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User talk:Heron/2004H1

SMPS
Thanks for the additions to my power supply articles. There's so much more I could say, I don't know where to start :-) -- Alaric

 * Yes, that's often a problem. More needs to be said on SMPS, but I'm reluctant to present myself as an expert because my graduate SMPS project blew up!  Perhaps I'll stick to the linear page.  -- Heron

I hope you did not think I was "lecturing" you though. I did not mean to :-). The very different measurement methods used across the world are quite embarrassing :-) Thanks for the help setting them. Have a very good day Heron user:Anthere

 * That's all right. Your tone was a bit strong, but I think that's just your writing style, which I am beginning to get used to :-)  You are right: measurement units are tricky, and they can be an emotive subject.  -- Heron

 * san ferry ann. LOL. Very fun. Yes, my writing style is sometimes impertinent and often agressive. I am sorry about that. I don't mean to be. I am quite similar in real life, but I can smile and laugh at the same time, so that is seen differently. I am said "lively" with a very expressive face. I am also from the south where people are quite noisy. Italian style with big waving of arms. Do you see what I mean :-))). If you are understanding, that is for the best. Thanks for that. So...do you speak french ?User:anthere

 * I speak basic tourist French when I go to France, but I don't want to raise your expectations. I was good at French when I was at school, a long time ago, but sadly my skill has not improved since then.  Learning French properly is one of those things I mean to do "some day".  -- Heron

 * Heron, Thanks for chiming in on one of the cypher v cipher things. We who prefer ghoti for marine animals with vertical tail fins often feel beset. sigh. On another topic altogether, which is why this note is here, why did your SMPS blow up? I've never dared one myself, sticking to kludgy old linears. ww 18:58, 4 May 2004 (UTC)

You're welcome. I've decided not to lose sleep over a semi-vowel, so I won't complain whatever the outcome.

My SMPS disaster was a long time ago, but if I remember correctly, the thing blew up because there was too much ripple current in the electrolytic capacitors, causing them to overheat and boil over like gremlins in a microwave. I've been scared of SMPS ever since, but when I'm forced to use one I try to make sure it's in a metal box. I would hate to have to design another one myself, although it has got easier over the years with the introduction of new topologies and smarter control ICs. The most memorable example I've seen of the superiority of switchers over linears was the BBC Microcomputer (a British machine of the 1980s). The early units had a linear whose heat output caused the computer's plastic case to turn brown and bulge upwards over the course of a few years. Later models had a nice cool switcher, exactly the same size as the linear, that got rid of the problem. Keep on using the linears, and may you enjoy many years of explosion-free design! Regards -- Heron 19:49, 4 May 2004 (UTC)

What is "switched" in an SMPS? Heavy chariot 16:28, 7 May 2004 (UTC)

 * Consider the most commonplace type of SMPS, the off-line converter, which converts AC to DC. It first rectifies the AC using a simple diode circuit to produce unregulated DC.  It then 'chops' the DC (switches it on and off, hence 'switching') using transistors to generate a high-frequency current, which drives the primary of a transformer.  The current from the secondary of the transformer is rectified again and smoothed to produce a DC output.  The reason for this complex design is that, by adjusting the times at which the transistors switch on and off, the output voltage can be regulated. Heron 20:11, 7 May 2004 (UTC)

Logic gate
Hi Heron. For the symbols on Logic gate, did you use a schematic editor? If so, does it also have the IEC symbols avialable? Talk:Logic gate rightfully requests these, and it would be cool if we had symbols with the same style. Thanks also for you work on Runt pulse. Colin Marquardt 11:14, 4 Sep 2003 (UTC)

Hi. I used Microsoft Word, because the schematic editor I use at work has only the IEC symbols, which I don't like. I agree that Wikipedia needs to show both sets of symbols, but I just didn't feel like drawing them all. I have just drawn some using a schematic editor, and I'm in the process of uploading them. -- Heron

Cool, thanks. Colin Marquardt

Hello. It seems that you are an extremely valuable contributer to Wikipedia, but I have not made your acquaintence yet, so I will now say, "Nice to meet you.", --Alexandros 16:55, 16 Nov 2003 (UTC)

You are very kind. I look forward to working with you. -- Heron 17:13, 16 Nov 2003 (UTC)

County maps
Hi. I note you were the kind person who supplied the county maps for various English counties. Could you please point me at the CIA source map you used as a basis? Morwen 23:37, Jan 20, 2004 (UTC)

 * That was some time ago, and I can't remember exactly where I got it. I shall have to dig into my records to find out, and then I will get back to you.  Meanwhile, if you like, you could try searching the Web for "CIA World Factbook". -- Heron 09:36, 2 Mar 2004 (UTC)

 * Eureka! The map I used was from an old edition of the CIA World Factbook, which has since been taken off the web, but luckily you can still find it here. If that doesn't work for you, I have a local copy that you can have.  Be warned: the county boundaries are those that were in use from 1974 to 1986. -- Heron 21:07, 2 Mar 2004 (UTC)

rocks and minerals project
Since you've contributed in the rocks and minerals area before, wanted to let you know that I created a WikiProject Rocks and Minerals if you'd like to join. Elf 05:04, 5 Feb 2004 (UTC)

 * Thank you, Elf. Standardised fact boxes are a Good Thing! -- Heron 09:38, 2 Mar 2004 (UTC)

Fluid Power -> Hydraulics and Pneumatics
Both hydraulics and Pneumatics are sub-categories of Fluid Power. The discussion of the general principles should be in a new page Fluid Power with hydraulic and pneumatic covering specifics and referring back to Fluid Power. Your hydraulic entry stands well on its own, if you'll add a link to Fluid Power. I'm willing to tackle Fluid Power. -RatOmeter

 * I added a link, as you suggested. I also took the liberty of renaming Fluid Power to Fluid power, in keeping with Wikipedia's standard style. -- Heron 22:09, 5 Mar 2004 (UTC)

Thai alphabet
Hello, Heron. Kudos for all your material on Thai topics. Do you think the table of vowels under Thai alphabet could be enhanced by adding the short vowels such as โกะ, and a column of (very) approximate pronunciations? David K 12:46, 29 Feb 2004 (UTC)

 * Thanks, David. I am only a beginner in the Thai language, so my contributions are bound to be incomplete.  I would be happy for you to make any improvements you see fit, and I look forward to learning more! -- Heron 09:44, 2 Mar 2004 (UTC)

I presume that you live in Thailand. Would this be anywhere near the mark? --KayEss 21:41, 29 Mar 2004 (UTC)

 * Hello KayEss. No, I don't live there, but I have some Thai friends and have visited Thailand several times.  I have spent about three months there in total.  I hope that by contributing to these articles I can learn more about the language and culture.  Feel free to edit my words when I get it wrong!  Regards -- Heron 08:14, 30 Mar 2004 (UTC)  P.S. Thanks for your contributions.  We need more knowledgeable editors like you!

Microwaves
Thanks for answering the question about ISM band wireless devices -- Heavy chariot 16:53, 9 Apr 2004 (UTC)

 * You are welcome. I should warn you that my explanation, although reflecting the majority view, is not accepted by everyone.  There are some who would say that microwaves are "radiation" and therefore deadly at any power level.  -- Heron 10:19, 10 Apr 2004 (UTC)

Encypher vs. encipher
Hi, I replied to a comment of yours regarding the spellings of encipher and encypher at Wikipedia talk:List of common misspellings. If you have anything to add about the issue, it would be appreciated. Thanks! Wmahan. 21:38, 2004 May 3 (UTC)

Vanilla vs French Vanila
From http://www.vanilla.com/html/facts-faq.html: Q. What is French Vanilla? A. French vanilla is not a type of vanilla. It is a term used to describe an egg-custard base for ice cream. However, because it sounds exotic or romantic - especially in the perfume industry - it's often used to describe perfumes, candles and other specialty products.

- Yours in inquisitiveness - UtherSRG 16:10, 25 May 2004 (UTC)

Thank you. It seems my comment about "USism" in the vanilla article was wrong, so I deleted it. I have found the same meaning used in British writing, although mainly in marketing-speak. -- Heron 21:24, 25 May 2004 (UTC)

Transistor
I just want to make sure you realized that the transistor article was doubled a while ago (scroll down halfway and see the picture is there again), and you deleted one half just now. I imagine different edits were made to each half, and Gwimpey said he would merge the two halves, but I guess didn't. I just don't want a bunch of edits to be lost because you thought you did the doubling just now and quickly reverted it. - Omegatron 21:34, Jun 9, 2004 (UTC)

Oh. You DID do the doubling, but it was on June 3rd, not just now. I didn't realize that was you, too. Look at links 1 and 2 and their place in the history if you are confused... - Omegatron 21:36, Jun 9, 2004 (UTC)

Good point, Omegatron. I'm sorry about that doubling: must have been a cut-and-paste error. I just looked at the last doubled version, before I deleted the bottom half, and the two halves were different. I am assuming that all recent editing has been done to the top half, and that the bottom half can therefore safely be forgotten. I shall check anyway, just in case my assumption is wrong. -- Heron 21:56, 9 Jun 2004 (UTC)

Wonderful work with Tile!
It's always nice to see a stub expanded properly. Wonderful, conventional wiki-work. :-) ✏ Sverdrup 16:26, 12 Jun 2004 (UTC)

Thanks for your appreciation, Sverdrup. Some credit must also go to you for that rather attractive photograph. -- Heron 16:50, 12 Jun 2004 (UTC)

Your edit to Cowboy
Thank you for editing Cowboy, but this article can still be made even better. A good article title for this is Cowhand, which is the gender-neutral term. 66.245.90.177 13:44, 14 Jun 2004 (UTC)

I have some sympathy with your point, 66.245.90.177. You can change the title if you like, but I'm a Briton, so I don't feel entitled to make this judgement. ;-) -- Heron 14:12, 14 Jun 2004 (UTC)

Please be careful
A few minutes ago you duplicated Cleanup. Please try to prevent this from happening. - SimonP 18:52, Jun 22, 2004 (UTC)

 * Oops. I remember receiving an "edit conflict" message when I edited that page.  The duplication must have happened then. :-\ -- Heron 20:08, 22 Jun 2004 (UTC)

UV history
I am glad you added a section on UV history. In fact, I would really like to know more.

I never appreciated so much the intellectual powers of Henri Becquerel before. Imagine, helping to resolve the nature of the optical spectrum prenatally ;)

 * Fair cop. It was actually his Dad, Alexandre-Edmond Becquerel. -- Heron 13:21, 25 Jun 2004 (UTC)

Seriously though, I have been thinking that a general discussion of the history of the scientific understanding of the nature of light would be very interesting. The nineteenth century seems to have been dominated by wave theories. Apparently the impetus away from Newtonian particles began with Young's experiment and the theory of polarization near the beginning of the century and ended, abruptly, with the problem of the photoelectric effect near the end. I would like to know more about how UV fits into this picture, and how the unification you mention was achieved. I believe 1842 was also around the time that light and electromagnetism were shown to be related.

AJim 01:59, 25 Jun 2004 (UTC)

 * Yes, there is more to be said on this subject. The change in the understanding of light probably reflected the general trend of science at that time away from philosophy and towards experimentalism.  When I wrote that throwaway comment about unification, I realised that I had bitten off more than I could chew, so I cut the article short. -- Heron 13:21, 25 Jun 2004 (UTC)

 * Oh, and have a look, if you will, in the light article under 'Theories about light'. There is some historical information there, which is in need of amplification (by the stimulated emission of information). -- Heron 13:37, 25 Jun 2004 (UTC)

License
Hi, you've been involved in creating the Image:Microscope diagram.png but there's no information about license. Could you tell me more ? Is it GFDL ? We use it on french wikipedia and wonder what license it is. Thanks in advance. fr:Utilisateur:Tipiac

 * User:Theresa knott drew the original diagram for Wikipedia, and I merely made a small correction to it. It is available under the GFDL licence, so please feel free to use it.  -- Heron 14:50, 27 Jun 2004 (UTC)

ettiquite
''I reverted your change to Talk:Switch because it's generally "not done" on Wikipedia to delete other people's comments on Talk pages, even when the comments become obsolete. Please don't be offended. -- Heron 19:48, 26 Jun 2004 (UTC)''

I'm not at all offended. I'm happy that someone is recovering potentially useful bits whenever they are deleted. However, I don't see why anyone needs obsolete comments. Would it be OK for me to move those comments to the Talk page of the original author (User:Huwr) ? -- DavidCary 20:56, 30 Jun 2004 (UTC)

 * Certainly. And I apologise for deleting your joke ;-) It wasn't my place to censor it. -- Heron 21:06, 30 Jun 2004 (UTC)

title: User talk:Heron/2004H1


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Albar (car)

The Albar is a Swiss car, built since 1978 in Buochs by Alois Barmettler.

Barmettler had for some time made Dune Buggy and cross country conversions based on the VW Beetle.

In the early 1980s he moved on to make a coupé styled car with two-seater glass fibre body made in Austria. They were sold in Switzerland as the Albar Jet and Austria as the Strato.

In 1982 he started to make the open Sonic model which no longer relied on the Beetle floor pan but had a proper space frame. Later versions could have VW Straight-4 or Renault 25 engines. A fixed head coupé version was also made.

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

title: Albar (car)


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Soyuz TM-30

Soyuz TM-30 (Союз ТМ-30, Union TM-30), also known as Mir EO-28, was a Soyuz mission, the 39th and final human spaceflight to the Mir space station. The crew of the mission was sent by MirCorp, a privately funded company, to reactivate and repair the station. The crew also resupplied the station and boosted the station to an orbit with a low point (perigee) of 360 and a high point (apogee) of 378 kilometers (223 and 235 miles, respectively); the boost in the station's orbit was done by utilizing the engines of the Progress M1-1 and M1-2 spacecraft. At that time a transit between Mir and the International Space Station was already impossible - such a transfer was deemed undesired by NASA - and the orbital plane of ISS had been chosen some time before to be around 120 degrees away from that of Mir. The mission was the first privately funded mission to a space station.

The mission was part of an effort by MirCorp to refurbish and privatize the aging Mir space station, which was nearing the end of its operational life. Further commercially funded missions beyond Soyuz TM-30 were originally planned to continue the restoration efforts of the then 14-year-old space station, but insufficient funding and investment ultimately led to the de-orbit of the station in early 2001.

Crew
Soyuz TM-30 was the first spaceflight for flight commander Zalyotin, who became a cosmonaut in 1990 and completed his general training two years later in 1992. TM-30 was the third visit to space made by flight engineer Kaleri, who became a cosmonaut in 1984 and completed general training in 1986. He served as flight engineer aboard the Soyuz TM-14 and TM-24 missions to Mir in 1992 and 1996–7, respectively.

Backup crew
While Soyuz TM-30 was in orbit, a second privately funded mission was being planned to continue the restoration efforts aboard Mir. The crew assigned to this mission, although never flown, was reported to have been the backup crew for TM-30, cosmonauts Salizhan Sharipov and Pavel Vinogradov.

Background
Soyuz TM-30 was intended by MirCorp to be the first in a series of missions to refurbish the 14-year-old Mir space station for commercial use. Although the mission was scheduled to last approximately two months, commander Sergei Zalyotin said before the flight that if additional funds became available the mission could be extended until August, when another crew would replace them. The other possible scenario, which occurred in reality, was again to leave the station uninhabited, as had been done several months before the mission. Towards the end of Soyuz TM-30 plans were formed to send another privately funded mission to continue with MirCorp's maintenance efforts; cosmonauts Salizhan Sharipov and Pavel Vinogradov were tentatively assigned as the crew.

Actor Vladimir Steklov trained and was initially assigned for a 2000 flight on Soyuz TM-30 to film scenes for the movie Thiefs and Prostitutes. Spaceflight is the Prize on Mir. The plans were scrapped weeks before launch due to lack of funding, and space scenes were filmed in studio instead.

Mission highlights
Soyuz TM-30 launched at 05:01:29 UT on April 4, 2000. Docking occurred on April 6 at 06:31:24 UT. Although the Soyuz docking system is automated under normal conditions, the final few meters of the approach to the station were executed in manual mode. The decision to switch to manual mode came after the cosmonauts noticed a small deviation in the spacecraft's approach to the targeted docking port. At about 09:32 UT on the day of docking, the crew prepared to open the hatches between the Soyuz spacecraft and the station. After entering the station the crew stabilized the atmosphere inside Mir and undertook routine maintenance work.

On April 25, an uncrewed Progress resupply mission, Progress M1-2, launched from the Baikonur Cosmodrome to the station to deliver supplies to the crew. Progress M1-2 docked with Mir on April 27. On April 26, the Progress M1-1 spacecraft, which had been docked since February and was used by the Russian Federal Space Agency to boost the station to a higher orbit, undocked and de-orbited over the Pacific Ocean east of New Zealand.

The mission's only Extra-Vehicular Activity, or spacewalk, took place on May 12, between 10:44 and 15:36 UTC. The primary objectives of the spacewalk were to repair damage to Mir's exterior components and record panoramas of the station's hull in order for experts on Earth to analyze the effects of space on the station itself. The cosmonauts inspected a malfunctioning solar array on the Kvant-1 module of the station. They discovered that a burnt-through wire connecting the array with its steering system was preventing its proper rotation. The array was subsequently deemed a loss.

On June 15, 2000, the TM-30 spacecraft undocked from the station at about 21:24 UT. The de-orbit burn occurred at about 23:52 UT and landing followed at about 00:44 UT on June 16, about 45 km southeast of Arkalyk in Kazakhstan.

Milestones
Soyuz TM-30 was the first privately funded crewed space expedition but several other firsts were also achieved, including the first privately funded extra-vehicular activity, and the first privately funded uncrewed resupply mission to a space station, utilizing the Progress-M1 spacecraft. Soyuz TM-30 also managed to delay the de-orbit of Mir, which was originally scheduled to occur some time in 2000, but ultimately occurred in March 2001.

title: Soyuz TM-30


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Albatros (1922 automobile)

The Albatros was an English automobile manufactured in Croft Road, Coventry and founded in 1922 by H.T.W. Manwaring. The origin of the name is reputed to be derived from a play on the name of one Albert Ross, who was Manwaring's mentor and boss earlier in his career.

There were two models, an 8 and a 10 hp, both using side-valve Coventry-Climax engines.

The 1247 cc 10 hp was sold in two versions. The Utility model had a three-speed gearbox and shaft drive to a rear axle with no differential and rear-wheel brakes only. It was only available with open two-seat coachwork and cost £200. The Special Touring model was similar in mechanical specification but did have a differential and electric starting and was available with a variety of bodies including closed saloons or as chassis only. It cost between £190 (chassis only) and £275 for the 2-seat coupe.

In late 1923 the 10 hp was joined by a smaller 1094 cc 8 hp with 2-seat body at £165 or a sports model at £190.

In 1924 the company appears to have been in financial difficulties and moved to new premises at Bedford Street, Coventry. A new car was launched still rated at 10 hp but with a larger 1368 cc engine still by Coventry-Climax and priced at £210 but they failed to take a stand at the London Motor Show that year and the company seems to have been declared bankrupt at the end of the year.

Only a few cars were ever made and it is thought that only two survive.

There was also an Albatros company based in Paris, France, who made motor cycles and cars in 1912.

title: Albatros (1922 automobile)


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Albatross (automobile)

The Albatross was an American sports car venture that was planned in 1939, but never got off the ground. The plan had been to market an ultra-streamlined four-seat tourer body, built on a standard Mercury chassis which was extended to a 137" wheelbase, based on a European custom-made car owned by cartoonist Peter Arno. The proposed car was advertised in at least one periodical, and at least one was built.

title: Albatross (automobile)


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Let Love In (Nick Cave and the Bad Seeds album)

Let Love In is the eighth studio album by Nick Cave and the Bad Seeds, released on 18 April 1994 on Mute Records.

As of May 2015 it was certified silver by British Phonographic Industry for 60,000 sold units in UK. As of January 1996 the album has sold 50,000 copies in United States.

Track listing
All songs written by Cave unless otherwise stated.

 * 1) "Do You Love Me?" – 5:56 (Words: Cave. Music Cave, Casey)
 * 2) "Nobody's Baby Now" – 3:52
 * 3) "Loverman" – 6:21
 * 4) "Jangling Jack" – 2:47
 * 5) "Red Right Hand" – 6:10 (Words: Cave. Music: Cave, Harvey, Wydler)
 * 6) "I Let Love In" – 4:14
 * 7) "Thirsty Dog" – 3:48
 * 8) "Ain't Gonna Rain Anymore" – 3:46
 * 9) "Lay Me Low" – 5:08
 * 10) "Do You Love Me? (Part 2)" – 6:12

Singles

 * "Do You Love Me?" (MUTE 160) (28 March 1994)
 * b/w: "Cassiel's Song"/"Sail Away"
 * "Loverman" (MUTE 169) (4 July 1994)
 * b/w: "B-Side"/"(I'll Love You) Till the End of the World"
 * "Red Right Hand" (MUTE 172) (24 October 1994)
 * b/w: "That's What Jazz Is to Me"/"Where the Action Is"

Personnel
Nick Cave and the Bad Seeds
 * Blixa Bargeld – guitar (1-10), backing vocals (1, 3, 4, 7-10), vocals (4)
 * Martyn P. Casey – bass guitar (1-10), backing vocals (1, 4, 7, 9)
 * Nick Cave – vocals (1-10), organ (1, 3, 5, 7-9), backing vocals (1, 4, 7, 9), piano (1, 8), electric piano (10), oscillator (5), bells (3)
 * Mick Harvey – guitar (1-9), backing vocals (1, 3, 4, 7, 9, 10), organ (2, 4, 6), drums (4, 9), string arrangement (8, 10), bells (5), tambourine (6), shaker (5)
 * Conway Savage – backing vocals (1, 4, 6-9), piano (2-4, 6, 8)
 * Thomas Wydler – drums (1-3, 5-10), tambourine (4, 8), timpani (5), shaker (3), triangle (3), temple block [fish] (5), backing vocals (1, 4, 7, 9)

Guest musicians
 * Tex Perkins – backing vocals on "Do You Love Me?"
 * Rowland S. Howard – backing vocals on "Do You Love Me?"
 * Mick Geyer – backing vocals on "Jangling Jack"
 * Nick Seferi – backing vocals on "Jangling Jack"
 * Spencer P. Jones – backing vocals on "Ain't Gonna Rain Anymore"
 * Robin Casinader – violin on "Ain't Gonna Rain Anymore" and "Do You Love Me? (Part 2)"
 * Warren Ellis – violin on "Ain't Gonna Rain Anymore" and "Do You Love Me? (Part 2)"
 * David McComb – backing vocals on "Lay Me Low"
 * Donna McEvitt – backing vocals on "Do You Love Me? (Part 2)"
 * Katharine Blake – backing vocals on "Do You Love Me? (Part 2)"

Cover versions
"Do You Love Me" was covered by the band New Waver as "Do You Hate Me" in 1996. The song "Loverman" was covered by Metallica on Garage Inc. (1998) and Depeche Mode's Martin Gore on his solo album Counterfeit² (2003). The song "Red Right Hand" was covered by Arctic Monkeys as a B-side to their single "Crying Lightning" and as a bonus track on the Japanese version of their third album Humbug (2009); it was also covered by Giant Sand on their album "Cover Magazine". "Red Right Hand" was covered by PJ Harvey as the theme song for the English television show, Peaky Blinders.


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Therizinosaurus

Therizinosaurus (meaning 'scythe lizard') is a genus of very large therizinosaurid that lived in Asia during the Late Cretaceous period in what is now the Nemegt Formation around 72.1 million years ago to 66 million years ago. It contains a single species, Therizinosaurus cheloniformis. The first remains of Therizinosaurus were found in 1948 by a Mongolian field expedition at the Gobi Desert and later described by Evgeny Maleev in 1954. The genus is only known from a few bones, including gigantic manual unguals (claw bones), from which it gets its name, and additional findings comprising fore and hindlimb elements that were discovered from the 1960s through the 1980s.

Therizinosaurus was a colossal therizinosaurid that could grow up to 9 - 10 m long and 4 - 5 m tall, and weigh possibly over 5 t. Like other therizinosaurids, it would have been a slow-moving, long-necked, high browser equipped with a rhamphotheca (horny beak) and a wide torso for food processing. Its forelimbs were particularly robust and had three fingers that bore unguals which, unlike other relatives, were very stiffened, elongated, and only had significant curvatures at the tips. Therizinosaurus had the longest known manual unguals of any land animal, reaching above 50 cm in length. Its hindlimbs ended in four functionally weight-bearing toes differing from other theropod groups in which the first toe was reduced to a dewclaw and also resembling the very distantly related sauropodomorphs.

It was one of the last and the largest representative of its unique group, the Therizinosauria (formerly known as Segnosauria; the segnosaurs). During and after its original description in 1954, Therizinosaurus had rather complex relationships due to the lack of complete specimens and relatives at the time. Maleev thought the remains of Therizinosaurus to belong to a large turtle-like reptile, and also named a separate family for the genus: Therizinosauridae. Later on, with the discovery of more complete relatives, Therizinosaurus and kin were thought to represent some kind of Late Cretaceous sauropodomorphs or transitional ornithischians, even though at some point it was suggested that it may have been a theropod. After years of taxonomic debate, nevertheless, they are now placed in one of the major dinosaur clades, Theropoda, specifically as maniraptorans. Therizinosaurus is widely recovered within Therizinosauridae by most analyses.

The unusual arms and body anatomy (extrapolated after relatives) of Therizinosaurus have been cited as an example of convergent evolution with chalicotheriines and other primarily herbivorous mammals, suggesting similar feeding habits. The elongated hand claws of Therizinosaurus were more useful when pulling vegetation within reach rather than being used for active attack or defense because of their fragility, however, they may have had some role for intimidation. Its arms also were particularly resistant to stress, which suggests a robust use of these limbs. Therizinosaurus was a very tall animal, likely having a reduced competition over the foliage in its habitat and outmatching predators like Tarbosaurus.

History of discovery
In 1948, several Mongolian Paleontological expeditions organized by the USSR Academy of Sciences were conducted in the Nemegt Formation of the Gobi Desert, Southwestern Mongolia, with the main objective of new fossils findings. The expeditions unearthed numerous dinosaur and turtle fossil remains from the stratotype locality Nemegt (also known as Nemegt Valley), but the most notable elements collected were three partial manual unguals (claw bones) of considerable size. This set of unguals was found on a subdivision of the Nemegt locality designated as Quarry V near the skeleton of a large theropod, but also in association with other elements including a metacarpal fragment and several ribs fragments. It was labelled under the specimen number PIN 551-483 and later on, these fossils were described by the Russian paleontologist Evgeny Maleev in 1954 who used them to scientifically name the new genus and type species Therizinosaurus cheloniformis, becoming the holotype specimen. The generic name, Therizinosaurus, is derived from the Greek θερίζω (therízo, meaning scythe, reap or cut) and σαῦρος (sauros, meaning lizard) in reference to the enormous manual unguals, and the specific name, cheloniformis, is taken from the Greek χελώνη (chelóni, meaning turtle) and Latin formis as the remains were thought to belong to a turtle-like reptile. Maleev also coined a separate family for this new and enigmatic taxon: Therizinosauridae. Since little was known of Therizinosaurus at the time of the original description, Maleev thought PIN 551-483 belonged to a large, 4.5 m long turtle-like reptile that relied on its giant hand claws to harvest seaweed. Though it was not fully understood to what general kind of animal these fossils belonged, in 1970, the Russian paleontologist Anatoly K. Rozhdestvensky was one of the first authors to suggest that Therizinosaurus was a theropod and not a turtle. He made comparisons between Chilantaisaurus and the holotype unguals of Therizinosaurus to propose that the appendages actually came from a carnosaurian dinosaur, thereby interpreting Therizinosaurus as a theropod. Rozhdestvensky also illustrated the three holotypic manual unguals and re-identified the metacarpal fragment as a metatarsal bone, and based on the unusual shape of both metatarsal and ribs fragments he listed them as sauropod remains. These theropodan affinities were also followed by the Polish paleontologist Halszka Osmólska and co-author Ewa Roniewicz in 1970 during their naming and description of Deinocheirus—another large and enigmatic theropod from the formation that was initially known from partial arms. Similar to Rozhdestvensky, they suggested that the holotype unguals were more likely to have belonged to a carnosaurian theropod, rather than a large marine turtle.

Additional specimens
Further expeditions in the Nemegt Formation unearthed more fossils of Therizinosaurus. In 1968 prior to Rozhdestvensky, Osmólska and Roniewicz statements, the upper portion of a manual ungual was found in the Altan Uul locality and labeled as MPC-D 100/17 (formerly IGM or GIN). In 1972, another fragmented ungual (specimen MPC-D 100/16) was discovered at the Upper White Beds of the Hermiin Tsav locality, only preserving its lower portion. During the year 1973, a much more complete, larger, and articulated specimen was collected also from Hermiin Tsav. This specimen was labelled as MPC-D 100/15 and consists of both left and right arms including the scapulocoracoids, both humeri (upper arm bones), right ulna with radius and left ulna, two right carpals, the right metacarpus including a complete digit Il, and some ribs with gastralia (belly ribs). As common with fossils, some elements were not entirely preserved such as the scapulocoracoids with broken ends, and the left arm is less complete than the right one. All of these specimens were first described and referred to Therizinosaurus by the Mongolian paleontologist Rinchen Barsbold in 1976. In this new monograph, he pointed out that the rib fragments in MPC-D 100/15 were more slender than the ones from the holotype, and identified MPC-D 100/16 and 100/17 as pertaining to digits I and III, respectively. It was clear to Barsbold that MPC-D 100/15 represented Therizinosaurus as the ungual in this specimen shared the elongation and flattened morphology of all previous specimens. He concluded that Therizinosaurus was a theropod taxon since MPC-D 100/15 matched multiple theropodan characters. Also during the year 1973, the specimen MPC-D 100/45 was discovered by the Joint Soviet-Mongolian Paleontological Expedition at the Hermiin Tsav locality. Unlike the previous findings, MPC-D 100/45 is represented by a right hindlimb composed of a very fragmented femur with the lower end of the tibia, astragalus, calcaneum, tarsal IV, a functional tetradacyl feet (four-toed) compromising four partial metatarsals, partially preserved digits I and III, and nearly complete digits II and IV. These newer remains were described by the also Mongolian paleontologist Altangerel Perle in 1982. He regarded the referral of Therizinosaurus and Therizinosauridae to Chelonia (turtles order) to be unlikely, and hypothesized Therizinosaurus and Segnosaurus—at the time of this description regarded as a theropod dinosaur—to be particularly similar based on their respective scapulocoracoid morphology, only differing in size. Perle referred MPC-D 100/45 to Therizinosaurus given that this specimen was found near the location of MPC-D 100/15 and was virtually similar to the described pes for Segnosaurus. In 1990, Barsbold and Teresa Maryanska agreed with Perle in that the hindlimb material from Hermiin Tsav he described in 1982 was therizinosaurian (then called segnosaurians) given that the metatarsus was stocky and the astragalus had a laterally arched ascending process (bony extension), but cast doubt with his referral of it to Therizinosaurus and the segnosaurian identity for this taxon since it was only known from the pectoral girdle and other forelimb elements, making direct comparisons between specimens impossible. They considered this specimen to represent a Late Cretaceous representative of the Segnosauria, but not Therizinosaurus.

In 2010 however, the North American paleontologist Lindsay E. Zanno in her large taxonomic reevaluation of Therizinosauria considered the referral of MPC-D 100/45 to Therizinosaurus to be likely based on the rationale that it was collected in the same stratigraphic context (Nemegt Formation) as the holotype, and shared the robust and four-toed morphology of other therizinosaurids such as Segnosaurus. She also excluded the rib material from the holotype as it was re-identified by Rozhdestvensky to likely have come from a sauropod dinosaur, and not Therizinosaurus itself.

Description
For maniraptoran standards, Therizinosaurus obtained enormous sizes, estimated to have reached 9 to 10 m in length with estimated heights from 4 to 5 m and ponderous weights from 3 t to possibly over 5 t. These dimensions make Therizinosaurus the largest therizinosaur known and the largest known maniraptoran. Along with the contemporaneous ornithomimosaur Deinocheirus, it was the largest maniraptoriform. Though the body remains of Therizinosaurus are relatively incomplete, inferences can be made about its physical characteristics based on more complete and related therizinosaurids. Like other members of its family, Therizinosaurus had a proportionally small skull bearing a rhamphotheca (horny beak) atop its long neck; bipedal gaits; a large belly for foliage processing; and sparse feathering. Other traits that were likely present in Therizinosaurus include a heavily pneumatized (air-filled) vertebral column and a robustly-built, (backwards oriented). In 2010, Senter and James used hindlimb length equations to predict the total length of the hindlimbs in Therizinosaurus and Deinocheirus. They concluded that an average Therizinosaurus may have had approximately 3 m long legs. More recently, Mike Taylor and Matt Wedel suggested that the whole neck would be 2.9 times the size of the humerus, which was 76 cm, resulting in a 2.2 m long neck based on comparisons with the series of Nanshiungosaurus. The most distinctive feature of Therizinosaurus was the presence of gigantic unguals on each of the three digits of its hands. These were common among therizinosaurs but particularly large and stiffened in Therizinosaurus, and they are considered as the longest known from any terrestrial animal.

Forelimbs
The arm of Therizinosaurus covered 2.4 m in total length (humerus, radius and second metacarpal with phalanges lengths). The measured 67 cm long with a stocky and flattened dorsal blade, wide acromial process (bony extension) and a very widened ventral surface. Near the anterior edge of the scapular widening and near the suture (bone joint), a foramen was located; it likely functioned as a channel for blood vessels and nerves when alive. The posterior edge of the scapula was robust and the was lightly built, likely fused into a cartilaginous system with its periphery in life. The measured 36 cm in length, it had a broad and convex lateral surface that formed a slightly inclined concavity near of the scapulocoracoid suture. This concavity bent down towards the scapular widening. Near the scapulocoracoid suture, this edge turned very thin and possibly into cartilage along with the periphery of the coracoid in life, as the case of the scapular edge. A large foramen was also present on the coracoid. The was broad and deep, slightly pointing to the outer lateral side. It had robust and convex crest-like borders. The supraglenoid thickness was developed in a convex crest-shaped form, it was divided across the top of the scapulocoracoid suture. The attachment for the biceps muscle was prominently developed by a large tubercle with a stocky top, indicating powerful muscles in life.

The was robustly built, measuring 76 cm long. It had a broad upper end. The (deltoid muscle attachment) was particularly long and thick, with its top located approximately 1/3 from the upper end. The length of the crest was no less than 2/3 the length of the whole bone element. The lower end of the humerus was very expanded and flared. The condyles were developed onto the anterior side of the lower expansion while the epicondyles were very broad and projected over the limits of the articular areas. The measured 62.02 cm and most of its length was occupied by its straight shaft. The ulnar process was very wide. The upper articular area was divided into inner and outer lateral sides. The lateral side had a triangular-shaped border and was slightly concave; it was limited in a top view by the depression for the upper articulation of the radius. The inner side formed a semilunar-shaped depression that covered the lunar-shaped condyle of the humerus. The was 55.04 cm long and slightly S-curved. Its upper end was flattened in a lateral direction, very wide, and the distal end was highly robust.

The first lower measured 8.23 cm tall and 8.53 cm wide and had two articulation surfaces on its lowermost end. The upper surface of this carpal was divided by a broad depression that formed the articulation of the carpus. On its inner side, it had a triangular-shaped outline that attached to the upper surface of metacarpal I, occupying a little bit less than the lateral side, which articulates to metacarpal II. These areas were separated by an oblique bony projection. The second lower carpal was smaller than the first one, measuring 5.6 cm tall and 5.93 cm wide. Its lower surface was flattened and the articular surface of the carpus extended from the first carpal to the second carpal over the articulation of the two bones.

The I was 14.55 cm long and compared to the others it was more stockier. Its lateral side was broad, especially on the uppermost area; the inner border was thin and narrow. The upper articulation was configured into three parts. The lower articular surface was somewhat asymmetric and bent to the inner side from the left one, along with a wide and deep opening. The total length of this metacarpal was larger than 2/3 the length of metacarpal III, which may have been a unique trait of Therizinosaurus. The metacarpal II measured 28.68 cm in length and was the most elongated and robust metacarpal. It had an inclined, square-shaped, and flattened upper articulation. The articulation on the lower head had very symmetrical condyles, being divided by a broad, deep depression. The lateral connecting openings were poorly developed. The metacarpal III covered 19.16 cm in length and had a very thin shaft compared to the other metacarpals. Its upper articulation was divided into three parts. The lower articular head was asymmetrical with deep and broad openings. As in metacarpal II, the lateral connecting openings were poorly developed. Only the second of the manus is known in Therizinosaurus. It consisted of two and a large. The first and second phalanges were somewhat equal in shape and length (14.17 cm and 14.38 cm, respectively), and shared the robust and stocky structure. The upper articular facets were very symmetrical and had a crest—particularly taller in the first phalanx. The top border of this crest was very pointed and thick; it likely served as the site for attachment of the extensor tendons in life. The lower heads were nearly symmetrical, but the central depression was considerably wider and deeper in the first phalanx. The manual unguals of Therizinosaurus were especially enormous and long, estimated to have covered approximately 52 cm in length. Unlike other therizinosaurs they were very straight, side to side flattened, and had sharp curvatures only at the tips, a unique feature of Therizinosaurus. The lower tubercle, where the flexor tendons attached to the ungual, was thick and robust, indicating a large pad in life. The articulation surface that connected the preceding phalanx was slightly concave and divided into two by a central ridge.

Hindlimbs
Therizinosaurus had a rather stocky and robust that was very wide on its lower end. The was robust and short (almost sauropodomorph-like), and composed of five. The first four were functional and terminated in weight-bearing digits, hence having a tetradactyl (four-toed) condition. The last or fifth metatarsal was highly reduced bone located at the lateral side of the metatarsus and had no functional significance. Unlike most other theropods groups, the first pedal digit was—though shorter than the others—functional and weight-bearing. The second and third were equally long while the fourth was smaller and somewhat thinner. The pedal unguals were side to side flattened and likely sharp. The morphology of the feet of Therizinosaurus and other therizinosaurids was unique, as the general theropod formula includes tridactyl (three-toed) feet in which the first toe was reduced to a dewclaw and held off the ground.

Classification
Maleev originally classified Therizinosaurus as a giant marine turtle and the genus was assigned by him to a separate family, Therizinosauridae given how enigmatic the specimen was. The fossils remained with uncertainty among the scientific community; however, in 1970 Rozhdestvensky was one of the first paleontologists to suggest that Therizinosaurus was actually a theropod dinosaur instead of a turtle. He also suggested that the supposed ribs of the holotype were likely from a different dinosaur, possibly a sauropodomorph. In 1976 Barsbold concluded that Therizinosaurus was a theropod because MPC-D 100/15 matched numerous theropodan characters, and that Therizinosauridae and Deinocheiridae were probably synonyms. With the discovery and description of Segnosaurus, in 1979 Perle named a new family of dinosaurs, the Segnosauridae. He tentatively placed the family within Theropoda given the similarities of the mandible and dentition to other members. A year later, the new genus Erlikosaurus was named by Barsbold and Perle in 1980. They named a new infraorder called the Segnosauria, composed of Erlikosaurus and Segnosaurus. They also noted that while aberrant and having ornithischian-like pelves, segnosaurs featured similar traits to other theropods. With the discovery of the referred hindlimb to Therizinosaurus in 1982 by Perle, he concluded that Segnosaurus was very similar to the latter based on the morphology and they possibly belonged to a single, if not the same, group. In 1983, Barsbold named a new genus of segnosaur, Enigmosaurus. He analyzed the pelvis of the new genus and pointed out that segnosaurids were so different from other theropods that they could be outside the group or represent a different lineage of theropod dinosaurs. Later on the same year, he intensified the exclusion of segnosaurs from being theropods by noting that their pelves resembled those of sauropod dinosaurs. Consequently, the assignment of segnosaurs started to shift towards sauropodomorphs. In 1984, Gregory S. Paul claimed that segnosaurs, rather than being theropods, were indeed sauropodomorphs that successfully managed to remain in the Cretaceous period. He based the idea on anatomical traits such as the skull and similar configuration. He maintained his position in 1988 by placing the Segnosauria into the now obsolete Phytodinosauria, and was one of the first to suggest a segnosaur assignment for the enigmatic Therizinosaurus. Other prominent paleontologists like Jacques Gauthier or Paul Sereno supported this vision. In 1990, Barsbold and Teresa Maryanska agreed in that the hindlimb material from Hermiin Tsav referred to Therizinosaurus in 1982 was segnosaurian since it matched several traits, but considered it unlikely to belong to the genus and species as there was no overlapping material among specimens. Barsbold and Maryanska also disagreed with previous researchers who classified Deinocheirus as a segnosaur. In the same year, David B. Norman considered Therizinosaurus to be a theropod of uncertain classification. However, with the unexpected discovery and description of Alxasaurus in 1993, the widely accepted sauropodomorph affinities of segnosaurs were questioned by paleontologists Dale Russell and Dong Zhiming. This new genus was far more complete than any other segnosaur and multiple anatomical features indicated that it was related to Therizinosaurus. With this, they identified the Therizinosauridae along with the Segnosauridae to be the same group, the former name having taxonomic priority. Due to some primitive characters present in Alxasaurus they coined a new taxonomic rank, the Therizinosauroidea, containing the new taxon and Therizinosauridae. All of the new information provided data on the affinities of the new-named therizinosauroids. Russell and Dong concluded that they were theropods with unusual features. In 1994, Clark and colleagues redescribed the very complete skull of Erlikosaurus and even more theropod traits were found this time. They also validated the synonymy of the Segnosauridae with Therizinosauridae and considered therizinosauroids as maniraptoran dinosaurs. In 1997, Rusell coined the infraorder Therizinosauria in order to contain all segnosaurs. This new infraorder was composed of Therizinosauroidea and the more advanced Therizinosauridae. Consequently, Segnosauria became a synonym of Therizinosauria. Though some uncertainties remained, a small and feathered therizinosauroid from China was described in 1999 by Xu Xing and colleagues: the new genus Beipiaosaurus. It confirmed the placement of therizinosaurs among theropods and also their taxonomic place on the Coelurosauria. The discovery also indicated that feathers were highly distributed among theropod dinosaurs.

In 2010, Lindsay Zanno revised the taxonomy of therizinosaurs in extensive detail. She found that many parts on therizinosaur holotype and referred specimens were lost or damaged, and sparse specimens with no overlapping elements were disadvantages when concluding the relationships of the members. Zanno accepted the referral of the specimen IGM 100/45 to Therizinosaurus since it matches multiple therizinosaurid traits, but decided not to include the specimen in her taxonomic analysis due to the lack of comparative forelimb remains. She also excluded the supposed ribs that were present on the holotype since they likely came from a different animal and not Therizinosaurus. In 2019, Hartman and colleagues also performed a large phylogenetic analysis of Therizinosauria based on the characters provided by Zanno in her revision. They found similar results to Zanno regarding the family Therizinosauridae but this time with the inclusion of more taxa and specimens. The cladogram below shows the placement of Therizinosaurus within Therizinosauria according to Hartman and colleagues in 2019:

Feeding
In 1993 Dale A. Russell and Donald E. Russell analyzed Therizinosaurus and Chalicotherium, and noted similarities in their respective body plan, even though they form part of different groups. Both genera had large, well-developed, and relatively strong arms; the pelvic girdle was robust and suited for a sitting behavior; and the hindlimb (particularly the foot) structure was robust and shortened. They considered these adaptations to represent an example of convergent evolution—a condition where organisms evolve similar traits without necessarily being related—between extinct mammal and dinosaur genera. Moreover, the body plan is somewhat exhibited by the modern-day gorillas. Because the animals with this type of body plan are known to represent herbivores, the authors suggested this lifestyle for Therizinosaurus. Russell and Russell reconstructed the feeding behavior of Therizinosaurus as being able to sit while consuming foliage from large shrubs and trees. The plant material would have been harvested with its hands and this action was likely favored by its elongated neck which prevented the use of large amounts of force and effort. As its arms were long enough to have touched the ground during certain stances, they could have helped the dinosaur to rise from a prone position. If browsing in a bipedal stance, Therizinosaurus may have been able to reach even higher vegetation supported by its short and robust feet. Whereas Chalicotherium was more suited to hook branches, Therizinosaurus was better at pushing large clumps of foliage because of its long claws. It is also possible that Therizinosaurus was less capable of great precision in its movements than was Chalicotherium, due to the latter having more developed brain, dental and muscular capacities.

Anthony R. Fiorillo and colleagues in 2018 suggested that Therizinosaurus had a reduced bite force that may have been useful for cropping vegetation or foraging, based on relative therizinosaurids such as Erlikosaurus and Segnosaurus. As the bite force started to decrease from primitive to derived therizinosaurians, Therizinosaurus, being a derived member, would have been subject to the evolutionary relationship.

Arms and claws function
When the genus was first described by Maleev in 1954, he considered that the unusually large claws were used to harvest seaweed. This was however, based on the assumption of a giant marine turtle. In 1970, Rozhdestvensky re-examined the claws and suggested a possible function specialized in opening termite mounds or a frugivore diet. Barsbold in 1976 suggested that the unusual claws of Therizinosaurus may have been employed to impale or dig up loose terrain, however, he pointed out their notorious fragility upon impact. In 1995, Lev A. Nessov suggested the elongated claws were used for defense against predators and juveniles could have used their claws for arboreal locomotion, in a similar way to the modern-day sloths or hoatzin chicks.

In 2014, Lautenschlager tested the function of various therizinosaur hand claws—including Therizinosaurus—through digital simulations. Three different functional scenarios were simulated for each claw morphology with a force of 400 N applied in each scenario: scratch/digging; hook-and-pull; and piercing. Though the stocky claws of Alxasaurus resulted in low-stress magnitudes, the stress was greater with the curvature and elongation of the claws in Falcarius, Nothronychus and Therizinosaurus. Some of the highest stress, deformation, and strain magnitudes were obtained in the scratch/digging scenario, the hook-and-pull scenario, in contrast, resulted in lower magnitudes, and lesser ones were found in the piercing scenario. Particularly, the overall stress was most pronounced in the unusual claws of Therizinosaurus, which may represent an exceptional case of elongation specialization. Lautenschlager noted the more strongly curved and elongate claws of some therizinosaurian taxa were poorly functional in a scratch/digging fashion, indicating this as the most unlikely function. Though fossorial (digging) behavior has been reported in several dinosaur species, the large body size largely rules out the possibility of burrow digging in therizinosaurs. Nevertheless, an overall digging action would have been done with the foot claws because, since as in other maniraptorans, feathers on the arms would have interfered with this function. Instead of being used for fossorial behavior, it is more likely that Therizinosaurus make use of its hands in a hook-and-pull fashion to pull or grasp vegetation within reach. This herbivorous behavior would make therizinosaurs mostly similar to the extant anteaters and the extinct ground sloths. Lautenschlager could neither confirm nor disregard that the hand claws could have been used for defense, intraspecific competition, stabilization by grasping tree trunks during high browsing, sexual dimorphism, or gripping mates during mating given the lack of more specimens. He clarified that there is no evidence that the long claws of Therizinosaurus would have been used in active defense or attack, however, it is possible that these appendages could have had some role when facing a threat, such as intimidation. Scott A. Lee and Zachary Richards in 2018 based on bending resistance measurements of several dinosaur humeri, found the humeri of carnosaur, therizinosaur, and tyrannosaur dinosaurs to be relatively resilient to stress. This increased ability to withstand stress supports the idea that Therizinosaurus and other therizinosaurians used their arms in a robust fashion that generated significant forces. They also suggested that the prominent claws of some members could have been used as a defense against predators and other various functions. Unlike the generally light and agile ornithomimosaurs who avoided predation with speed, Therizinosaurus and relatives relied on arms and claws to face threats (and were generally slow-runners to begin with).

A 2023 study by Qin, Rayfield, Benton et al., regarding the claw function in therizinosaurids and alvarezsaurids, which represent the extremes of theropod claw morphology, suggest that there was no mechanical function identifiable for Therizinosaurus, suggesting the claws on its forelimbs were merely decorative rather than functional and a result of peramorphic growth resulting from increased body size.

Paleoenvironment
The remains of Therizinosaurus have been found in the well-known Nemegt Formation of the Gobi Desert. Although this formation has never been dated radiometrically because of the discontinuity of exposures and absence of datable volcanic rock facies, the vertebrate fossil assemblage suggests an early Maastrichtian stage possibly between 70 million and 68 million years ago. The Nemegt Formation is separated into three informal members. The lower member is mainly composed by fluvial sediments, while middle and upper members consist of alluvial plain, paludal, lacustrine, and fluvial sedimentation.

The environments that Therizinosaurus inhabited have been determined by the sedimentation across the formation, the δ13C level preserved on the tooth enamel of many herbivorous dinosaurs and the numerous petrified wood across the formation. They consisted of large meandering and braided rivers with extensive woodlands composed of large, enclosed, canopy-like forests of Araucarias that supported diverse herbivorous dinosaurs like Therizinosaurus. The climate of the formation was relatively temperate (mean annual temperatures between 7.6 and 8.7 °C), characterized by monsoons with cold, dry winters and hot, rainy summers with the addition of mean annual precipitations between 775 mmm and 835 mmm, a precipitation that was subject to prominent seasonal fluctuations. The wet environments of the Nemegt Formation may have acted as an oasis-like area that attracted oviraptorids from arid neighbour localities such as the Barun Goyot Formation, as evidenced on the presence of Nemegtomaia in both regions. It has been previously suggested that the Nemegt Formation may have been similar to the modern-day Okavango Delta, which is also composed of mesic (well-watered) surroundings. The paleofauna of the Nemegt Formation was diverse and rich, composed of other dinosaurs such as the alvarezsaurs Mononykus and Nemegtonykus; deinonychosaurs Adasaurus, and Zanabazar; ornithomimosaurs Anserimimus and Gallimimus; oviraptorosaurs Avimimus, Gigantoraptor, Rinchenia and Elmisaurus; tyrannosaurids Alectrosaurus, Alioramus and possibly Bagaraatan; ankylosaurids Saichania and Tarchia; and pachycephalosaurids Homalocephale and Prenocephale. The Nemegt megafauna included the ornithomimosaur Deinocheirus; hadrosaurids Barsboldia and Saurolophus; titanosaurs Nemegtosaurus and Opisthocoelicaudia; and the apex predator Tarbosaurus. Additional paleofauna includes birds like Judinornis or Teviornis; abundant freshwater ostracods at numerous localities; fish; terrestrial and aquatic turtles such as Mongolochelys and Nemegtemys; and the crocodylomorph Paralligator.

As the sediments in which Therizinosaurus remains have been found are fluvial-based, it is suggested that it may have preferred to forage on riparian areas. Therizinosaurus due to its prominent height and high-browsing lifestyle, was one of the tallest dinosaurs in the Nemegt Formation paleofauna. It probably had no significant competition with other herbivores over the foliage, however, a niche partitioning with the titanosaurs—also long-necked dinosaurs—of the formation could have occurred. If Therizinosaurus was a grazer, on the other hand, it would have competed with contemporary grazers such as Saurolophus. Although small predators like dromaeosaurids and troodontids did not represent a threat to Therizinosaurus, the only other predator rivaling in size was Tarbosaurus. Because of the greater height of Therizinosaurus, a large Tarbosaurus may have been not able to bite any higher than the thighs or belly of an adult standing Therizinosaurus. The elongated claws may have been useful for self-defense or to intimidate the predator during this situation. It is also possible that Therizinosaurus competed for other various resources with Deinocheirus, Saurolophus, Nemegtosaurus and Opisthocoelicaudia.

title: Therizinosaurus


text:
Alberford

The Alberford was an English car manufactured in about 1922 to 1924 in Albert Bridge Garage, Chelsea, London. Marketed as "the ideal owner-driver car" it was based on a lengthened and possibly lowered chassis from a Model T Ford with wire wheels and a Rolls-Royce type radiator. The engine was converted to overhead valve and a top speed of 75 mph (120 km/h) was claimed. Prices ranged from £253 for a two-seater to £500 for a saloon.

title: Alberford


text:
Queenstown Road railway station

Queenstown Road is a railway station in inner south-west London, 2 mi south-west of London Waterloo, between Vauxhall and Clapham Junction. It is a short walk from Battersea Park station and Battersea Park to the west. It has three platforms, two of which are in use by all stopping services related to the Waterloo to Reading Line: its branch services to Weybridge (via Hounslow) and two separate sets of bidirectional Waterloo-to-Waterloo services via Hounslow using the Hounslow Loop and via Kingston using the Kingston Loop. In addition, 50% of maximum peak hour trains serving the Shepperton branch line call at the station.

History
The station was opened on 1 November 1877, by the London and South Western Railway, as Queen's Road (Battersea). The entrance still bears the name Queen's Road, not to be confused with Queens Road Peckham, Walthamstow Queen's Road or Queensway Underground station, which was also originally called Queens Road.

Queen's Road was also the name of the road in which the station is located. Named after Queen Victoria, after the Second World War the street's name was changed to Queenstown Road. The station was renamed Queenstown Road (Battersea), to go with the road, on 12 May 1980. The station's modern entrance and platform signage lacks the "(Battersea)" suffix that appears in timetables and on some maps. The latest "Oyster Rail Services" map produced by Transport for London shows the station as plain "Queenstown Road". On the map produced by the station managers, South Western Railway, the station is called "Queenstown Road".

The station is Grade II listed.

Services
Queenstown Road is close to the terminus of the South West Main Line but with only 2 platforms in use. The off-peak frequency in trains per hour is:
 * Northbound:
 * 8 to London Waterloo
 * Southbound:
 * 2 to Weybridge via Hounslow and Staines
 * 4 on the Hounslow Loop back to London Waterloo:
 * 2 clockwise via Richmond and Hounslow
 * 2 anti-clockwise via Hounslow and Richmond
 * 2 on the Kingston Loop (anti-clockwise) via Richmond and Kingston, back to London Waterloo

Connections
London Buses routes 137, 156, 452 and night route N137 serve the station.

Future
Network Rail plans to reopen Platform 1 at Queenstown Road to permit the segregation of Windsor and Mainline services flows, providing additional capacity on the approach to London Waterloo.

title: Queenstown Road railway station


text:
Talk:Kabuki

Random foul words
I have never edited a Wikipedia page before, but in reading about Stage Design of Kabuki theatre, I came across 3 foul words that had been dropped in at random points among sentences. Could someone knowledgeable double check that in removing those words, the article remained accurate, and please remove any others you might see? Thank you.

no ESSENTIAL information given; HELP A WIKI OUT
the article seems informative, but it doesn't say anything about what a kabuki performance really is. does it involve a story, with drama? is it just a play with singing and dancing? the wiki even says "the structure of a kabuki play" became established, or something, but it DOESN'T ACTUALLY SAY what a typical structure is. honestly: after reading the wiki, i still don't know what kabuki is-- i only have a vague impression of what a performer looks like. is there a story with beginning, middle, and end? are there scripted lines? is there improvised comedy? is the singing/dancing related to the story, or is it more like some amazing vaudeville act? SOMEBODY HELP THE WIKI OUT.128.119.59.12 22:38, 18 December 2005 (UTC)

I also noticed that there is little detail on what is actually seen or heard at a kabuki play. There is mention of a "chanter" but no description of his (?) role. Is the chanter one of the essential elements? What does he/she chant? —Preceding unsigned comment added by 149.137.149.174 (talk) 16:46, 20 October 2008 (UTC)

Removed from article as unclear:

Its development was pioneered by Ichikawa Danjuro (1660-1704) in     Edo and Sakata Tojuro (1647-1709) in the Kyoto-Osaka area.

If anyone can clarify as to the development of what.... Exploding Boy 08:33, Jul 23, 2004 (UTC)

 * I have readded the above statements, hopefully in a fashion which is more explanatory. Also, in regards to the earlier comment about "what a kabuki performance really is" - there is in point of fact tons missing from this article, not only about the plays themselves, but also about the culture surrounding kabuki. I write this NOT as a criticism of any individual editors - I love you all, and I trust that we are all working together on this to make it better, gradually. I have expanded on play structure, the differences between Edo & Kamigata kabuki, and a few other themes... a lot remains to be said, but there's just so much I don't think I could quite organize myself enough to do it properly. In any case, I'll be back, I'm sure, when it strikes me to have something else to add.

 * I am writing all of this essentially simply as a note to our readers, and to other editors, that this article continues to be very much a work in progress. If you have anything to contribute, please do, and if you have any questions on specific elements that are unclear or that are absent from the article entirely, please feel free to ask. LordAmeth 17:23, 14 December 2006 (UTC)

Kabuki theater
Is this article related to Kabuki theater?
 * Yes. There is presently no article on kabuki theater, which could mean theater in the kabuki genre (the subject of Kabuki) or it could mean a building in which kabuki is performed (e.g. the Kabuki-za, a famous theater in Tokyo). Either way, this article is related to it.Fg2 07:06, Feb 11, 2005 (UTC)

Images
Images of kabuki and bunraku on wikipedia are sorely lacking, as are many articles relating to such subjects; I am working, gradually, to rectify that situation as regards the articles. I have contributed to articles on one puppet troupe, a number of kabuki actors, a few plays, characters, theatres, and ukiyo-e artists, and intend to keep doing so, expanding wikipedia's coverage of such subjects piece by piece, あちこち.

But as it pertains to images, anything anyone can provide would be most helpful. Theatres do not allow photography, I would imagine, and even if they do, it's likely very difficult to get a good shot during performance; images of works of art are highly guarded by the museums and other owners of the art; images from books, often taken by professional photographers, and designed specifically to perfectly illustrate topics or subjects, which would make them *perfect* for Wikipedia, are of course tightly controlled by the copyright holders - publishers, photogrphers, authors, as well.

Again, any help anyone can offer in providing pictures of actors, sets, puppets, ukiyo-e prints, would be wonderful. Thank you. LordAmeth 16:31, 14 December 2006 (UTC)

 * Images are very difficult. Trying to find a good photograph of a kabuki actor in full makeup and costume proved impossible for me (and the handful I did find wouldn't be free use anyway).  Woodblock prints are a better bet -- they're almost all public domain, and kabuki is a pretty popular inspiration.  I found this site by Hans Olof Johansson a good place to start searching.

 * On an unrelated note, I think this article would pass GA, except for its lack of inline citations. Going to work on that when I can, but it probably wouldn't be until after the holidays.  If someone else could do so before that, I'd be happy to nominate it.  I think it's gotten to be a pretty good overview of the subject and deserves the recognition. Shimeru 19:33, 16 December 2006 (UTC)

 * If you'd like to add "citation needed" templates where you think appropriate, I can then go to work finding citations for those points. LordAmeth 14:40, 17 December 2006 (UTC)

 * I've scattered a couple through the article. It might also be appropriate to cite in other places, such as summaries for the three famous plays mentioned.  Will be getting some sources together myself, too. Shimeru 20:20, 17 December 2006 (UTC)

 * Thank you much for your help, and in particular for noting which statements you felt needed to be backed up with citations. This really helped me know what to search for in looking through my sources - I have managed to cite most of what you tagged; those things I have not cited I do very much believe to be true, but have not found a written, published citation for yet. But you said you were getting some sources together... I'm glad this article's really starting to shape up! LordAmeth 04:01, 18 December 2006 (UTC)

 * No, thank you -- you're the one doing the work. ^_- Looks good so far, and I think I may actually have something for at least one of those remaining tags, now that I look at it.  I'll dig through my books tomorrow and find out. Shimeru 06:11, 18 December 2006 (UTC)

Took a while, but I managed to track down those sources. All of the fact tags should be taken care of now. Probably could use a copyediting pass though. Shimeru 20:22, 22 February 2007 (UTC)

Pop culture references
I have added a section on pop culture references. I think this is important, as it highlights the prominence of kabuki both inside Japan and in the West; I very very much hope that this does not, however, become a long trivia section loaded with tons of tons of pop culture references. It was essentially created to accomodate the recent addition of a reference to the Slipknot drummer. As to whether or not this comment serves no purpose and ought to be removed, I'm making no judgements right now.

My main purpose in posting this here talk page comment is to ask for opinions or suggestions on what this section might be called. We can't say "Kabuki in popular culture," as kabuki was very much a part of popular culture itself through the Meiji period and possibly later, though it has become more formalized and stodgy-feeling lately. And I don't want to simply say "Kabuki outside Japan" or something like that, since that would include actual kabuki performances and such. Maybe "Kabuki in popular culture today" or the like is the best we can do. LordAmeth 23:42, 21 December 2006 (UTC)

 * I see what you mean, and "non-traditional popular culture" is somewhat clumsy (and perhaps misleading). What about "References to kabuki in popular culture" or "Pop-cultural references to kabuki", or something along those lines?  The "references" is usually understood, but since we're dealing with a subject that is itself (at least arguably) pop-culture...  On the other hand, I suppose we could simply say "Kabuki in popular culture" after all, and hope that our readers draw kabuki's own pop-culture status and impact from the article.  Right now, I don't think the section is needed at all, so I've removed it -- the Slipknot drummer wears a noh mask, according to his article, so I've removed the bit about him from this page, and I placed a sentence about the anime references in the history section under "Kabuki today," where it seems to fit along with the movie appearances by kabuki actors. Shimeru 04:14, 22 December 2006 (UTC)

Good article review
I have reviewed this article, and overall, I think it's very well written, and would probably give it a B or B+ grade. However, I've noticed several issues which are significant enough that I don't think it warrants passing this in accordance to the good article criteria:

 * GA review (see here for criteria)

 * 1) It is reasonably well written.
 * a (prose): b (MoS):
 * 1) It is factually accurate and verifiable.
 * a (references): b (citations to reliable sources):  c (OR):
 * 1) It is broad in its coverage.
 * a (major aspects): b (focused):
 * 1) It follows the neutral point of view policy.
 * a (fair representation): b (all significant views):
 * 1) It is stable.
 * 2) It contains images, where possible, to illustrate the topic.
 * a (tagged and captioned): b lack of images (does not in itself exclude GA):  c (non-free images have fair use rationales):
 * 1) Overall:
 * a Pass/Fail:
 * a Pass/Fail:

I don't think the article is broad enough to cover everything. I noticed a significant number of red links still in the article, particularly near the end. All three of the famous plays listed are red links, and very little is said about famous playwrights. The 'major theatres in operation' section is really just a list, so this should be written out and expanded. The items listed in the 'see also' section are mainly Japanese words, and without adequate descriptions, are pretty much meaningless to a non-Japanese reader. The article could use better english descriptions for Japanese words at other areas in the article as well.

It's coming a long way, though. Hope these suggestions help! Dr. Cash 18:36, 3 March 2007 (UTC)

 * Thank you very much for your suggestions and guidance. This article, being on such a broad topic, clearly has a long way to go, but I think we've made great progress recently, and will continue to do so. All those redlinks are on my personal "to-do" list, and I hope to get around to them sometime within the next few months. Nevertheless, I really don't know if that should count towards the completeness of this article. The question is not whether or not kabuki-related subjects are well-covered on Wikipedia in general, but whether this article by itself provides what it should, which is a general overview. LordAmeth 10:18, 4 March 2007 (UTC)

 * I'm a bit puzzled by that, myself. The rest is pretty helpful, though.  I'm going to see what I can do about explaining the Japanese terms... Shimeru 04:15, 5 March 2007 (UTC)

 * I'm working on an article on Yoshitsune Senbon Zakura in my Sandbox, which I should be able to finish and post within the next day or two. The other plays listed I have not read, but I could certainly post a briefer summary... LordAmeth 10:23, 5 March 2007 (UTC)
 * Re: my recent edit of readding information - I apologize to undo your work, Shimeru, and I wouldn't want to think that we're working at cross-purposes. In this particular section, I think you removed information which was relevant and I felt the need to readd it. Firstly, that kabuki is not unusual in world traditions in devoting a full day to the theater, thus the re-adding of the phrase "as well as in other cultures around the world". Secondly, the idea of escape from reality into a culture of play - entire journal articles, if not entire books, have been written on the culture of play and the societal role of festivals and carnivals in serving as a metaphor for another plane of existence where the real world is pushed aside, etc etc. This is very important to the way that kabuki functioned in the Edo period and the role it played in people's lives. LordAmeth 10:31, 5 March 2007 (UTC)
 * No problem. Perhaps we should cover that in more detail, though?  The comment about other cultures seemed out of place to me in an article about kabuki, and the "escape" comment currently doesn't offer any of that cultural context. Shimeru 19:06, 5 March 2007 (UTC)

Onnagata redirection
Onnagata should not be redirected to Kabuki. Though they are associated, traditional onnagata and kabuki theater were in competition with each other, especially during the early Meiji era.Hemkito 20:11, 14 October 2007 (UTC)
 * I'd be curious to learn more about this. I've taken a postgraduate level course on Japanese theatre, and read a bit about it, and have never heard of any kind of onnagata tradition outside of kabuki, nor any competition therefore between it and mainstream kabuki. LordAmeth 21:42, 14 October 2007 (UTC)
 * I second Lord Ameth's notes, are you perhaps confusing onnagata (male actors playing female roles) with the all-female body of actors of the Takarazuka Revue? —Preceding unsigned comment added by 96.245.223.207 (talk) 17:11, 16 September 2008 (UTC)
 * I'd just like to say that if onnagata doesn't have it's own article and redirects here, there should at least be a definition in this article. In the current version, the word appears twice, and no explanation is given for its meaning, which isn't helpful to those who reached Kabuki through the onnagata redirect.--Boffob (talk) 18:34, 22 October 2008 (UTC)

Traditional Kabuki Players NOT Prostitutes
Traditional Kabuki players were not prostitutes, as the first history section, "Female Kabuki" suggests. This mistake stems from the popular misconception that geisha were prostitutes, rather than escort entertainers. The subsequent Japanese that is referred to, 歌舞妓 (Kabuki), presented as a colloquial misnomer, centers around the last character 妓 (gi), which indicates geisha. Regardless of whether this misrepresentation is also present in the reference source, the use of the word "prostitute" is misleading at best, and more appropriately regarded as factually incorrect. In truth, the geisha culture explicitly forbade sexual acts of its members. I propose actual use of the word geisha with link to the appropriate article, or at the very least, the appropriate translation of "escort entertainer" or equivalent. —Preceding unsigned comment added by 128.180.76.159 (talk) 16:34, 13 November 2008 (UTC)
 * I don't agree with your assessment. Geisha were not prostitutes, but many individual geisha either worked also as prostitutes or had physical relations with their clients for other reasons.  It is also not the correct to state early kabuki performers were not prostitutes, as the traditional founder of the art form was in fact a full-fledged prostitute, and women's kabuki and boys' kabuki were banned because of the connections with prostitution.  The last character of kabuki is also unrelated to the first character of geisha.--96.245.223.207 (talk) 19:01, 15 November 2008 (UTC)

Costumes? Makeup? Wigs? ...Color? 18 Favorite Plays (juhachiban)?
Where are the most important aspects of Kabuki mentioned in this article? The reference to costumes is slightly noticeable when talking about Performance, but the kimonos, kumadori, and katsura are not specifically mentioned at all. Color is the most important thing about Kabuki... There are plays that don't allow costumers to change the original colors of the costume at all, such as Sukeroku (in which Sukeroku wears a black kimono with red and light blue underneath, a blackish indigo umbrella, and socks and a headband of a specific shade of purple). Also, the Kabuki juhachiban, the 18 favorite plays, are neglected from the article. These topics are the most important things about Kabuki, and the article on Kabuki doesn't even recognize their existence... 216.167.172.78 (talk) 02:42, 3 February 2009 (UTC)

Redundancy
Are those maintaining this article unaware of the repetition of the first two parts of the history section in the first two paragraphs of its third part? 64.143.221.86 (talk) 21:42, 5 June 2009 (UTC)

Copyedit
Enjoy.

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Kabuki music
There is no mention of Kabuki music. I the Japanese language page, there is a whole section on music (歌舞伎音楽) but I cannot understand the Google translation -- so I have no information to add unfortunately. DouglasHeld (talk) 23:30, 5 January 2018 (UTC)

Music
Stage and production kabuki performance 115.147.9.204 (talk) 11:03, 27 May 2022 (UTC)

Source 42
The three main categories of kabuki play are jidaimono (時代物, historical or pre-Sengoku period stories), sewamono (世話物, "domestic" or post-Sengoku period stories), and shosagoto (所作事, "dance pieces").[42] ("Kabuki « MIT Global Shakespeares". Retrieved 8 April 2015.)

The article cited here uses Wikipedia as the source for its own information. Perhaps there's a better one to be used? — Preceding unsigned comment added by 75.72.251.223 (talk) 15:51, 6 December 2022 (UTC)
 * Thank you for pointing this out; you're right, this wouldn't be a good source to use. I have a book on kabuki I can use as a source in its place.—Ineffablebookkeeper (talk) ({{ping}} me!) 14:37, 14 December 2022 (UTC)

title: Talk:Kabuki


text:
Helsinki Cathedral

Helsinki Cathedral (Helsingin tuomiokirkko, Suurkirkko; Helsingfors domkyrka, Storkyrkan) is the Finnish Evangelical Lutheran cathedral of the Diocese of Helsinki, located in the neighborhood of Kruununhaka in the centre of Helsinki, Finland, at the Senate Square. The church was originally built from 1830 to 1852 as a tribute to the Grand Duke of Finland, Emperor Nicholas I of Russia. It was also known as St Nicholas's Church (Nikolainkirkko, Nikolajkyrkan) until Finland declared its full independence in 1917. It is a major landmark of the city, and one of the most famous historical structures in Finland as a whole when viewed globally.

Description
A distinctive landmark in the Helsinki cityscape, with its tall, green dome surrounded by four smaller domes, the building is in the neoclassical style. It was designed by Carl Ludvig Engel as the climax of his Senate Square layout: it is surrounded by other, smaller buildings designed by him.

The church's plan is a Greek cross (a square centre and four equilateral arms), symmetrical in each of the four cardinal directions, with each arm's facade featuring a colonnade and pediment. Engel originally intended to place a further row of columns on the western end to mark the main entrance opposite the eastern altar, but this was never built.

History
After Helsinki was made into the capital of Finland in 1812, Alexander I decreed in 1814 that 15 percent of the salt import tax were to be collected into a fund for two churches, one Lutheran and one Orthodox. The cathedral was built on the site of the smaller 1724–1727 Ulrika Eleonora Church (Helsinki), which had been dedicated to its patroness, Ulrika Eleonora, Queen of Sweden. Helsinki Old Church was built between 1824 and 1826 in nearby Kamppi to serve the parish while the Ulrika Eleonora Church was being demolished and until the consecration of the new cathedral. The bells of the old church were reused in the cathedral. Construction of the cathedral began in 1830, although it was only officially inaugurated on 15 February 1852. Engel died in 1840.

The building was later altered by Engel's successor Ernst Lohrmann, whose four small domes emphasise the architectural connection to the cathedral's models, Saint Isaac's Cathedral and Kazan Cathedral in St. Petersburg. Lohrmann also designed two extra buildings to the sides of the steps: looking from the square the left building is a bell tower and the right building a chapel. He also erected larger-than-life sized zinc statues of the Twelve Apostles at the apexes and corners of the roofline in 1849. They were sculpted by August Wredov and Hermann Schievelbein and cast by S. P. Devaranne in Berlin in 1845–1847. The altarpiece was painted by Carl Timoleon von Neff and donated to the church by Emperor Nicholas I. The cathedral crypt was renovated in the 1980s by architects Vilhelm Helander and Juha Leiviskä for use in exhibitions and church functions; Helander was also responsible for conservation repairs on the cathedral in the late 1990s.

Today, the cathedral is one of Helsinki's most popular tourist attractions. In 2018 there were half a million visitors. The church is in regular use for services of worship and special events such as weddings.

In popular culture
The opening sequence of the music video for "Sandstorm" by Darude was filmed on Senate Square, prominently featuring the Cathedral in the background.

Gallery
There are also statues of Paul the Apostle, James the Great, James, son of Alphaeus and Andrew the Apostle.

title: Helsinki Cathedral