text:
Judith Viorst

Judith Viorst (née Stahl, February 2, 1931) is an American writer, newspaper journalist, and psychoanalysis researcher. She is known for her humorous observational poetry and for her children's literature. This includes The Tenth Good Thing About Barney (about the death of a pet) and the Alexander series of short picture books, which includes Alexander and the Terrible, Horrible, No Good, Very Bad Day (1972), which has sold over two million copies.

Viorst is a 1952 graduate of the Newark College of Arts and Sciences at Rutgers University in Newark, New Jersey. In 1968, she signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. In the latter part of the 1970s, after two decades of writing for children and adults, Viorst turned to the study of Freudian psychology. In 1981, she became a research graduate at Washington Psychoanalytic Institute after six years of study.

Early life
A native of Newark, New Jersey, Viorst was raised in Maplewood, New Jersey, and attended Columbia High School. A graduate of the class of 1948, she was inducted into the school's hall of fame in 1990.

Writing for children
Among Viorst's books for children is the "Alexander" series (including Alexander and the Terrible, Horrible, No Good, Very Bad Day), whose narrator is a young boy who lives with his parents and two brothers, Anthony and Nick, who are named after Viorst's own three sons.

Viorst's book Sad Underwear (published in 1995) is a collection of poems that examines a wide variety of feelings and experiences from a child's point of view. Her verses are accompanied by black and white illustrations by Richard Hull.

Writing for adults
Viorst's books for adults include nonfiction psychology books such as Grown-up Marriage, Imperfect Control, and Necessary Losses. She has written nine books of poetry including Unexpectedly Eighty and Other Adaptations, When Did I Stop Being Twenty and Other Injustices: Selected Poems from Single to Mid-Life, and People and other Aggravations. Viorst is also a newspaper columnist and has written frequently for The New York Times and The Washington Post, and has been a contributing editor to Redbook magazine.

Viorst also penned the musical Love & Shrimp with Shelly Markam. The Ensemble Theatre of Cincinnati hosted a performance of Love & Shrimp, starring Deb Girdler, Pamela Myers and Shelley Bamberger, in the spring of 1999.

Personal life
Viorst lives in Washington, D.C. Her late husband, political writer Milton Viorst, died of COVID-19 in 2022. They have three grown sons: Anthony, Nicholas, and Alexander; and seven grandchildren. Viorst received the 2011 Foremother Award for Lifetime Achievement from the National Research Center for Women & Families.

Selected works

 * The Wonderful World of Science, edited by Shirley Moore and Viorst (Bantam Books, 1961) — science experiments and recreations
 * Projects: Space (Washington Square Books, 1962)
 * 150 Science Experiments Step-by-step, illus. Dennis Telesford (Bantam, 1963)
 * The Natural World: A guide to North American wildlife (Bantam, 1965)
 * The Village Square, illus. Tom Ballenger (Coward-McCann, 1966)
 * The Changing Earth, illus. Feodor Rimsky (Bantam, 1967)
 * Sunday Morning: a story, illus. Hilary Knight (Harper & Row, 1968)

For children

 * I'll Fix Anthony, illus. Arnold Lobel (1969), Harper & Row, ISBN 0-06-026306-7
 * Try It Again, Sam: Safety When You Walk, illus. Paul Galdone (1970)
 * My Mama Says there Aren't any Zombies, Ghosts, Vampires, Creatures, Demons, Monsters, Fiends, Goblins, or Things, illus. Kay Chorao (1973)
 * The Tenth Good Thing About Barney, illus. Erik Blegvad (1987)
 * The Good-bye Book, illus. Kay Chorao (1988)
 * Super-Completely and Totally the Messiest, illus. Robin Preiss Glasser (2001)
 * Just in Case, illus. Diana Cain Bluthenthal (2006)
 * And Two Boys Booed, illus. Sophie Blackall (2014)

Poems for Children and Their Parents

 * If I Were in Charge of the World and Other Worries: Poems for Children and their Parents, illus. Lynne Cherry (1981)
 * Sad Underwear and Other Complications: More Poems for Children and Their Parents, illus. Richard Hull (1995)

Alexander
Omnibus edition: Absolutely, Positively Alexander: The Complete Stories
 * Alexander and the Terrible, Horrible, No Good, Very Bad Day, illustrated by Ray Cruz (1972), New York: Atheneum Books, ISBN 0-689-70428-3
 * Alexander, Who Used to be Rich Last Sunday illus. Ray Cruz (1977), Atheneum, ISBN 978-0-689-30602-0
 * Alexander, Who Is Not (Do You Hear Me? I Mean It!) Going to Move illus. Robin Preiss Glasser "in the style of Ray Cruz" (1995), Atheneum, ISBN 0-689-31958-4
 * Alexander, Who's Trying His Best to Be the Best Boy Ever illus. Isidre Monés "in the style of Ray Cruz" (2014), Atheneum, ISBN 978-1-48142353-3

 * Related titles
 * Alexander and the Terrible, Horrible, No Good, Very Bad Day: A Musical
 * Alexander and the Wonderful, Marvelous, Excellent, Terrific Ninety Days: An Almost Completely Honest Account of What Happened to Our Family When Our Youngest came to Live with Us for Three Months (2007) — an adult memoir of Judith Viorst and her real son, Alexander

Lulu

 * Lulu and the Brontosaurus, illus. Lane Smith (2010), Atheneum, ISBN 978-1-4169-9961-4
 * Lulu Walks the Dogs, illus. Lane Smith (2012), Atheneum, ISBN 978-1-4424-3579-7
 * Lulu's Mysterious Mission, illus. Kevin Cornell (2014), Atheneum, ISBN 978-1-4424-9746-7
 * Lulu Is Getting a Sister, illus. Kevin Cornell (2018), Atheneum, ISBN 9781481471909

For adults

 * People and Other Aggravations (1971)
 * Yes, Married: A Saga of Love and Complaint (1972)
 * A Visit from St. Nicholas to a Liberated Household illustrated by Norman Green (1977)
 * Love and Guilt and the Meaning of Life, Etc. illustrated by John Alcorn (1979)
 * Necessary Losses: The Loves, Illusions, Dependencies, and Impossible Expectations That All of Us Have to Give Up in Order to Grow (1987)
 * Murdering Mr. Monti: A Merry Little Tale of Sex and Violence (1994)
 * Imperfect Control: Our Lifelong Struggles With Power and Surrender (1998)
 * You're Officially a Grown-up: The Graduate's Guide to Freedom, Responsibility, Happiness, and Personal Hygiene (1999)
 * Grown-Up Marriage: What We Know, Wish We Had Known, and Still Need to Know About Being Married (2003)

Age-related poetry series

 * When Did I Stop Being 20 & Other Injustices: Selected Poems from Single to Mid-Life, illus. John Alcorn (1987)
 * It's Hard to Be Hip Over 30 & Other Tragedies of Married Life (1968), New York: World Publ. Co.; reprinted by Persephone Books, 1999
 * How Did I Get to Be 40 & Other Atrocities illus. John Alcorn (1976)
 * Forever 50 & Other Negotiations, illus. John Alcorn (1989)
 * Suddenly 60 & Other Shocks of Later Life, illus. Laurie Rosewald (2000)
 * I'm Too Young to Be 70 & Other Delusions, illustrated by Laura Gibson (2005)
 * Unexpectedly 80 & Other Adaptations, illus. Laura Gibson (2010)
 * Nearing 90 And Other Comedies of Late Life, illus. Laura Gibson (2019)

Dramatic adaptations

 * Alexander and the Terrible, Horrible, No Good, Very Bad Day, a stage adaptation of the book, was performed at the B Street Theatre in 2004.
 * Alexander and the Terrible, Horrible, No Good, Very Bad Day, live-action film by Walt Disney Pictures, 2014. http://movies.disney.com/alexander-and-the-terrible-horrible-no-good-very-bad-day/

title: Judith Viorst


text:
George Wallington

George Wallington (October 27, 1924 – February 15, 1993) was an American jazz pianist and composer. Born in Sicily, his career as a pianist began in the early 1940s, when he played with Dizzy Gillespie and Charlie Parker and contributed to the development of bebop. Following several years as a sideman during the late 1940s, he formed his own group, experimenting with trios and a string ensemble before settling upon a permanent quintet.

During the 1950s, Wallington's quintet including rising stars Donald Byrd, Jackie McLean, and Phil Woods, but in 1960 he retired and moved to Florida to work for a family business. He returned to his previous career in the 1980s and made further recordings as a soloist before his death in 1993.

Noted for his technique and mastery of the developing styles of modern jazz, his contributions to the genre have been described as "underrated." His compositions, however, became known through recordings by Woody Herman's band and Miles Davis.

Early life
Wallington was born Giacinto Figlia (some sources give "Giorgio" ) in Sicily. His date of birth has been given as both 1923 and 1924, with his obituary in The New York Times identifying his date of birth as October 27, 1923 and other sources dating his birth to October 27, 1924.

Wallington moved to New York City with his family in 1925. His father sang opera and introduced his son to classical music, but after listening to saxophonist Lester Young and Count Basie's orchestra, he "was smitten with the expressive and emotional power of jazz."

He said that he acquired the name Wallington in high school because he liked "to wear flashy clothes [...] and the kids in the neighborhood would say, 'Hey, look at Wallington!'" According to his brother Peter, however, the nickname was given to him by tenor saxophonist Stan Getz.

During his teenage years, he studied at Juilliard, but left school at the age of 15 or 16 to play piano in New York. He began to use "Wallington" as his stage name at nightclub gigs in the city during the early 1940s.

1943–1948: Bebop sideman
Dizzy Gillespie, a young trumpet player who was developing the style of jazz that came to be known as bebop, formed a band with bassist Oscar Pettiford, and drummer Max Roach to play regularly at the Onyx Club in 1943. An agreement with bandleader Cootie Williams to secure pianist Bud Powell for the gig fell apart, and after a short stint during which Billy Taylor used his intermissions from another club date to play with the group, Wallington was secured as the house pianist. He joined Gillespie and saxophonist Charlie Parker at the Three Deuces and became well known on 52nd Street. Jazz clarinetist Joe Marsala hired Wallington to join his band for about a year before the pianist secured a range of opportunities.

Starting in 1946, Wallington was hired by numerous soloists – including Gerry Mulligan, Al Cohn, and Kai Winding – as a sideman. Others with whom he played include Serge Chaloff, Allen Eager, Terry Gibbs, Zoot Sims, and Red Rodney. His best-known compositions from this era are "Lemon Drop," which was played by Woody Herman's band, and "Godchild," played for The Birth of the Cool recordings led by Miles Davis.

A recording session produced by Norman Granz included Charlie Parker and Wallington with strings but was not released. In fact, prior to 1949 Wallington had no records under his own name despite being one of the busiest musicians in New York. A recording of Wallington in Chaloff's band, one of the few from this period, indicated his playing style was "urgent and fiery...but with its own sense of time, touch and phrasing."

1949–1960: Bandleader
His first opportunity to record as leader came in May 1949, when he recorded two trio tracks with bassist Curley Russell and drummer Charlie Perry for Savoy. The second half of this session included a septet with Jerry Lloyd, Kai Winding, Brew Moore, Mulligan, and the two members of his trio. Recording for his first trio album was completed two years later; Savoy's The George Wallington Trio paired four tracks from his 1949 session with several tracks from a trio session with Russell and Max Roach in November 1951. Critic Jim Todd praised Wallington's early work as "some of the finest piano that bebop has to offer," and in particular highlighted his trio work as showing his most confident playing from the period. In 1952, baritone saxophonist Mulligan formed a jazz group in Los Angeles, California with young trumpet player Chet Baker. Mulligan invited Wallington to join the group as pianist, but he declined. The Mulligan-Baker Quartet as a result became one of the first piano-less jazz quartets and led to fame for both of the horn players.

Wallington continued to record with his trio in 1952, but switched to the Prestige label. A September session included Charles Mingus on bass as "Baron Fingus" and Roach on drums. Chuck Wayne joined the group for one track on mandola. In addition to continuing to record trio sessions for Prestige, Wallington in 1953 joined the Swedish All Stars under the arrangement of Quincy Jones and completed a recording session in late September in Paris with Pierre Michelot on bass and Jean-Louis Viale on drums. Wallington toured Europe with Lionel Hampton's big band in 1953. He and Annie Ross, however, left the band early following hecklers and boos at some of Hampton's concerts.

In 1954, Wallington formed his own ensemble in New York. Again working with arranger Quincy Jones, his ensemble's first recording session in May included trumpeter Dave Burns, trombonist Jimmy Cleveland, tenor saxophonist Frank Foster, and multi-instrumentalist Danny Bank on baritone saxophone and flute. The music from this session was released on the emerging Blue Note label. Two sessions later in the year for Norgran Records included a trio and strings, respectively, and presented another opportunity for Wallington to test the right instrumentation and stylistic approach for a permanent ensemble.

Wallington was given DownBeat 's blindfold test for its February 23, 1955, issue. Presented with records by Jutta Hipp, Kenny Dorham, Ruby Braff, Art Tatum, and Mary Lou Williams, he singled out Bud Powell, Oscar Peterson, and Thelonious Monk for praise. He described Powell, after hearing a recording of the pianist playing "Glass Enclosure," as the most artistic of the pianists he heard during the test.

Wallington's live performance at the Café Bohemia in September 1955, Live! at Cafe Bohemia, saw the pianist settle on a quintet format as his permanent group. The first iteration of this group included Donald Byrd, Jackie McLean, Wallington, Paul Chambers, and Art Taylor. Byrd and McLean were "up-and-coming sidemen" at the time, and McLean, who was heavily influenced by Parker early in his career, was developing his own niche within the bop style. Wallington substituted McLean for Phil Woods and Chambers for Teddy Kotick and took his reformed quintet to the famous Van Gelder Studio to record Jazz for the Carriage Trade in January 1956.

1957 was the last year Wallington led a recording date before his semi-retirement in 1960. During several sessions that year, he was joined by Nick Stabulas, J. R. Monterose, Jerry Lloyd, and Knobby Totah. After some hard bop recordings during the mid-1950s, Wallington's last album from the period, Dance of the Infidels, returned to bebop.

1960–1993: Retirement and comeback
In 1960, Wallington stopped playing music and moved to Florida to work in the family air conditioning business, citing the stress of endless touring. With more free time after ending his musical career, he took up skeet shooting and became an expert in the sport.

He returned to music in 1984 and recorded three albums, Virtuoso in 1984, Symphony of a Jazz Piano in 1986 and Pleasure of a Jazz Inspiration in 1992. He also performed at the 1985 Kool Jazz Festival in New York.

Wallington died on February 15, 1993, at Weill Cornell Medical Center, then known as New York Hospital, in New York City.

Musical style
Described by Cook and Morton's Penguin Guide to Jazz as "the underrated master of bebop piano," his speed was called "breathtaking," and "his melodies unspooling in long, unbroken lines." His later quintet work has been classified as "somewhere amongst Art Blakey's early Jazz Messengers, Hank Mobley, Sonny Stitt, Johnny Griffin, and ... mid-'50s Mingus."

Wallington has been compared to fellow jazz pianists Al Haig, Bud Powell, and Dodo Marmarosa. His career has been noted as remarkably similar to that of Marmarosa, another Italian jazz pianist who was critical to bebop's development but who retired from public life in the relatively early stages of his career. Wallington himself cited Haig, Bud Powell, and Mel Powell as "his favorite contemporaries," and was particularly influenced by Earl Hines, Count Basie, and Art Tatum.

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

title: George Wallington


text:
Unity (ISS module)

The Unity connecting module, also known as Node 1, is the first U.S.-built component of the International Space Station (ISS). It connects the Russian and United States segments of the station, and is where crew eat meals together.

The module is cylindrical in shape, with six berthing locations (forward, aft, port, starboard, zenith, and nadir) facilitating connections to other modules. Unity measures 4.57 m in diameter, is 5.47 m long, made of steel, and was built for NASA by Boeing in a manufacturing facility at the Marshall Space Flight Center in Huntsville, Alabama. Unity is the first of the three connecting modules; the other two are Harmony and Tranquility.

Launch and initial berthing
Unity (with its two attached PMAs) was carried into orbit as the primary cargo of the Space Shuttle Endeavour (OV 105) on STS-88, the first Space Shuttle mission dedicated to assembly of the station. On 6 December 1998, the STS-88 crew mated the docking port of the PMA on the aft berthing port of Unity with the forward hatch of the already orbiting Zarya module. (Zarya was a mixed Russian-U.S. funded and Russian-built component launched a few days before aboard a Russian Proton launch vehicle from Baikonur, Kazakhstan.) This was the first connection made between two station modules.

Connecting modules and visiting vehicles
Unity has two axial and four radial Common Berthing Mechanism (CBM) ports. In addition to connecting to the Zarya module, Unity connects to the U.S. Destiny Laboratory Module (added on STS-98), the Z1 truss (an early exterior framework for the station added on STS-92), the PMA-3 (also added on STS-92), and the Quest Joint Airlock (added on STS-104). During STS-120 the Harmony module was temporarily berthed to the port-side hatch of Unity. Tranquility, with its multi-windowed cupola, was attached to Unity's port side during the STS-130 mission, and Leonardo was added to the nadir hatch during STS-133.

In addition, the Leonardo and Raffaello Multi-Purpose Logistics Modules were each berthed to Unity on multiple missions.

 * Nadir

Via PMA-2 Not via PMA-2 (Relocated to front of Destiny during STS-98 and again to the front of Harmony during STS-120. )
 * Forward

 * Destiny, 2001–Present

 * Aft
 * Zarya (via PMA-1), 1998–Present

 * Starboard
 * Quest, 2001-Present

 * Port
 * Tranquility, 2010-Present

 * Zenith
 * Z1 truss, 2000-Present

Details

Essential space station resources such as fluids, environmental control and life support systems, electrical and data systems are routed through Unity to supply work and living areas of the station. More than 50,000 mechanical items, 216 lines to carry fluids and gases, and 121 internal and external electrical cables using six miles of wire were installed in the Unity node. The primary structure of Unity is constructed of aluminium.

During the space station construction, a crew member placed two speed limit signs on the hatch (leading into the FGB) in 2003, noting the orbital velocity in mph and km/h.

Prior to its launch aboard Endeavour, conical Pressurized Mating Adapters (PMAs) were attached to the aft and forward berthing mechanisms of Unity. Unity and the two mating adapters together weighed about 11600 kg. The adapters allow the docking systems used by the Space Shuttle and by Russian modules to attach to the node's hatches and berthing mechanisms. PMA-1 now permanently attaches Unity to Zarya, while PMA-2 provided a Shuttle docking port. Attached to the exterior of PMA-1 are computers, or multiplexer-demultiplexers (MDMs), which provided early command and control of Unity. Unity also is outfitted with an early communications system that allows data, voice and low data rate video with Mission Control Houston, to supplement Russian communications systems during the early station assembly activities. PMA-3 was attached to Unity's nadir berthing mechanism by the crew of STS-92.

Other nodes

The two remaining station connecting modules, or nodes, were manufactured in Italy by Alenia Aerospazio, as part of an agreement between NASA and the European Space Agency (ESA). Harmony (also known as Node 2) and Tranquility (also known as Node 3) are slightly longer than Unity, measuring almost 6.4 m long in total. In addition to their six berthing ports, each can hold eight International Standard Payload Racks (ISPRs). Unity, in comparison, holds just four ISPRs. ESA built Nodes 2 and 3 as partial payment for the launch aboard the Shuttle of the Columbus laboratory module, and other ESA equipment.

title: Unity (ISS module)


text:
Talk:Eryngium

I added a "larger version" link to the bigger picture and continued to use the thumbnail, because it looks significantly sharper (esp. in the flower center) than the auto-generated thumb. Stan 07:07, 4 Aug 2004 (UTC)

Wrong Subfamily?
National Center for Biotechnology Information (NCBI) places the genera Eryngium and Sanicula in the tribe Saniculeae in the the subfamily Saniculoideae. Germplasm Resource Information Network (GRIN) places the genera within the same tribe Saniculeae but in the subfamily Apioideae. ITIS does not recognize either the subfamily or the tribe. The APG IV system on the Angiosperm Phylogeny Website by the Missouri Botanical Garden (MOBOT) also places the two genera in the Saniculoideae. At least two recent molecular DNA studies of the subfamily Saniculeae maintain the placement of both genera within the subfamily Saniculoideae. No discussion of moving the genera could be found. If the placement in the subfamily Apioideae is an error, that error is repeated by Wikipedia on both Eryngium and Sanicula pages. Johnvalo (talk) 15:13, 13 March 2021 (UTC)

Botanist help needed - are these really synonyms for same species
Eryngium agavifolium Griseb. - agave-leaved sea holly Eryngium aquaticum - rattlesnake master Eryngium yuccifolium - rattlesnake master, button snakeroot Jemoulton (talk) 01:54, 20 August 2013 (UTC)

Sea-hollies seem mostly prickly - needs byword on whom it's prickles ward against...
...guess the sea-holly's unbidden guests would be slugs and snails and suchlike. — Preceding unsigned comment added by 2A02:C7D:411:1600:A956:103:F8BF:42CB (talk) 01:31, 6 November 2016 (UTC)

"usually spiny leaves" or usually thorns? or prickles?
There is a noteworthy sundriness to the aforesaid. Most 'hollykind' are known for their prickles rather than spines. Reckon it should instead read "usually prickly leaves". . . — Preceding unsigned comment added by 2A02:C7D:411:1600:A956:103:F8BF:42CB (talk) 01:37, 6 November 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Eryngium. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20131102095030/http://benthamscience.com/open/topharmcj/articles/V003/99TOPHARMCJ.pdf to http://benthamscience.com/open/topharmcj/articles/V003/99TOPHARMCJ.pdf

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 10:59, 6 December 2017 (UTC)

title: Talk:Eryngium


text:
Talk:Ford CD3 platform

- To my belief this platform started out with the 2001 european Mondeo (Mk III). The body (without it's face) resembels the Fusion exactly! So I guess that a significant amout of development came from Cologne, Germany. http://en.wikipedia.org/wiki/Ford_Mondeo#Mk_III_.282000-2007.29 Dan3k5 09:52, 14 October 2006 (UTC) -

It seems likely the Tribute and Escape will move to the C1 (Focus/Mazda3/S40) platform when it's time for a redesign, which would coincide with the new Focus coming to North America (a coupe years after the debut in Europe). The CD3 SUVs Ford and Mazda are getting are larger and related to the Aviator concept mentiones. -- stewacide

I didn't know that. Good catch! --Stephen 13:16, Aug 4, 2004 (UTC)

CD3 or D3?
I note that there is some confusion between the CD3 and D3 platforms.

This article claims the two are synonymous. Then why is there a seperate Ford D3 platform article? Either they are the same or they are not. We should either have one article if they are the same, or two that explain the difference if they are not the same. —Morven 22:32, Aug 17, 2004 (UTC)

 * CD3 is the Mazda platform, D3 is the Volvo. They're different and confusingly named!--SFoskett 13:37, Aug 19, 2004 (UTC)

"CD3 2"
Is the 2010 Ford Fusion and cousins on a new (or significantly revised) platform? Because it looks like nothing more than an extensive facelift. Editing the article accordingly. 71.134.227.98 (talk) 07:04, 3 January 2009 (UTC)

title: Talk:Ford CD3 platform


text:
Man'yōgana

Man'yōgana (万葉仮名) is an ancient writing system that uses Chinese characters to represent the Japanese language. It was the first known kana system to be developed as a means to represent the Japanese language phonetically. The date of the earliest usage of this type of kana is not clear, but it was in use since at least the mid-7th century. The name "man'yōgana" derives from the Man'yōshū, a Japanese poetry anthology from the Nara period written with man'yōgana.

Texts using the system also often use Chinese characters for their meaning, but man'yōgana refers to such characters only when they are used to represent a phonetic value. The values were derived from the contemporary Chinese pronunciation, but native Japanese readings of the character were also sometimes used. For example, 木 (whose character means 'tree') could represent (based on Middle Chinese ),, or  (meaning 'tree' in Old Japanese).

Simplified versions of man'yōgana eventually gave rise to both the hiragana and katakana scripts, which are used in Modern Japanese.

Origin
Scholars from the Korean kingdom of Baekje are believed to have introduced the man'yōgana writing system to the Japanese archipelago. The chronicles Kojiki and the Nihon shoki both state so; though direct evidence is hard to come by, scholars tend to accept the idea.

A possible oldest example of man'yōgana is the iron Inariyama Sword, which was excavated at the Inariyama Kofun in 1968. In 1978, X-ray analysis revealed a gold-inlaid inscription consisting of at least 115 Chinese characters, and this text, written in Chinese, included Japanese personal names, which were written for names in a phonetic language. This sword is thought to have been made in the year 辛亥年 (471 AD in the commonly-accepted theory).

There is a strong possibility that the inscription of the Inariyama Sword may be written in a version of the Chinese language used in Baekje.

Principles
Man'yōgana uses kanji characters for their phonetic rather than semantic qualities. In other words, kanji are used for their sounds, not their meanings. There was no standard system for choice of kanji, and different ones could be used to represent the same sound, with the choice made on the whims of the writer. By the end of the 8th century, 970 kanji were in use to represent the 90 morae of Japanese. For example, the Man'yōshū poem 17/4025 was written as follows:

In the poem, the sounds mo (母, 毛) and shi (之, 思) are written with multiple, different characters. All particles and most words are represented phonetically (多太 tada, 安佐 asa), but the words ji (路), umi (海) and funekaji (船梶) are rendered semantically.

In some cases, specific syllables in particular words are consistently represented by specific characters. That usage is known as Jōdai Tokushu Kanazukai and usage has led historical linguists to conclude that certain disparate sounds in Old Japanese, consistently represented by differing sets of man'yōgana characters, may have merged since then.

Types
In writing which utilizes man'yōgana, kanji are mapped to sounds in a number of different ways, some of which are straightforward and others which are less so.

Shakuon kana (借音仮名) are based on a Sino-Japanese on'yomi reading, in which one character represents either one mora or two morae.

Shakkun kana (借訓仮名) are based on a native kun'yomi reading, one to three characters represent one to three morae.

Development
Due to the major differences between the Japanese language (which was polysyllabic) and the Chinese language (which was monosyllabic) from which kanji came, man'yōgana proved to be very cumbersome to read and write. As stated earlier, since kanji has two different sets of pronunciation, one based on Sino-Japanese pronunciation and the other on native Japanese pronunciation, it was difficult to determine whether a certain character was used to represent its pronunciation or its meaning, i.e., whether it was man'yōgana or actual kanji, or both. To alleviate the confusion and to save time writing, kanji that were used as man'yōgana eventually gave rise to hiragana, including the now-obsolete hentaigana (変体仮名) alternatives, alongside a separate system that became katakana. Hiragana developed from man'yōgana written in the highly cursive sōsho (草書) style popularly used by women; meanwhile, katakana was developed by Buddhist monks as a form of shorthand, utilizing, in most cases, only fragments (for example, usually the first or last few strokes) of man'yōgana characters. In some cases, one man'yōgana character for a given syllable gave rise to a hentaigana that was simplified further to result in the current hiragana character, while a different man'yōgana character was the source for the current katakana equivalent. For example, the hiragana is derived from the man'yōgana 留, whereas the katakana  is derived from the man'yōgana 流. The multiple alternative hiragana forms for a single syllable were ultimately standardized in 1900, and the rejected variants are now known as hentaigana.

Man'yōgana continues to appear in some regional names of present-day Japan, especially in Kyūshū. A phenomenon similar to man'yōgana, called ateji (当て字), still occurs, where words (including loanwords) are spelled out using kanji for their phonetic value. Examples include, , and.

title: Man'yōgana


text:
Eryngium maritimum

Eryngium maritimum, the sea holly or sea eryngo, or sea eryngium, is a perennial species of flowering plant in the family Apiaceae and native to most European coastlines. It resembles a thistle in appearance because of its burr-shaped inflorescences. Despite its common name, it is not a true holly but an umbellifer.

Etymology
E. maritimum was formally described by Linnaeus in his Species Plantarum I: 233 (1753). The generic name Eryngium derives from Greek and may have developed from a description of the plant by Theophrastus (300 BC), who referred to it as "Eryngion", meaning a spiny plant. Alternatively, the name may have derived from the Greek word "eruggarein", meaning to eructate (belch), since the plant was used to treat various digestive disorders such as trapped gases.

The specific epithet maritimum means "of the sea".

The common English name appears to date from the 16th century. In his 1548 publication The Names of Herbes, the naturalist William Turner stated that "Eryngium is named in englishe sea Hulver or sea Holly".

Taxonomy
Although hybrids of E. maritimum have been reported, they are relatively few. For example, records have been made of a hybrid between E. maritimum and  E. campestre (=Eryngium x rocheri Corb. ex Guétrot) in France, and in the region of Valencia, Spain.

The species' chromosome number is 2n = 16.

Description
Sea holly is a glabrous, intensely glaucous, clump-forming perennial growing to around 60 cm tall. It is a slightly succulent xerophyte with a deep, well-developed root system and waxy leaf cuticle. The leaves are stiff, spiny, and leathery. The basal leaves, which measure 5 – 15 cm in length and are rolled when young, are palmately 3-lobed and suborbicular, truncate, or cordate at the base. The stem leaves are similar, but are smaller, sessile, and palmate. All leaves have thick margins, often with purplish veins, and stomata on both sides. The petiole is channeled and dilated at the base.

The cotyledons are abruptly contracted into a petiole.

The flowers are bluish white and measure 8mm across, in 1.5 – 2.5 cm heads The bracts are spiny, and the bracteoles are longer than the flowers. The sepals measure 4 – 5 mm and are longer than the petals.

The fruit is 13 – 15 mm, more or less uncompressed and covered in stigmatic papillae which become longer towards the apex. The styles are about 6 mm long, divergent to somewhat recurved.

It flowers June to September.

Identification
Apart from the context of its specific coastal habitat, sea holly may also be distinguished from its congeners by the deeper, strongly spiny teeth on the basal leaves and stem leaves.

Distribution
Throughout its range, sea holly is a coastal species, occurring locally and almost continuously along the coastlines of England and Ireland. In Great Britain, it is most abundant on the south and west coasts, but now largely extinct from the coasts of northeast England and Scotland; however, it may have once been more common and widespread there. It was formerly extant in Shetland, but never properly established at the northernmost limit of its native range. The last Shetland record was made from Fitful Head in 1884, where the plant probably once grew extensively on the sands of the Bay of Quendale.

In Europe and adjacent parts of northern Africa and the Middle East, the plant has a wide native distribution. In these regions, it occurs on the shores of the Atlantic Ocean, the Baltic and  Mediterranean Seas as well as the  Black and  Azov Seas. The distribution also extends northwards into Denmark, Germany, Poland, Lithuania, Lativa, and Estonia, along the Skagerrak and the Swedish islands of Gotland and Öland. The Scandinavian distribution is relatively southerly, extending only as far north as southern Norway and Sweden.

Sea holly has been introduced to parts of eastern North America, where it was once valued as an ornamental plant for seashore restoration. It has also been introduced to Australia with plantings of marram grass.

Habitat and ecology
Sea holly characteristically grows on the well-drained substrates of sand dunes and shingles confined to regions with mild winters. More rarely, it may be found growing on rocky coasts with patches of sand interspersed between artificial hard coastal protection features with a similar structure to shingle. In northern Britain, its distribution is limited by the lack of suitable dune systems to grow on It withstands the harsh environmental conditions typical of beaches and coastal dune habitats worldwide; namely low soil nutrient levels, frost, strong salty winds, high temperatures and insolation, and periodic sand burial.

Sea holly is associated with various shingle and strandline communities, where it may be scattered within the vegetation. On shingles, sea holly occurs within Honckenya peploides-Cakile maritima strandline community above the tidal limit On dunes, sea holly may be found growing in the Elymus farctus ssp. boreali-atlanticus foredune community, the pioneer vegetation on foredunes, with Elytrigia juncea (E. farctus) as a dominant species.

Sea holly is a poor ecological competitor that generally thrives in open areas, declining when habitats are invaded by shrubby species such as Rosa rugosa, Hippophae rhamnoides, Elaeagnus commutata and Salix repens due to substantial shading effects This is because sea holly is a light-demanding plant, although it is protected against water stress through excessive insolation thanks to its succulent equifacial leaves.

Sea holly has deep, well-developed taproots for water storage, allowing the plant to survive long dry periods that may occur in its habitat. The root system also shows a high degree of plasticity  in response to the dynamics of coastal ecosystems and may consequently develop a rhizome-like structure. For example, in response to permanent sand burial, the root internodes gradually lengthen in such a way that the perennating buds are brought closer to the ground surface for ensuring the plants' survival throughout the growing seasons.

Status
Despite a widespread native European distribution, populations of this species have been declining substantially in the northern parts of its range, with some of these already having become extinct. It is now threatened or endangered in most European countries and included in endangered plant lists and Red Data Books of several of these countries In Britain, its historic decline may be at least partly attributable to being dug up from the wild on account of its popularity as an ornamental plant in gardens on dry soils.

In culture, use and relationship with humans
Like other species in the genus, E. maritimum has been traditionally consumed to combat various ailments, especially thanks to the plant's high antioxidant activity and content of phenolic and flavonoid compounds. It has been utilised for its diuretic, stimulant, cystotonic, stone inhibitor, aphrodisiac, expectorant and anthelmintic properties. Moreover, essential oils, extracted by hydro-distillation, from the aerial parts of the plant have been found to contain oxygenated sesquiterpenes with antimicrobial activity against E. coli and L. monocytogenes.

The roots of E. maritimum were formerly candied as a sweetmeat and recommended by Dioscorides as a remedy for flatulence. The young shoots may also be eaten like asparagus.

Sea holly has often been represented in paintings and other artwork, such as in works by Irish artist Patrick O'Hara and on postage stamp prints such as the 1967 one-franc stamp in Belgium, and the 25-pfennig stamp in Germany The plant has also been mentioned in various plays and poems, most notably in the Merry Wives of Windsor by Shakespeare and in the Italian Journey by Goethe.

They are named in a speech by Falstaff: "Let the sky rain potatoes; let it thunder to the tune of Green-sleeves, hail kissing-comfits and snow eringoes [sea-holly], let there come a tempest of provocation..."

Sea holly was nominated the 2002 County flower for the city of Liverpool. Asteroid 199194 Calcatreppola was named after this plant. The official was published by the Minor Planet Center on 25 September 2018 (M.P.C. 111803).

title: Eryngium maritimum


text:
Priessnitz (band)

Priessnitz is a Czech rock band from Jeseník formed in 1989. The band has released 9 albums, the last one named "Beztíže" (Zero Gravity) was released in October 2016 [1]. In 2016 the Czech Television made a feature of the band, in which the viewer is introduced to the almost 30-year history of Priessnitz. In 2016, the band was nominated for the music prize Apollo for the album Beztíže by the Czech music critics. The Academy of Popular Music in the Czech Republic nominated Priessnitz in the categories of song of the year (Mrzáci) and group of the year as part of the music awards Ceny Anděl 2016.

Discography

 * Freiwaldau, Legend/1992, Indies Records/2002
 * Nebel, Legend/1992, Indies Records/2003
 * Hexe, Bonton, 1994
 * Seance, Indies Records, 1996
 * Potichu?, Indies Records, 1997
 * Zlatý déšť (single), Indies Records, 1999
 * Zero, EMI/Escape, 2001
 * Playlist, EMI/Escape, 2004
 * Střepy (single), EMI/Escape, 2006
 * Stereo, EMI/Escape, 2006
 * Beztíže, Supraphon, 2016

title: Priessnitz (band)


text:
April Fool (spy)

April Fool is the codename for the spy and double agent who allegedly played a key role in the downfall of the Iraqi President Saddam Hussein.

Overview
According to General Tommy Franks, the American commander in the 2003 Iraq conflict, April Fool, an American officer working undercover as a diplomat, was approached by an Iraqi intelligence agent. April Fool sold to the Iraqi false "top secret" invasion plans provided by Franks' team. This deception successfully misled the Iraqi military into deploying major forces in northern and western Iraq in anticipation of attacks via Turkey or Jordan which never took place. This greatly reduced the defensive capacity in the rest of Iraq and significantly facilitated the actual attacks via Kuwait and the Persian Gulf in the southeast. Inadequately defended, Baghdad fell to coalition forces within a few weeks and Saddam Hussein's regime collapsed.

title: April Fool (spy)


text:
Destiny (ISS module)

The Destiny module, also known as the U.S. Lab, is the primary operating facility for U.S. research payloads aboard the International Space Station (ISS). It was berthed to the Unity module and activated over a period of five days in February, 2001. Destiny is NASA's first permanent operating orbital research station since Skylab was vacated in February 1974.

The Boeing Company began construction of the 14.5 t research laboratory in 1995 at the Michoud Assembly Facility and then the Marshall Space Flight Center in Huntsville, Alabama. Destiny was shipped to the Kennedy Space Center in Florida in 1998, and was turned over to NASA for pre-launch preparations in August 2000. It launched on February 7, 2001 aboard the on STS-98.

Astronauts work inside the pressurized facility to conduct research in numerous scientific fields. Scientists throughout the world would use the results to enhance their studies in medicine, engineering, biotechnology, physics, materials science, and Earth science.

Launch and installation
Destiny was launched to ISS aboard the Space Shuttle mission STS-98. It launched into Earth orbit on February 7, 2001 aboard the. On February 10, 2001 at 9:50 am CST, the installation of Destiny began. First, the Shuttle SRMSS (CanadaArm) was used to remove Pressurized Mating Adapter 2 (PMA 2) from Unity node's forward port to make room for the new module. PMA-2 was temporarily stowed on the forward berthing ring of the Z1 truss. Destiny was "grabbed" by the robotic arm at 11:23, lifted out of Atlantis' cargo bay, and berthed to the forward port of Unity. Two days later, PMA-2 was moved to its semi-permanent location on the forward hatch of Destiny. (See also Pressurized Mating Adapter and Z1 Truss.) Several years later, on November 14, 2007, the Harmony module was attached to the forward end of the Destiny laboratory.

The addition of Destiny increased the habitable volume by 3,800 cubic feet, an increase of 41 percent.

Laboratory structure
The U.S. laboratory module is 28 ft long and 14 ft wide. It is made from aluminum and stainless steel, and comprises three cylindrical sections and two endcones that contain the hatch openings through which astronauts enter and exit the module. The aft port of Destiny is connected to the forward port of Unity, and the forward port of Destiny is connected to the aft port of Harmony. The ends are colored blue and white respectively for the crew to navigate easily. A 20 in-diameter window is located on one side of the center module segment.

Each of the two berthing ports on Destiny contains a hatch. Both hatches are normally open, and remain open unless a situation arises requiring a module to be isolated. Each hatch has a window. The hatches can be opened or closed from either side. The hatches have a pressure interlock feature, which prevents the hatch from being opened if there is a negative pressure across the hatch (higher pressure on the outside of the hatch). The hatch openings are a square-like six sided shape - which is associated to that module.

Destiny has a 20 in optically pure, telescope-quality glass window located in an open rack bay used primarily for Earth science observations. Station crewmembers use very high quality video and still cameras at the window to record Earth's changing landscapes. A window shutter protects the window from potential micrometeoroid and orbital debris strikes during the life of the ISS. The crew manually opens the shutter to use the window.

Imagery captured from Destiny's window has given geologists and meteorologists the chance to study floods, avalanches, fires and ocean events such as plankton blooms in a way never seen before, as well as given international scientists the opportunity to study features such as glaciers, coral reefs, urban growth and wild fires.

Specifications

 * Length: 8.53 m
 * Diameter: 4.27 m
 * Mass: 14520 kg
 * Pressurized Volume: 106 m3

Equipment

As with the European and Japanese laboratories of the station, payloads inside Destiny are configured around International Standard Payload Racks (ISPRs), that can be removed or reconfigured for various experiments and equipment. Made out of a graphite composite shell, each rack weighs about 1200 lb, and is about 73 in high, and 42 in wide. The eight rack bays are equipped with curtains that provide around 290 cuft of temporary stowage space when not occupied by experiments.

Destiny arrived at the station pre-configured with five racks housing electrical and life support systems that provide electrical power, cooling water, air revitalization, and temperature and humidity control. Seven additional racks were flown to Destiny in the Leonardo Multi-Purpose Logistics Module by STS-102, and ten more were delivered on subsequent missions. Destiny can hold up to 13 payload racks with experiments in human life science, materials research, Earth observations and commercial applications. The laboratory has a total of 24 racks inside the laboratory, six on each side.

Internal to the laboratory are racks, rack stand-offs, and vestibule jumpers. The lab racks house the system hardware in removable modular units. The stand-offs provide space for electrical connections, data management systems cabling for computers, air conditioning ducts, thermal control tubes and more, all of which support the space station's equipment racks. The racks interface to the piping and wiring in the standoff via outlets and ports located in the standoffs at the base end of each rack location.

Jumpers in the vestibule, the area between Unity and Destiny, connect the piping and wiring between the two. Grounding straps between Unity and Destiny will be installed. One side of the grounding strap will be connected to the Active Common Berthing Mechanism (ACBM) on Unity, while the other end will be connected to the Passive Common Berthing Mechanism (PCBM) on Destiny.

Some of the mechanisms on Destiny are the CBMs (passive and active), hatches, and the laboratory window shutter. The ACBM is in the forward port of the laboratory. It is attached to the Harmony node. The PCBM on Destiny is located in the laboratory's aft port. The ACBM in Unity's forward port is latched to the laboratory's PCBM to berth Destiny to Unity.

Science equipment
Destiny also contains the Minus Eighty Degree Laboratory Freezer for ISS (MELFI), transported to the Space Station on STS-121. The freezer is used both to store samples and reagents on the station, and to transport them to and from the space station in a temperature controlled environment.

Currently installed at the main observation window of Destiny is the Agricultural Camera (AgCam). It is a multi-spectral imaging system built and primarily operated by students and faculty at the University of North Dakota. Its purpose is to take frequent images, in visible and infrared light, of vegetated areas on the Earth and promises to deliver a greater effectiveness for in-season agriculture applications research and operational decision support than current satellite systems such as Landsat.

Veggie
In 2016 the ISS crew operated Veg-03 experiment. In November they harvested a crop of edible romaine lettuce which contributed to the crew's meal. Also samples of cabbage are returned to Earth for testing as part of the experiment. This uses the Veggie experiment module in Destiny, which can provide light and nutrients for plant growth experiments.

Destiny nadir window
The nadir window is formally known as the U.S. Laboratory Science Window, has the "...highest quality optics ever flown on a human occupied spacecraft...", according to NASA, and can support taking Earth observations/images. In 2010 a research facility was brought to the station, called WORF, and the first photo with it was taken in January 2011. WORF was delivered by ISS Flight 19A (which was STS-131).

WORF
In 2010 the WORF was brought to ISS aboard STS-131 and installed. This is a facility that uses the Destiny nadir window to support various types of photography and observation. WORF, which stands for Window Observational Research Facility is constructed based on International Standard Payload Rack (ISPR) and EXPRESS Rack program technology. The first photo taken by WORF was on January 21, 2011 with Ag Cam.

The name WORF is an allusion to Worf, the fictional character of the same name who appeared in the science fiction television and film franchise Star Trek. A special mission patch for WORF was issued that featured text written in the Klingon language. Another cross-over of the Star Trek franchise and space exploration was the naming of Space Shuttle Enterprise.

A similar window is Nauka module's porthole window.

In media

 * The module Destiny is featured in the 2013 film Gravity.
 * The module, identified as "the 2001 module Destiny", was originally intended to be the small section of Alpha (the future name of the ISS) used as a throne at the end of the 2017 film Valerian and the City of a Thousand Planets and covers this role in the novelization, but, in the final shooting of the film, it was replaced by the Apollo command and service module Destiny 2005, modified with artificial gravity and a speakerphone-like radio system.

title: Destiny (ISS module)


text:
Rocketship X-M

Rocketship X-M (a.k.a. Expedition Moon and originally Rocketship Expedition Moon) is a 1950 American black-and-white science fiction film from Lippert Pictures, the first outer space adventure of the post-World War II era. The film was produced and directed by Kurt Neumann and stars Lloyd Bridges, Osa Massen, John Emery, Noah Beery Jr., Hugh O'Brian, and Morris Ankrum.

Rocketship X-M tells the story of a Moon expedition gone awry. Through a series of unforeseen events, the expedition's crew find themselves on the infamous red planet, Mars. During their time on the planet they go on to discover the remnants of a Martian civilization destroyed long ago by atomic war and now reverted to barbarism.

Plot
Four men and a woman blast into outer space from the White Sands Proving Ground aboard the RX-M (Rocketship Expedition-Moon) on humanity's first expedition to the Moon. Halfway there, after surviving their jettisoned and runaway first stage and a meteoroid storm, their engines suddenly quit. Recalculating fuel ratios and swapping around their multiple, different fuels corrects the problem, supposedly allowing continuing to the Moon. When the engines are reignited, the RX-M careens out of control on a rapid heading beyond the Moon. The increased acceleration causes the crew pass out. Reviving days later, they quickly discover that they have traveled some 50,000,000 miles; the RX-M is now just 50,000 miles away from Mars. Dr. Karl Eckstrom is forced to "pause and observe respectfully while something infinitely greater assumes control".

[ At this point the film changes from black and white to tinted red ]

The RX-M safely passes through the Martian atmosphere and lands. The next morning the crew, clad in aviation oxygen masks due to the low oxygen levels, begin exploring the desolate surface. They come across physical evidence of a now dead advanced Martian civilization: a partially buried-in-the-sand, stylized, Art Deco (or Tiki culture) like metal face sculpture and in the distance Moderne architecture-like ruins. Their Geiger counter registers dangerous radiation levels, keeping them well away. These dangerous levels make it clear that there was once an atomic war on Mars in the distant past.

Finding cave refuge, the crew notice in the distance the primitive human descendants of that civilization emerging from behind boulders and creeping toward them. Amazed, Dr. Eckstrom comments "From Atomic Age to Stone Age". Soon after leaving, two of the explorers encounter a dark-haired woman who has lost her footing and rolled down a hill toward them; she is blind, with thick, milky cataracts on both eyes. She screams upon hearing their oxygen mask-distorted voices. The radiation burned tribesmen attack, throwing large rocks and stone axes. Armed with only a revolver and a bolt-action rifle, the explorers defend themselves, purposely missing the primitives. Major Corrigan is killed by a large rock thrown by the primitives. Moments later, Dr. Eckstrom is killed by a stone axe. Navigator Chamberlain is badly injured by a large thrown rock. Colonel Graham, Dr. Van Horn, and Chamberlain finally make their way back to the ship.

[ At this point the film changes from tinted red to black and white ]

As the RX-M nears Earth, the three survivors (Graham, Van Horn, with the unconscious Chamberlain) calculate that they have no fuel to make a landing. Col. Graham contacts their base and reports their dire status to Dr. Fleming, who listens intently and wordlessly over headphones. Col. Graham's report is not heard, but Fleming's subtle reactions tells of the crew's odyssey, their discovery of a once advanced civilization destroyed long ago by atomic war, and of the crew fatalities at the hands of Martian descendants reverted to barbarism.

Col. Graham and Dr. Van Horn embrace as the RX-M begins its uncontrolled descent, consoling one another in the moments left to them. Through a porthole, they bravely watch their rapid descent into the wilds of Nova Scotia. The press is later informed by a shaken Dr. Fleming that the entire crew has perished. When they ask if the mission was a failure, he confidently responds with conviction, stating that all theories about crewed spaceflight and exploration have now been proven. He continues, underscoring the point that a dire warning has been received from the crew that could very well mean the salvation of humanity, "A new spaceship, the RX-M-2, begins construction tomorrow". The pioneering exploration continues.

Cast

 * Lloyd Bridges as Col. Floyd Graham (Pilot)
 * Osa Massen as Dr. Lisa Van Horn (Ph.D. in Chemistry and developer of the unique "mon-atomic hydrogen" fuels which power RX-M)
 * John Emery as Dr. Karl Eckstrom (Physicist and RX-M designer)
 * Noah Beery, Jr. as Maj. William Corrigan (Flight engineer)
 * Hugh O'Brian as Harry Chamberlain (Astronomer and navigator)
 * Morris Ankrum as Dr. Ralph Fleming (Project Director)
 * Sherry Moreland as blind Martian woman
 * Judd Holdren as Reporter (Uncredited)
 * Stuart Holmes as Reporter (Uncredited)
 * Bert Stevens as Reporter (Uncredited)
 * Cosmo Sardo as Reporter (Uncredited)
 * Barry Norton as Reporter (Uncredited)

Film score
The evocative soundtrack was written by American composer Ferde Grofé, who used a theremin in portions of the score. This was the first use of an electronic musical instrument in a science fiction film. The theremin would later become strongly identified with the genre in the years to come. During the film's post-production, Grofé's score was conducted by film and TV composer/arranger Albert Glasser. Later on, the soundtrack would have its first release in 1977 on LP (runtime 37:16) from Starlog Records (SR-1000). The album contains a bonus track not used in the film.

The CD version of the soundtrack was released in 2012 and was produced by Monstrous Movie Music (MMM-1965) in an edition limited to 1000 copies. The CD's 16-page illustrated booklet contains extensive information about the film score, which includes pages from Grofé's original hand-written score and photos related to the film production.

 * 1) Main Title (1:21)
 * 2) Good Luck (1:53)
 * 3) Stand by to Turn (0:50)
 * 4) The Motors Conk Out (2:55)
 * 5) Palomar Observatory (1:11)
 * 6) Floyd Whispers (1:57)
 * 7) Floyd and Lisa at Window (2:56)
 * 8) We See Mars (2:06)
 * 9) The Landing on Mars (3:17)
 * 10) The Ruins (3:10)
 * 11) I Saw the Martians (1:02)
 * 12) The Atomic Age to Stone Age/The Chase (4:59)
 * 13) The Tanks Are Empty (3:37)
 * 14) The Crash (3:22)
 * 15) End Title (0:59)
 * 16) Bonus Track: Noodling on the Theremin (1:35)

Production
Because production issues had delayed the release of George Pal's high-profile Destination Moon, Rocketship X-M was quickly shot in just 18 days on a $94,000 budget; it was then rushed into theaters 25 days before the Pal film, while taking full advantage of Destination Moon's high-profile national publicity.

Given the film's minimal special effects budget and limited shooting days, the surface of Mars was much easier to simulate using remote Southern California locations than creating the airless and cratered surface of the Moon. The location where the crew exits the spacecraft and begins to explore is Zabriskie Point in Death Valley National Park.

The film's original 1950 theatrical release prints had all Mars scenes tinted a pinkish-sepia color. All other scenes are in black-and-white.

The RX-M's design was taken from rocket illustrations that appeared in an article in the January 17, 1949 issue of Life magazine. The interior structure of the spaceship's larger second stage is shown as having a long ladder that the crew must climb; it runs "up" through the RX-M's fuel compartment, which has on all sides a series of narrow fuel tanks filled with various propulsion chemicals. By selecting and mixing them together in various proportions, different levels of thrust are attainable from the RX-M's engines. The crew ladder ends at a round pressure hatch in the middle of a bulkhead floor that leads to the crew's upper living and control compartment. Instruments and technical equipment were supplied by Allied Aircraft Company of North Hollywood.

Historical and factual accuracy
The five Mars explorers wear U.S. military surplus clothing, including overalls and aviator's leather jackets. It has been noted in other film reviews that the explorers are wearing gas masks, but gas masks would include goggles to protect the eyes. Due to the thin Martian atmosphere, the explorers are actually wearing military "Oxygen Breathing Apparatuses" (OBA) like those used by military firefighters.

Various scientific curiosities and errors are seen during the film:

With less than 15 minutes to go until launch, the RX-M's crew are still in the midst of a leisurely press conference being held at a base building. From its launch pad, the RX-M blasts straight up, and once it leaves the Earth's atmosphere, the ship makes a hard 90-degree turn to place the RX-M into Earth orbit. Its speed at an altitude of 360 miles is stated to be 3400 mph; in fact at that height orbital velocity is 18783 mph (though escape velocity is approximately correctly stated to be 25000 mph). Simultaneously with that turn, the crew cabin rotates within the RX-M's hull, around its lateral axis, so the ship's cabin deck is always facing "down", orienting the audience. Though objects are purposely shown to float free to demonstrate a lack of gravity, none of the five crew members float, apparently unaffected by weightlessness.

The RX-M's jettisoned first stage, with its engine still firing, and a later meteoroid storm (inaccurately referred to in dialog as meteorites) both make audible roaring sounds in the soundless vacuum of space that can be heard inside the crew compartment. The clusters of those fast moving meteoroids appear identical in shape and detail (actually, the same prop meteoroids were shot from different angles and positions, then optically printed in tandem, at different sizes, on the film's master negative).

A point is made in dialog that the RX-M is carrying more than "double" the amount of rocket fuel and oxygen needed to make a successful round trip and landing on the Moon; while impractical for various reasons, this detail becomes a convenient, then necessary plot device in making the later Mars story line more believable.

Several scenes in Rocketship X-M involving the interaction between the RX-M's sole female crew member, scientist Dr. Lisa Van Horn, her male crew, the launch site staff, and the press corps provide cultural insights into early 1950s sexist attitudes toward women. One notable scene involves Van Horn and expedition leader (and fellow scientist) Dr. Karl Eckstrom rushing to recalculate fuel mixtures after their initial propulsion problems. When they come up with different figures, expedition leader Eckstrom insists they must proceed using his numbers. Van Horn objects to this arbitrary decision, but submits, and Eckstrom forgives her for "momentarily being a woman". Subsequent events prove Eckstrom's "arbitrary decision" to be wrong, placing them all in jeopardy.

Lippert's feature was the first film drama to explore the dangers of nuclear warfare and atomic radiation through the lens of science fiction; these became recurrent themes in many 1950s science fiction films that followed. Dalton Trumbo, black-listed during the McCarthy era, script doctored the film's Red Planet sequence, adding the horror of an atomic war having occurred on Mars; his name does not appear in the film credits.

New footage added
Rocketship X-M was rushed to market to be in theaters before the more lavishly produced but delayed Destination Moon that was finally released 25 days later. A lack of both time and budget forced RX-M's producers to omit special effects scenes and substitute stock footage of American V-2 rocket launches and flight to complete some sequences that otherwise would have been made using the Rocketship X-M special effects miniature. These V-2 inserts created very noticeable continuity issues.

In the 1970s the rights to Rocketship X-M were acquired by Kansas City film exhibitor, movie theater owner (and later video distributor) Wade Williams, who set about having some of RX-M's special effects scenes reshot in order to improve the film's overall continuity. The VHS tape, LaserDisc, and DVD releases incorporate this re-shot footage. Williams funded the production of new footage to replace the stock V-2 shots and a few missing scenes. All new footage was produced for Wade Williams Productions by Bob Burns III, his wife Kathy Burns, former Disney designer/artist Tom Scherman, Academy Award winner Dennis Muren, Emmy Award nominee Michael Minor, and Academy Award winner Robert Skotak. Costumes were re-made that closely replicated those worn by the film's explorers, and a new, screen accurate Rocketship X-M effects miniature was built.

The new replacement shots consist of the RX-M flying through space; it landing tail first on the Red Planet; a different shot of the crew heading away from the RX-M to explore the stark Martian surface; the surviving explorers quickly returning to their nearby spaceship, and the RX-M later blasting off from Mars into space. These six replacement shots were filmed near Los Angeles in color, then converted to black-and-white and re-tinted where necessary to match the original film footage. (Unlike the DVD release, the earlier LaserdDisc of Rocketship X-M contains extra bonus material documenting the making of the film and the creation of this new footage.) The film's production and the making of these new scenes were also presented in RX-M feature articles in both Starlog magazine and later expanded in the first issue (1979) of Starlog's spin-off magazine CineMagic. Prints of the original theatrical release version of RX-M are still stored in Williams' Kansas City film vaults. They have not been converted to a home video format.

Image's 50th Anniversary DVD release (2000), under license from Williams, is oddly missing two of his re-filmed Mars scenes: Lippert's original matte painting scene, which has tiny matted-in figures leaving an obviously painted RX-M, is retained instead of the Williams' re-shot replacement scene that has the five explorers heading away from a convincing RX-M effects miniature standing on a barren Martian plain. A new bridging scene, set at the end of the Mars sequence, showing the surviving explorers hurriedly returning to the RX-M, is also missing from Image's DVD.

Award nomination
Retro Hugo Award: Rocketship X-M was nominated in 2001 for the 1951 Retro Hugo Award for Best Dramatic Presentation, being one of the science fiction films eligible during calendar year 1950, exactly 50 years after the film's first release. (50 years, 75 years, or 100 years prior is the eligibility requirement governing the awarding of Retro Hugos.)

Mystery Science Theater 3000
The film was featured in the second-season premiere episode of the cult film-lampooning television series Mystery Science Theater 3000. Rocketship X-M stands as an important episode in that show's history, showcasing iconic set redesigns as well as the introduction of Kevin Murphy and Frank Conniff to their long-running performance roles as Tom Servo and TV's Frank, respectively.

Mystery Science Theater 3000

 * Episode guide: 201- Rocketship X-M
 * Episode guide: 201- Rocketship X-M

title: Rocketship X-M


text:
User:Imprestavel/myskin.css

/* ##################################### */ /* ####  Bluebox v1 by blankfaze   #### */ /* #### Based on MonoBook by Gwicke #### */ /* ##################################### */

/* ###### LOGO ###### */
 * 1) p-logo a { background: url(http://meta.wikipedia.org/upload/6/6e/Nohat-logo-X-en.png) 35% 50% no-repeat !important; }

z-index: 3; position:absolute; /*needed to use z-index */ top: 30px; left: 5px; height: 155px; width: 12em; overflow: visible; } display: block; height: 155px; width: 12.2em; background-repeat: no-repeat; background-position: 35% 50% !important; text-decoration: none; }
 * 1) p-logo {
 * 1) p-logo h5 { display: none; }
 * 2) p-logo a,
 * 3) p-logo a:hover {

/* ###### BASIC LAYOUT ###### */ margin-top: 2.8em; margin-bottom: 0; margin-left: 13.2em; padding: 0em 1em 1.5em 1em; background: #fff; min-height: 600px; border: 1px solid #39f; border-bottom: 1px solid #fff; line-height: 1.5em; position: relative; z-index: 2; }
 * 1) column-content { width: 100%; float: right; margin: 1.2em 0em 0.6em -13.2em; padding: 0; }
 * 2) content {
 * 1) column-one { padding-top: 190px; }

/* ###### FORMATTING ###### */ /* ### TEXT ### */ /* links */ a { color: #39f; text-decoration: none; background: none; } a:hover { text-decoration: underline; } a:active { color: Orange; } a.stub { color: #772233; } a.new { color: #ba0000; } a:visited { color: #0014a6; }
 * 1) bodyContent a.external, #p-lang li a { color: #75d; }

/* Fonts and sizes */ /* We take advantage of keyword scaling- browsers won't go below 9px */ /* More at http://www.w3.org/2003/07/30-font-size */ /* http://style.cleverchimp.com/font_size_intervals/altintervals.html */

body { font: x-small sans-serif; background: #f9f9f9 url("http://meta.wikipedia.org/style/monobook/headbg.jpg") 0px 0px no-repeat; color: Black; margin: 0; padding: 0; }

/* scale back up to a sane default */ font-size:127%; width: 100%; margin: 0; padding: 0; }
 * 1) globalWrapper {

.visualClear { clear: both; }

h1, h2, h3, h4, h5, h6 { color: Black; background: none; font-weight: normal; margin: 0; padding-top: 0.5em; padding-bottom: 0.17em; border-bottom: 1px solid #aaaaaa; } h1 { font-size: 188%; } h2 { font-size: 150%; } h3, h4, h5, h6 { border-bottom: none; font-weight: bold; } h3 { font-size: 116%; } h4 { font-size: 100%; } h5 { font-size: 80%; } h6 { font-size: 60%; }

h1, h2 { font-weight: bold; }

/* space under the headers in the content area */
 * 1) bodyContent h1,
 * 2) bodyContent h2,
 * 3) bodyContent h3,
 * 4) bodyContent h4,
 * 5) bodyContent h5 { margin-bottom:0.4em; }

/* ### ELEMENTS ### */ pre { padding: 1em; border: 1px dashed #2f6fab; color: Black; background-color: #f5f5f5; line-height: 1.1em; }

textarea { border: 1px solid #2f6fab; color: Black; background-color: white; width: 100%; padding: 0.1em; overflow: auto; }

table { font-size: 100%; background: White; }

img { border: none; vertical-align: middle; }

p { margin: 0.4em 0em 0.7em 0em; line-height: 1.5em; }

p img { margin: 0; }

hr { height: 1px; color: #aaaaaa; background-color: #aaaaaa; border: 0; margin: 0.2em 0 0.2em 0; }

ul { line-height: 1.5em; list-style-type: square; margin: 0.3em 0 0 1.5em; padding:0; list-style-image: url("http://meta.wikipedia.org/style/monobook/bullet.gif"); } ol { line-height: 1.5em; margin: 0.3em 0 0 3.2em; padding:0; } li { margin-bottom: 0.1em; } dt { font-weight: bold; } dd { line-height: 1.5em; margin-bottom: 0.8em; margin-left: 2em; }

fieldset { border: 1px solid #2f6fab; margin: 1em 0em 1em 0em; padding: 0em 1em 1em 1em; line-height: 1.5em; }

legend { background: White; padding: 0.5em; font-size: 95%; }

form { border: none; margin: 0; }

/* hide this from ie/mac and konq2.2 */ @media All { head:first-child+body input { visibility: visible; border: 1px solid #2f6fab; color: Black; background-color: white; vertical-align: middle; padding: 0.2em; } } input.historysubmit { padding: 0 0.3em 0.3em 0.3em !important; font-size: 94%; cursor: pointer; height: 1.7em !important; margin-left: 1.6em; } input[type="radio"], input[type="checkbox"] { border:none; } select { border: 1px solid #2f6fab; color: Black; vertical-align: top; } abbr, acronym, .explain { border-bottom: 1px dotted Black; color: Black; background: none; cursor: help; } q { font-family: Times, "Times New Roman", serif; font-style: italic; }

code { background-color: #f9f9f9; }

/* ### TOC ### */ /*border:1px solid #2f6fab;*/ border:1px solid #39f; background-color:#f5f5f5; padding:5px; font-size: 95%; } margin-top: 0.7em; font-size: 94%; }
 * 1) toc {
 * 1) toc .tocindent { margin-left: 2em; }
 * 2) toc .tocline { margin-bottom: 0px; }
 * 3) toc p { margin: 0 }
 * 4) toc .toctoggle { font-size: 94%; }
 * 5) toc .editsection {

/* ### IMAGES ### */ /* image only */ div.floatright { float: right; margin: 0; position:relative; border: none; padding: 0.5em; } div.floatright p { font-style: italic;} div.floatleft { float: left; margin: 0; position:relative; border: none; padding: 0.5em; } div.floatleft p { font-style: italic; }

/* thumbnails */ div.thumb { margin: 0; padding: 0.5em; position:relative; border-style: solid; border-color: White; width: auto; overflow: hidden; } div.thumb div { border:1px solid #cccccc; padding: 3px !important; background-color:#f9f9f9; font-size: 94%; text-align: center; } div.thumb div a img { border:1px solid #cccccc; } div.thumb div div.thumbcaption { border: none; text-align: left; line-height: 1.4; padding: 0.3em 0 0.1em 0; } div.magnify { float: right; border: none !important; background: none !important; } div.magnify a, div.magnify img { display: block; border: none !important; background: none !important; }

div.tright { float: right; border-width: 0.5em 0 0.8em 1.4em; } div.tleft { float: left; margin-right:0.5em;  border: 0.5em 1.4em 0.8em 0; }

.urlexpansion, .hiddenStructure { display: none; } img.tex { vertical-align: middle; } span.texhtml { font-family: serif; }

/* ### TABLE STANDARDS ### */ table.rimage { float:right; position:relative; margin-left:1em; margin-bottom:1em; text-align:center; } .toccolours { border:1px solid #aaaaaa; background-color:#f5f5f5; padding:5px; font-size: 95%; } div.townBox { position:relative; float:right; background:White; margin-left:1em; border: 1px solid Grey; padding:0.3em; width: 200px; overflow: hidden; clear: right; } div.townBox dl { padding: 0; margin: 0 0 0.3em 0; font-size: 96%; } div.townBox dl dt { background: none; margin: 0.4em 0 0 0; } div.townBox dl dd { margin: 0.1em 0 0 1.1em; background-color: #f3f3f3; }

/* ###### PERSONAL TOOLBAR ###### */ width:100%; white-space:nowrap; padding-top: 2px; padding-bottom: 2px; margin:0; position:absolute; left:0px; top:5px; z-index: 0; background-color: #fff; border-top: 1px solid #39f; border-bottom: 1px solid #39f; overflow: visible; line-height: 1.2em; }
 * 1) p-personal {

 * 1) p-personal h5 { display:none; }

padding:0; margin:0; border: none; z-index:0; overflow: visible; background: none; }
 * 1) p-personal .portlet,
 * 2) p-personal .pBody {

/* this is the ul contained in the portlet */ border: none; line-height: 1.4em; color: #2f6fab; padding: 0em 2em 0 3em; margin: 0; text-align: right; text-transform: lowercase; list-style: none; z-index:0; background: none; } z-index:0; border: none; padding: 2px; display: inline; color: #2f6fab; margin-left: 1em; line-height: 1.2em; background: none; } text-decoration: none; color: #39f; padding-bottom: 0.2em; background: none; } background-color: none; padding-bottom: 0.2em; text-decoration: underline; }
 * 1) p-personal ul {
 * 1) p-personal li {
 * 1) p-personal li a {
 * 1) p-personal li a:hover {

 * 1) p-personal a.new { color:#ba0000; }

/* the icon in front of the user name, single quotes in bg url to hide it from iemac */ li#pt-userpage, li#pt-anonuserpage, li#pt-login { background: none; }

/* ###### TABS ###### */ position:absolute; top: 2.7em; left: 11.5em; margin: 0; white-space:nowrap; width: 76%; line-height: 1.1em; overflow: visible; background: none; border-collapse: collapse; padding-left: 1em; list-style: none; font-size: 95%; }
 * 1) p-cactions {

 * 1) p-cactions .hiddenStructure { display: none; }

display: inline; border: 1px solid #39f; border-bottom: none; padding: 0 0 0.1em 0; margin: 0 0.3em 0 0; overflow: visible; background: White; } /* change colour of unselected tabs */
 * 1) p-cactions ul { list-style: none; }
 * 2) p-cactions li {
 * 1) p-cactions ul li a { background: #eee; }

.ns-0 * #p-cactions ul li a { background: #eee; }

border-color: #39f; padding: 0 0 0.2em 0; } background-color: White; color: #39f; border: none; padding: 0 0.8em 0.3em 0.8em; text-decoration: none; text-transform: lowercase; position: relative; z-index: 0; margin: 0; }
 * 1) p-cactions li.selected {
 * 1) p-cactions li a {

 * 1) p-cactions .selected a { z-index: 3; }

/* Selected tab text */
 * 1) p-cactions ul li.selected a { color: #39f; text-decoration: underline; background: #fff; }

 * 1) p-cactions .new a { color:#ba0000; }
 * 2) p-cactions li a:hover { z-index: 3; text-decoration: underline; background: #fff; }

.ns-0 * #p-cactions li a:hover { z-index: 3; text-decoration: underline; background: #fff; }

 * 1) p-cactions h5 { display: none; }

 * 1) p-cactions li.istalk { margin-right: 0; }
 * 2) p-cactions li.istalk a { padding-right: 0.5em; }

padding-left: 0.4em; padding-right: 0.4em; }
 * 1) p-cactions #ca-addsection a {

/* offsets to distinguish the tab groups */ li#ca-talk { margin-right: 1.6em; } li#ca-watch, li#ca-watch { margin-left: 1.6em; }

/* ###### SIDEBAR ###### */ /* general portlet styles (elements in the sidebar) */ .portlet { border: none; margin: 0em 0em 0.5em 0em; float: none; padding: 0; width: 12.2em; overflow: hidden; } .portlet h4 { font-size: 95%; background: #c00; font-weight: normal; white-space: nowrap; } .portlet h5 { background: transparent; border: none; padding: 0em 1em 0em 0.5em; text-transform: lowercase; display: inline; font-size: 91%; height: 1em; font-weight: normal; white-space: nowrap; } .portlet h6 { background: #ffae2e; border: 1px solid #2f6fab; border-style: solid solid none solid; padding: 0em 1em 0em 1em; text-transform: lowercase; display: block; font-size: 1em; height: 1.2em; font-weight: normal; white-space: nowrap; } .pBody { font-size: 95%; background: White; border-collapse: collapse; border: 1px solid #39f; padding: 0 0.8em 0.3em 0.5em; }

.portlet h1, .portlet h2, .portlet h3, .portlet h4 { margin: 0; padding: 0; }

.portlet ul { line-height: 1.5em; list-style-type: square; list-style-image: url("http://meta.wikipedia.org/style/monobook/bullet.gif"); font-size:95%; }

.portlet li { padding:0; margin: 0 0 0 0; margin-bottom: 0; }

.portlet li a:visited { color: #39f; }

/* search portlet */ position:relative; z-index:3; }
 * 1) p-search {

text-align: center; }
 * 1) p-search .pBody {

input.searchButton { margin-top:1px; padding: 0 0.4em !important; font-size: 95%; cursor: pointer; background-color: White; border: 1px solid #39f;  }

border: 1px solid #39f; width:10.9em; margin: 0em 0em 0.5em 0em; font-size: 95%; }
 * 1) searchInput {

 * 1) p-search .pBody { padding: 0.5em 0.4em 0.4em 0.4em; }

/* other portlets */
 * 1) p-nav, #p-tbx, #p-lang { position:relative; z-index:3; }

.urlexpansion, .hiddenStructure { display: none; }

/* ###### FOOTER ###### */ background-color: #fff; border: 1px solid #39f; border-top: 1px solid #fff; margin-top: -1em; margin-bottom: 1em; margin-left: 14.7em; padding: 10px; padding-bottom: 20px; text-align: center; font-size: 90%; } margin: 0 1.3em; } /* hide from incapable browsers */ head:first-child+body #footer li { white-space: nowrap; } margin: 0 8px; position: relative; top: -2px; /* Bump it up just a tad */ }
 * 1) footer {
 * 1) footer li { display: inline;
 * 1) f-poweredbyico, #f-copyrightico {
 * 1) f-poweredbyico { float: right; height: 1%; }
 * 2) f-copyrightico { float: left; height: 1%; }

/* js pref toc */ float: left; margin: 1em 1em 1em 1em; width: 13em; }   background-color:#f9f9f9; border:1px dashed #aaaaaa; }   display: block; color: #0014a6; }   clear: both; float: left; margin-top: 1em; } div.prefsectiontip { font-size: 95%; margin-top: 1em; } fieldset.operaprefsection { margin-left: 15em }
 * 1) preftoc {
 * 1) preftoc li { border: 1px solid White; }
 * 2) preftoc li.selected {
 * 1) preftoc a,
 * 2) preftoc a:active {
 * 1) prefcontrol {

/* #### MISCELLANEOUS #### */ /* notifications */ .usermessage { background-color: #f9f9f9; border: 1px solid #39f; color: Black; font-weight: bold; margin: 2em 0em 1em 0em; padding: 0.5em 1em; vertical-align: middle; }

.error { color: red; font-size: larger; }

/* category display bugfix */
 * 1) siteSub { display: block; }

font-size: 84%; line-height: 1.2em; padding-top: 3px; margin: 0 0 1.4em 1em; color: #7d7d7d; width: auto; } span.subpages { display: block; }
 * 1) contentSub {

.firstHeading { margin-bottom:0.1em; }

border:1px solid #aaaaaa; background-color:#f9f9f9; padding:5px; margin-top: 1em; } /* currently unused, intended to be used by a metadata box in the bottom-right corner of the content area */ .documentDescription { /* The summary text describing the document */ font-weight: bold; display: block; margin: 1em 0em; line-height: 1.5em; } .documentByLine { text-align: right; font-size: 90%; clear: both; font-weight: normal; color: #76797c; }
 * 1) catlinks {

/* emulate center */ .center { width: 100%; text-align: center; } margin-left: auto; margin-right: auto; }
 * .center * {

/* ###### EDIT/HISTORY VIEWS ###### */ .special li { line-height: 1.4em; margin: 0; padding: 0; }

/* Page history styling */ /* the auto-generated edit comments */ .autocomment { color: gray; } margin-left: 1.4em; margin-right: 0.4em; }   background-color:#f9f9f9; border:1px dashed #aaaaaa; } /* table.diff { background:white; width: 800px !important; } td.diff-otitle { background:#ffffff; } td.diff-ntitle { background:#ffffff; } td.diff-context { background:#eeeeee; max-width: 49%; }
 * 1) pagehistory span.user {
 * 1) pagehistory span.minor { font-weight: bold; }
 * 2) pagehistory li { border: 1px solid White; }
 * 3) pagehistory li.selected {
 * Diff rendering

/* ###### A BUNCH OF OTHER CODE I DON'T UNDERSTAND ###### */ /*    background: url(external.png) center right no-repeat; padding-right: 13px; } .link-https { background: url("lock_icon.gif") center right no-repeat; padding-right: 16px; } .link-mailto { background: url("mail_icon.gif") center right no-repeat; padding-right: 18px; }   background: url("news_icon.png") center right no-repeat; padding-right: 18px; } .link-ftp { background: url("file_icon.gif") center right no-repeat; padding-right: 18px; } .link-irc { background: url("discussionitem_icon.gif") center right no-repeat; padding-right: 18px; } /* disable interwiki styling */ color: #75d; background: none; padding: 0; } /* this can be used in the content area to switch off special external link styling */ background: none; padding: 0; }
 * keep the whitespace in front of the ^=, hides rule from konqueror
 * this is css3, the validator doesn't like it when validating as css2
 * 1) bodyContent a[href ^="http://"],
 * 2) bodyContent a[href ^="gopher://"] {
 * 1) bodyContent a[href ^="gopher://"] {
 * 1) bodyContent a[href ^="https://"],
 * 1) bodyContent a[href ^="mailto:"],
 * 1) bodyContent a[href ^="news://"] {
 * 1) bodyContent a[href ^="ftp://"],
 * 1) bodyContent a[href ^="irc://"],
 * 1) bodyContent a.extiw,
 * 2) bodyContent a.extiw:active {
 * 1) bodyContent .plainlinks a {

/*
 * IE/Mac fixes, hope to find a validating way to move this
 * to a separate stylesheet. This would work but doesn't validate:
 * @import("IEMacFixes.css");

/* tabs: border on the a, not the div */ border: 1px solid #aaaaaa; border-bottom: none; } /* footer icons need a fixed width */ overflow-x: auto; width: 100%; padding-bottom: 25px; }
 * > html #p-cactions li { border:none; }
 * > html #p-cactions li a {
 * > html #p-cactions li.selected a { border-color: #fabd23; }
 * > html #f-poweredbyico,
 * > html #f-copyrightico { width: 88px; }
 * > html #bodyContent,
 * > html #bodyContent pre {

/* more IE fixes */ /* float/negative margin brokenness */ display: inline; margin-bottom: 0; }
 * html #footer {margin-top: 0;}
 * html #column-content {
 * html div.editsection { font-size: smaller; }
 * 1) pagehistory li.selected { position: relative; }

/* debugging tool.. */ /*div{ border:1px solid #000000;}*/

/* #siteNotice { background-color: #eee; border: 1px solid #39f; padding: none !important; margin-bottom: 8px; text-align: center; position: relative; top: 8px; } */

 * 1) siteNotice { display: none; }

/* Mac IE 5.0 fix; floated content turns invisible */ float: none; }   position: absolute; left: 0; top: 0; } margin-left: 13.2em; }
 * > html #column-content {
 * > html #column-one {
 * > html #footer {

/* No external link icon */
 * 1) bodyContent a[href ^="http://"] {background: none; padding-right: 0px;}

td.diff-addedline { background:#fff; color: #060; max-width: 49%; } td.diff-deletedline { background:#fff; color: #c00; max-width: 49%; } span.diffchange { background-color: #ff9; }

 * 1) ca-edit a { font-weight: normal !important; }
 * 2) siteSub { display: inline; font-size: 120%; font-weight: bold; }

/* make a few corners round, only supported by moz/firefox/other gecko browsers for now */ -moz-border-radius-topleft: 1em; -moz-border-radius-topright: 1em; } -moz-border-radius-topleft: 1em; -moz-border-radius-bottomleft: 1em; } div.pBody { -moz-border-radius-topright: 1em; -moz-border-radius-bottomright: 1em; }
 * 1) p-cactions ul li, #p-cactions ul li a {
 * 1) content {

/* same following the css3 draft specs, any browsers supporting this? */ border-radius-topleft: 1em; border-radius-topright: 1em; } border-radius-topleft: 1em; border-radius-bottomleft: 1em; } div.pBody { border-radius-topright: 1em; border-radius-bottomright: 1em; }
 * 1) p-cactions ul li, #p-cactions ul li a {
 * 1) content {

title: User:Imprestavel/myskin.css


text:
Wikipedia:Articles for deletion/Bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk

Bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk 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 KEEP as a redirect. Rossami 23:18, 11 Aug 2004 (UTC)

Not having read Finnegans Wake, I can't say how significant this "word" is, but deserving of an article it ain't, especially with a name like that! Delete and merge if it needs to be. TPK 07:20, 4 Aug 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete. I can see no reason to have this article. Darksun 10:54, 4 Aug 2004 (UTC)
 * Agree with the VfD proposer - merge if real, delete otherwise. - TB 11:28, Aug 4, 2004 (UTC)
 * Delete: Nothing to merge, really. The external links, I guess, but that's not the most critical thing.  I do think we're in trouble with articles like "The: A word found in the following books (Library of Congress contents follow)."  Special words deserve mention only if they're discussed in full terms.  If someone wanted to create My mother is a fish for William Faulkner's As I Lay Dying, I would expect the article to explain Vardamon's psychology (and good luck). Geogre 12:37, 4 Aug 2004 (UTC)
 * Delete, or, as the Connecticut Yankee said, Mekkamuselmannenmassenmenchenmoerdermohrenmuttermarmormonumentenmacher! [[User:dpbsmith|dpbsmith (talk)]] 16:26, 4 Aug 2004 (UTC)
 * Delete. I rather like "novelty" articles, but there's zero information here.  Gamaliel 18:13, 4 Aug 2004 (UTC)
 * Delete...but what does it mean? Bearcat 18:46, 4 Aug 2004 (UTC)
 * It's the sound of thunder. (Some say it is also some kind of word puzzle or cryptogram). Thus it is, in fact, almost a synonym for Mekkamuselmannenmassenmenchenmoerdermohrenmuttermarmormonumentenmacher! which is the word the Connecticut Yankee used just before setting off the fireworks and the charge of dynamite which "miraculously" fixed the monastery's well. [[User:dpbsmith|dpbsmith (talk)]] 20:20, 4 Aug 2004 (UTC)
 * Redirect: to Finnegans Wake --Edcolins 21:11, Aug 4, 2004 (UTC)
 * There are nine hundred-letter thunderwords in Finnegans Wake, and one 101-letter thunderword. Surely we don't need ten articles. The words should be discussed in the Finegans Wake article. A link on the words is here. - Nunh-huh 21:17, 4 Aug 2004 (UTC)
 * Delete. Wile E. Heresiarch 03:42, 5 Aug 2004 (UTC)
 * Redirect to Finnegans Wake (as long we're sure it's spelled correctly). -- Netoholic 03:54, 5 Aug 2004 (UTC)
 * Delete - not an article. -- Cyrius|✎ 20:03, 6 Aug 2004 (UTC)
 * Move to Wiktionary, and make present article redirect. - Fennec (はさばくのきつね) 02:02, 8 Aug 2004 (UTC)
 * Merge with Finnegans Wake and redirect. --Slowking Man 02:04, Aug 8, 2004 (UTC)
 * Redirect to Finnegans Wake, and merge. And give a silver star to anyone who actually types the thing into Google. Antandrus 02:14, 8 Aug 2004 (UTC)
 * Merge and delete. Why keep a redirect with a name this long? --ssd 06:20, 9 Aug 2004 (UTC)
 * I added the meaning of the word, so its now no longer a completely useless article. Though I still am hesitant to vote for a keep as nothing links to it and I can't see anyone typing in all 100 letters to do a search (I also didn't proof read it to make sure its spelled correctly). It did get a mention in a literature fact book of mine and I always like to keep up with those where we can. So I'll call this a neutral vote but ask people to perhaps reconsider now that the article has been slightly expanded. -R. fiend 06:53, 9 Aug 2004 (UTC)
 * I ammend my vote above. delete. --ssd 05:03, 10 Aug 2004 (UTC)
 * Delete it. No point in keeping.
 * Delete. -SV 18:20, 10 Aug 2004 (UTC)
 * Merge and redirect - this page may have been linked to on another website, therefore I think a redirect is needed. SimonMayer 03:23, 11 Aug 2004 (UTC)