runs, some don't. The article implies there is a universally agreed and implemented code, that is not the case. I suspect, whoever wrote this, only knows one league. John Price (talk) 10:24, 9 June 2022 (UTC)

title: Talk:Short form cricket


text:
Coginchaug River

The Coginchaug River in Connecticut, with a watershed including 39 sq mi of forests, pastures, farmland, industrial, and commercial areas, is the main tributary of the Mattabesset River. It is 16.1 mi long, and the river flows northwards from a point approximately 1.8 mi south of the Durham line in Guilford, Connecticut, into Durham and then Middlefield, meeting the Mattabesset in Middletown, about 0.8 mi upstream of the Connecticut River. The name "Coginchaug" comes from a local Native American name for the Durham area and it was the original name for the town. It has been said to mean "The Great Swamp", and is a reference to the meadows found in the central part of town.

In 2006, the Coginchaug was among Connecticut's 85 waterways cited to be of "lower quality", in view of the elevated levels of bacteria, including E. coli. Currently, efforts are being made by the Natural Resources Conservation Service of the United States Department of Agriculture to reduce the number of bacteria introduced into the river from untreated sewage, sanitary sewer overflow, agricultural runoff, leaking septic tanks, etc.

Canoeing
The river has become a popular canoeing route. In 2006, it was considered safe for canoeing, though it is not safe for in-water activities like swimming. Flowing from Myer Huber Pond, it runs slowly through thick swamps which stretch over 3 mi and are likely to be impassable except immediately after heavy rains. The main paddling route starts at Route 147 and continues downstream, north, through additional slow-moving waters and a swamp. There are many portages, including those at six dams and at Wadsworth Falls, the only major waterfall. Class II whitewater is possible before it flows into the tidal marsh of the Mattabesset River.

title: Coginchaug River


text:
Talk:Muramasa

Untitled
I've heard of another legend involving a Muramasa being thrust into the river to test it's sharpness. While it was probably not uncommon for other blades to be tested by cutting leaves (considering two diffrent time periods, Muramasa and Masamune are compared), it was said that when the leaves were sliced normally by a sword they would continue in whichever path they were going, where as when a leaf was cut in half by the blade of a Muramasa, it was said to begin circling the blade, almost like a surrounding aura, as though the blade itself was posessed. This led to many diffrent works and stories of cursed blades and the such. Has anyone else heard this legend?

 * Yeah, I heard that legend. In Samurai Deeper Kyo.  Unless you can find some source showing that the legend didn't come from there, I'd suggest that the section about the Muramasa being thrust into a stream but deleted from the article.

 * Although I don't know about leaves circling the blade, don't delete anything about his sword being tested by being thrust into a river. The full version of the legend is on the Masamune page. JDub90 16:19, 18 April 2007 (UTC)

muramasa sword
there is a manga call "kyo samurai deeper"drawn by akimine Kamijyo,the hero is a evil one with a 150cm long Muramasa and when he get it out of is scabbard he get crazy about spending blood..

On a side note, I've deleted the error concerning "Murasame" being a misspelling of "Muramasa." Murasame is a seperate and distinct sword... see the article for Nansō Satomi Hakkenden.

NetHack
NetHack features an artifact weapon called the Tsurugi of Muramasa. In the game, it is like the vorpal sword's big brother. Instead of merely beheading creatures, it bisects them completely. It may be the Samurai's quest artifact; I cannot recall.

What an incredibly poorly written article, I'm gonna fix a bit, someone please find references for Ieyasu not liking the blades or else it goes. There, I put the part about the person at the start, introducing it, someone unfamiliar with Jap sword smithing might not know that they had schools of study for them. I cut out some of the Trivia, it said in two spots that video games had Murasama references, and the fact that in Tales of Symphonia it has no drawback is hardly noteworthy for this article, it does merely say often, Tales is not the one example in all the world off it having no drawback and that fact says nothing relevent about a Murasama sword. I also put the only authentic legend about a Murasama blade in a river I know, Samurai Deeper Kyo is hardly a credible reference. If refences show up for the leaves sticking to the blade or whatever feel free to put back. I'm not certain if we want to put in that the legend of the two blades is supposed to be a reflection on the two eras, Masamune's being relatively peaceful and Murasama's being very warlike (the Sengoku, warring states period).

Tachibana Ryukisai
Doing a search on this samurai, I find very few references aside from this Wikipedia article. I'm going to delete this unreferenced piece of information (that this man is the only samurai to wield a Muramasa blade without being cursed, according to legend). -Atamasama 19:10, 17 July 2007 (UTC)

Needs more sources
This article consists of legend and myth, when it should be about a historical figure. Compare with the article on Miyamoto Musashi. More historical/biographical sources need to be found. —Preceding unsigned comment added by 161.28.175.4 (talk) 03:25, 31 October 2007 (UTC)

 * Yeah I agree. I am really looking for more historical information about him and not just legendary stuff.

 * I totally agree. As it stands now, it looks like something wrote by a 15 year old anime fanatic, it's awful. — Preceding unsigned comment added by 93.58.137.48 (talk) 21:06, 7 April 2013 (UTC)

Removed the trivia section
Almost a year ago I tagged the "References to" section as being trivia. At the time all that was in there was a mention of a Sharp Electronics product with the name. Since then the section only grew, with irrelevant mentions of video game items and comic book appearances of the name. That is not what Wikipedia is for, see WP:HTRIVIA. Not to mention that there was not a single reference for any of the trivia added. Please restrict your contributions to expanding information about the historical figure, and feel free to include notable examples of his legacy that are backed up with a reliable source. Not a mention that you can get a sword called "Muramasa" in a Final Fantasy video game. --  At am a chat 19:56, 22 January 2009 (UTC)

 * I agree, Wiki's policy for "popular culture / trivia" information is to not just list any appearances, but to state notable mentions and also how the appearance / subject impacted popular culture.24.190.34.219 (talk) 00:03, 6 September 2009 (UTC)

Legend involving Tokugawa Ieyasu
I found a reference to one of the instances in which Tokugawa Ieyasu ran afoul of a Muramasa blade: a book of mine states he accidentally cut himself on one of his soldier's blades while inspecting it. This was at the battle of Sekigahara. The book doesn't say he forbade their use, but rather "he believed them unlucky for use within his family." Warner, Gordon and Donn Draeger (1991). Japanese Swordsmanship: Technique and Practice. Weatherhill Inc. p. 18. ISBN 0-8348-0236-8. — Preceding unsigned comment added by 173.60.47.106 (talk) 04:25, 5 March 2012 (UTC)

title: Talk:Muramasa


text: Category:Lincoln County, Minnesota

title: Category:Lincoln County, Minnesota


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Jules Chéret

Jules Chéret (31 May 1836 – 23 September 1932) was a French painter and lithographer who became a master of Belle Époque poster art. He has been called the father of the modern poster.

Early life and career
Born in Paris to a poor but creative family of artisans, Chéret had a very limited education. At age thirteen, he began a three-year apprenticeship with a lithographer and then his interest in painting led him to take an art course at the École Nationale de Dessin. Like most other fledgling artists, Chéret studied the techniques of various artists, past and present, by visiting Paris museums.

From 1859 to 1866, he was trained in lithography in London, England, where he was strongly influenced by the British approach to poster design and printing. On returning to France, Chéret created vivid poster ads for the cabarets, music halls, and theaters such as the Eldorado, the Olympia, the Folies Bergère, Théâtre de l'Opéra, the Alcazar d'Été and the Moulin Rouge. He created posters and illustrations for the satirical weekly Le Courrier français.

According to the poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, Chéret, along with the brothers Léon and Alfred Choubrac, was among the pioneers of the illustrated poster. In the early 1870s, Chéret and the Choubrac brothers reduced the cost of colour lithography introducing technical advances.

Growing popularity
His works were influenced by the scenes of frivolity depicted in the works of Rococo artists such as Jean-Honoré Fragonard and Antoine Watteau. So much in demand was he, that he expanded his business to providing advertisements for the plays of touring troupes, municipal festivals, and then for beverages and liquors, perfumes, soaps, cosmetics and pharmaceutical products. Eventually he became a major advertising force, adding the railroad companies and a number of manufacturing businesses to his client list.

As his work became more popular and his large posters displaying modestly free-spirited women found a larger audience, pundits began calling him the "father of the women's liberation." Women then had previously been depicted in art as prostitutes or puritans. The women of Chéret's posters, joyous, elegant and lively—'Cherettes', as they were popularly called—were neither. It was freeing for the women of Paris, and heralded a noticeably more open atmosphere in Paris where women were able to engage in formerly taboo activities, such as wearing low-cut bodices and smoking in public. These 'Cherettes' were widely seen and recognised, and a writer of the time said "It is difficult to conceive of Paris without its 'Cheréts' (sic)."

In 1895, Chéret created the Maîtres de l'Affiche collection, a significant art publication of smaller sized reproductions featuring the best works of ninety-seven Parisian artists. His success inspired an industry that saw the emergence of a new generation of poster designers and painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his students was Georges de Feure.

In his old age Chéret retired to the pleasant climate of the French Riviera at Nice. He died in 1932 at the age of ninety-six and was interred in the Cimetière Saint-Vincent in the Montmartre quarter of Paris.

Legacy
He was awarded the Légion d'honneur by the French Government in 1890 for his outstanding contributions to the graphic arts. Although his paintings earned him a certain respect, it was his work creating advertising posters, taken on just to pay his bills but eventually his dedication, for which he is remembered today. The award was given to him for creating an art form that meets the needs of Commerce and industry. Edmond de Goncourt recognized Chéret as "the first painter of the Paris wall, the inventor of the art in the poster" when he toasted the artist at the banquet held in his honor.

In 1933 he was honoured with a posthumous exhibition of his work at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters became much sought after by collectors from around the world.

title: Jules Chéret


text:
User talk:Ratonyi~enwiki

Hello! I am hungarian.

User catagorization
You were listed in the Wikipedians/Hungary page as living in or being associated with Hungary. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in Hungary for instructions. JesseW 22:17, 8 August 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ratonyi. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ratonyi~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:18, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 17:58, 22 April 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:50, 23 November 2015 (UTC)

title: User talk:Ratonyi~enwiki


text:
Greaser (subculture)

Greasers are a youth subculture that emerged in the 1950s and early 1960s from predominantly working class and lower-class teenagers and young adults in the United States and Canada. The subculture remained prominent into the mid-1960s and was particularly embraced by certain ethnic groups in urban areas, particularly Italian Americans and Hispanic Americans.

Etymology
The etymology for the term greaser is unknown. By the time of the Civil War, the words "greaser" and "greaseball" were understood to carry racist and segregationist meanings. It is speculated that the word originated in the late 19th century in the United States as a derogatory label for poor laborers, specifically those of Italian, Greek or Mexican descent. The similar term "greaseball" is a slur for individuals of Italian or Greek descent, though to a lesser extent it has also been used more generally to refer to all Mediterranean, Latino, or Hispanic people.

Academic Jennifer Grayer Moore wrote in her book Street Style in America that the term was not used in writing to refer to the American subculture of the mid-20th century until the mid-1960s, though in this sense it still evoked a pejorative ethnic connotation and a relation to machine work. According to academic George J. Leonard, the term "greaser" was coined by, Sha Na Na conceptor, George Leonard in 1967, after hearing Gilbert Highet read Edgar Allan Poe's poem "To Helen" and focusing on the line "The glory that was Greece". However, S. E. Hinton, author of the novel The Outsiders, an influential portrayal of greasers, claimed to know the term from her youth in 1950s Tulsa, Oklahoma. The name was also applied to members of the subculture partly because of their characteristic greased-back hair.

The dominant name for the subculture during the 1950s was hoods, in reference to their upturned collars, with many also calling them J.D.s (abbreviated from juvenile delinquents). Within Greater Baltimore during the 1950s and early 1960s, greasers were colloquially referred to as drapes and drapettes.

Origins of the subculture and rise to popularity
The greaser subculture may have emerged in the post–World War II era among the motorcycle clubs and street gangs of the late 1940s in the United States, though it was certainly established by the 1950s, when it was increasingly adopted by ethnic urban youth. The original greasers (often coming from “ethnic” backgrounds) were aligned by a feeling of working class and lower class disillusionment with American popular culture either through a lack of economic opportunity in spite of the post-war boom or a marginalization enacted by the general domestic shift towards homogeneity in the 1950s. Most were male, usually ethnic or white working-class outsiders, and were often interested in hot rod culture or motorcycling. A handful of middle-class youth were drawn to the subculture for its rebellious attitude.

The weak structural foundation of the greasers can be attributed to the subculture's origins in working-class youth possessing few economic resources with which to participate in American consumerism. Greasers, unlike motorcyclists, did not explicitly have their own interest clubs or publications. As such, there was no business marketing geared specifically towards the group. Their choice in clothing was largely drawn from a common understanding of the empowering aesthetic of working-class attire, rather than a cohesive association with similarly dressed individuals. Many greasers were in motorcycle clubs or in street gangs—and conversely, some gang members and bikers dressed like greasers—though such membership was not necessarily an inherent principle of the subculture.

Ethnically, original greasers were composed mostly of Italian Americans in the Northeast and Mexican American Chicanos in the Southwest. Since both of these groups were mostly olive skinned, the "greaser" label assumed a quasi-racial status that implied an urban, ethnic, lower-class masculinity and delinquency. This development led to an ambiguity in the racial distinction between poor Italian Americans and Puerto Ricans in New York City during the 1950s and 1960s. Greasers were also perceived as being predisposed to perpetrating sexual violence, evoking fear in middle-class males but also titillation in middle-class females.

Decline and modern incarnations
Though the television show American Bandstand helped to "sanitize" the negative image of greasers in the 1960s and 1970s, sexual promiscuity was still seen as a key component of the modern character. By the mid-1970s, the greaser image had become a quintessential part of 1950s nostalgia and cultural revival.

Fashion
The most notable physical characteristic of greasers was the greased-back hairstyles they fashioned for themselves through use of hair products such as pomade or petroleum jelly, which necessitated frequent combing and reshaping to maintain. Males sported coiffures adopted from early rock 'n' roll and rockabilly performers such as Elvis Presley, among them the Folsom, Pompadour, Elephant's trunk, and Duck's ass, while females commonly backcombed, coiffed, or teased their hair.

Male greasers typically wore loose work pants such as cotton twill trousers, common among the working class; dark slacks, or dark blue Levi's jeans, widely popular among all American youth in the 1950s. The latter were often cuffed over black or brown leather boots, including steel-toed boots, engineer or Harness boots, combat boots, work boots, and (especially in the Southwest) cowboy boots. Other footwear choices included Chuck Taylor All-Stars, pointed Italian dress shoes, brothel creepers, and winklepickers. Male shirts were typically solid black or white T-shirts, ringer T-shirts, Italian knit collared shirts, unbuttoned shirts with sleeveless undershirts underneath, or sometimes just sleeveless undershirts or tank tops (which would have been retailed as underwear). Choices of outerwear included denim or leather jackets (including Perfecto motorcycle jackets). Female greaser dress included leather jackets and risque clothing, such as tight and cropped capris and pedal pushers (broadly popular during the time period).

Music tastes
In the early 1950s, there was significant greaser interest in doo-wop, a genre of African-American music from the industrial cities of the Northeast that had disseminated to mainstream American music through Italian American performers. Greasers were heavily associated with the culture surrounding rock n' roll, a musical genre that had induced feelings of a moral panic among older middle-class generations during the mid-to-late 1950s, to whom greasers epitomized the connection between rock music and juvenile delinquency professed by several important social and cultural observers of the time.

Portrayal in media and popular culture

 * The first cinematic representation of the greaser subculture was the 1953 film The Wild One.
 * The music group Sha-Na-Na, formed in the late 1960s, models their onstage presence on New York City greasers (the band members themselves were mostly Ivy Leaguers).
 * The 1967 critically acclaimed young adult novel The Outsiders by S. E. Hinton told the story of a gang of greasers, and was controversial upon release due to its depiction of gang violence. The film adaptation of The Outsiders was released in 1983 and directed by Francis Ford Coppola.
 * The 1971 American musical and subsequent 1978 film Grease centers around greasers.
 * The 1973 film American Graffiti by George Lucas has a greaser with the character of John Milner.
 * Character Fonzie from the American TV show Happy Days is a stereotypical greaser who was frequently seen on his motorcycle, wore a leather jacket, and typified the essence of cool, in contrast to his circle of friends.
 * Characters Leonard "Lenny" Kosnowski and Andrew "Squiggy" Squiggman from the American sitcom Laverne & Shirley, a spin-off of Happy Days.
 * The 1990 John Waters film Cry-Baby is a camp reminiscence of Baltimore greasers during the 1950s.
 * In the Fallout video game franchise (1996-onward) gangs of greasers are commonly encountered in the 1950s inspired post-nuclear apocalypse setting.
 * The 2006 video game Bully featured a social hierarchy that included a greaser clique.
 * The 2008 Steven Spielberg and George Lucas film Indiana Jones and the Kingdom of the Crystal Skull has the character of Mutt Williams who is portrayed as a greaser.
 * In many Stephen King stories, members of the subculture are portrayed as bullies or psychopaths brandishing switchblades, such as in "Sometimes They Come Back" (1975).

Similar subcultures

 * Rockers, in the United Kingdom
 * Teddy Boy, a contemporary but different subculture in the United Kingdom
 * Nozem, in the Netherlands
 * Raggare, in Sweden
 * Råner, in Norway
 * Bodgies and widgies, in Australia and New Zealand
 * Bōsōzoku, in Japan
 * Halbstarke, in Germany, Austria and Switzerland
 * Guido, similarly associated with Italian-Americans and featuring similar clothing signifiers
 * Gadesh, in Baku, Azerbaijan

title: Greaser (subculture)


text:
Frances Cornford

Frances Crofts Cornford (née Darwin; 30 March 1886 – 19 August 1960) was an English poet.

Biography
She was the daughter of the botanist Francis Darwin and Newnham College fellow Ellen Wordsworth Crofts (1856–1903), and born into the Darwin—Wedgwood family. She was a granddaughter of the British naturalist Charles Darwin. Her older half-brother was the golf writer Bernard Darwin. She was brought up in Cambridge, among a dense social network of aunts, uncles, and cousins, and was educated privately. Because of the similarity of her first name, her father's and her husband's, she was known to her family before her marriage as "FCD" and after her marriage as "FCC" and her husband Francis Cornford was known as "FMC". Her father Sir Francis Darwin, a son of Charles Darwin, yet another 'Francis', was known to their family as "Frank", or as "Uncle Frank".

She died of heart failure at her home Cambridge, on 19 August 1960. She is buried at the Parish of the Ascension Burial Ground in Cambridge, where she is in the same grave as her father Sir Francis Darwin. Her mother Ellen Wordsworth Darwin, née Crofts, is buried in St. Andrews Church's churchyard in Girton, Cambridgeshire.

Personal life
In 1909, Frances Darwin married Francis Cornford, a classicist and poet. They had five children:
 * Helena Cornford (1913–1996); married Joseph L. Henderson in 1934
 * John Cornford (1915–1936), a poet and Communist who was killed in the Spanish Civil War
 * Christopher Cornford (1917–1993), an artist and writer
 * Hugh Wordsworth Cornford (1921–1997), medical doctor
 * Ruth Clare (1924–1992); married Cecil Hall Chapman, the son of Sydney Chapman in 1947.

Works
Frances Cornford published several books of verse, including her debut (as "F.C.D"), The Holtbury Idyll (1908), Poems (1910), Spring Morning (1915), Autumn Midnight (1923), and Different Days (1928). Mountains and Molehills (1935) was illustrated with woodcuts by her cousin Gwen Raverat.

She wrote poems including "The Guitarist Tunes Up":

With what attentive courtesy he bent Over his instrument; Not as a lordly conqueror who could Command both wire and wood, But as a man with a loved woman might Inquiring with delight What slight essential things she had to say Before they started, he and she, to play.

One of Frances Cornford's poems was a favourite of Philip Larkin and his lover Maeve Brennan. "All Souls' Night" uses the superstition that a dead lover will appear to a still faithful partner on that November date. Maeve, many years after Larkin's death, would re-read the poem on All Souls:

My love came back to me Under the November tree Shelterless and dim. He put his hand upon my shoulder, He did not think me strange or older, Nor I him.

Although the myth enhances the poem, it can be read as the meeting of older, former lovers.

"To a Fat Lady Seen from the Train"
Cornford is possibly best remembered for her triolet poem "To a Fat Lady Seen from the Train" in Poems of 1910. O why do you walk through the fields in gloves, Missing so much and so much? O fat white woman whom nobody loves, Why do you walk through the fields in gloves, When the grass is soft as the breast of doves And shivering-sweet to the touch? O why do you walk through the fields in gloves, Missing so much and so much?

To which G. K. Chesterton replied in "The Fat Lady Answers", in his Collected Poems of 1927: Why do you rush through the field in trains, Guessing so much and so much. Why do you flash through the flowery meads, Fat-head poet that nobody reads; And why do you know such a frightful lot About people in gloves as such? ...

Earlier, in 1910, A. E. Housman had written a parody in a private letter: O why do you walk through the fields in boots, Missing so much and so much? O fat white woman whom nobody shoots, Why do you walk through the fields in boots, When the grass is soft as the breast of coots ...

The first lines of this poem were spoken by a character in Agatha Christie's 1939 novel Murder is Easy.

Elizabeth Goudge quotes the poem "The Country Bedroom" in her autobiography, The Joy of the Snow at the end of Chap XIV, p 252, when Goudge is describing finding her final home "Rose Cottage".

My room's a square and candle-lighted boat, In the surrounding depths of night afloat; My windows are the portholes, and the seas The sound of rain on the dark apple-trees.

Seamonster-like beneath, an old horse blows A snort of darkness from his sleeping nose, Below, among drowned daisies. Far off, hark! Far off one owl amidst the waves of dark.

title: Frances Cornford


text:
Wikipedia:Articles for deletion/MixerMixer

MixerMixer 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

Advertisement for some sort of Meet-Up clone. It looks odd because I removed the links (to avoid Pagerank spam). [[User:Meelar|Meelar (talk)]] 18:24, 2004 Jul 19 (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: Non-notable. It sounds like they even copied the ad language used by Meet-Up and others ("tool and community").  Geogre 21:52, 19 Jul 2004 (UTC) (just a tool, not a community)
 * Delete. Ianb 22:10, 19 Jul 2004 (UTC)
 * Delete linkspam; it's User:192.150.11.4's only contribution. They've been making an effort to improve(?) it  since the  was placed on it.  It's still an ad.  --Ardonik 03:06, Jul 20, 2004 (UTC)
 * Delete ad. -- Cyrius|✎ 01:47, 23 Jul 2004 (UTC)


text:
User talk:Longlong

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
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Good luck!

title: User talk:Longlong


text: Category:Lyon County, Minnesota

title: Category:Lyon County, Minnesota


text:
Aristide Bruant

Aristide Bruant (6 May 1851 – 11 February 1925) was a French cabaret singer, comedian, and nightclub owner. He is best known as the man in the red scarf and black cape featured on certain famous posters by Henri de Toulouse-Lautrec. He has also been credited as the creator of the chanson réaliste musical genre.

Biography
Born Louis Armand Aristide Bruand in the village of Courtenay, Loiret in France, Bruant left his home in 1866 at age fifteen, following his father's death, to find employment. Making his way to the Montmartre Quarter of Paris, he hung out in the working-class bistros, where he finally was given an opportunity to show his musical talents. Although bourgeois by birth, he soon adopted the earthy language of his haunts, turning it into songs that told of the struggles of the poor.

Bruant began performing at cafe-concerts and developed a singing and comedy act that led to his being signed to appear at the Le Chat Noir club. Dressed in a red shirt, black velvet jacket, high boots, and a long red scarf, and using the stage name Aristide Bruant, he soon became a star of Montmartre, and when Henri de Toulouse-Lautrec began showing up at the cabarets and clubs, Bruant became one of the artist's first friends.

In 1885, Bruant opened his own Montmartre club, a place he called "Le Mirliton". Although he hired other acts, Bruant put on a singing performance of his own. As the master of ceremonies for the various acts, he used the comedy of the insult to poke fun at the club's upper-crust guests who were out "slumming" in Montmartre. His vaudeville-inspired mix of song, satire and entertainment developed into the musical genre called chanson réaliste (realist song).

Bruant died in Paris and was buried in Subligny's cemetery, near his birthplace in the departement of Loiret. Rue Bruant in Paris XIII arrondissement was named, not in Aristide's honor, but after the architect Libéral Bruant (1637-1697) whose church of the hospital Salpêtrière was built just north of the street.

Songs
Some of Bruant's better known songs include:

 * Nini Peau d'Chien
 * A la Bastille
 * A la Villette
 * Meunier tu es cocu
 * A Batignolles
 * Serrez Vos Rangs
 * A la Roquette
 * La chanson des Michetons
 * A Poissy
 * A la Place Maubert
 * Les petits joyeux
 * Belleville-Menilmontant
 * La Greviste
 * Le Chat Noir
 * Les Mômes de la Cloche

Popular culture

 * On Doctor Who, Tom Baker's trademark look as the Fourth Doctor was created by costume designer James Acheson, has said that he was trying to create a "bohemian" look for the character, and claimed he was unconsciously influenced by Lautrec's paintings of Bruant.
 * On Yakuza 3, Tokyo Kamurocho's Bantam Irish pub is decorated with Toulouse-Lautrec's paintings of Bruant.
 * In the poem 'Your Paris' (Birthday Letters), Ted Hughes mentions that Sylvia Plath "Called [him] Aristide Bruant".

title: Aristide Bruant


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Shushenskoye

Shushenskoye (Шу́шенское) is an urban locality (an urban-type settlement) and the administrative center of Shushensky District of Krasnoyarsk Krai, Russia, located at the confluence of the Yenisei and Big Shush rivers. Population:

History and culture
Vladimir Lenin was in internal exile here from 1897 to 1900. In 1970, a museum dedicated to his time in Siberia was opened which became a prominent and popular local site. Russian and international visitors go there to see the history of Lenin's stay as well as to see the peasant way of life during the 19th century. The area is also known for its nature reserves.

During 2003 and 2004, an ethnic music festival called the Sayan Ring (Саянское кольцо) was started in Shushenskoye, which draws visitors from Russia and other countries. Different ethno-music styles are played during its 3–4 day duration.

Climate
The climate is very warm in summer: local people cultivate melons and watermelons. Winters are very cold with temperatures as low as -40 C.

title: Shushenskoye


text:
Pyramid inch

The pyramid inch is a unit of measure claimed by pyramidologists to have been used in ancient times.

History

The first suggestion that the builders of the Great Pyramid of Giza used units of measure related to modern measures is attributed to Oxford astronomy professor John Greaves (1602–1652), who journeyed to Egypt in 1638 to make measurements of the pyramid. His findings were published in his Pyramidographia (1646) and under his name in an anonymous tract. More than a century later, Greaves' measurements and additional measurements made by French engineers during Napoleon's campaign in Egypt and Syria, were studied by John Taylor (1781–1864). Taylor claimed that the measurements indicated that the ancients had used a unit of measure about 1/1000 greater than a modern British inch.

This was the origin of the "pyramid inch". Taylor regarded the "pyramid inch" to be 1/25 of the "sacred cubit", ancient unit based on the forearm length from the tip of the middle finger to the bottom of the elbow, whose existence had earlier been postulated by Isaac Newton. The principal argument was that the total length of the four sides of the pyramid would be 36524 (100 times the number of days in a year) if measured in pyramid inches.

Taylor and his followers, who included the Astronomer Royal of Scotland Charles Piazzi Smyth (1819–1900), also found numerous apparent coincidences between the measurements of the pyramids and the geometry of the earth and the solar system. They concluded that the British system of measures was derived from a far more ancient, if not divine, system. During the 19th and early 20th centuries, this theory played a significant role in the debates over whether Britain and the United States should adopt the metric system.

The theory of Taylor and Smyth gained many eminent supporters and detractors during the following decades, but by the end of the 19th century it had lost most of its mainstream scientific support. The greatest blow to the theory was dealt by the Egyptologist Flinders Petrie (1853–1942), whose father was a believer. When Petrie went to Egypt in 1880 to perform new measurements, he found that the pyramid was several feet smaller than previously believed, including the missing capstone. This so undermined the theory that Petrie rejected it, writing "there is no authentic example, that will bear examination, of the use or existence of any such measure as a ‘Pyramid inch,’ or of a cubit of 25.025 British inches."

The pyramid inch now appears to have no significant scientific support. No direct evidence for it has ever been found.

title: Pyramid inch