text:
Talk:Looney Tunes: Back in Action

Wrong Composer
It currently says in this article that this was the last movie John Powell scored before his death. It's actually the last movie that Jerry Goldsmith scored. —Preceding unsigned comment added by 199.94.73.152 (talk) 21:44, 14 March 2011 (UTC)

Cultural riffs
My main motivation for creating this page was to list the incredible number of hilarious cultural references that Larry Doyle and company sprinkle throughout the movie. I realize that rather overbalances the article, but it seemed silly to create an article about the movie with only a paragraph or two like most current movie articles, and then create a separate article many times its length to list the riffs. I invite others to elaborate on the movie itself as desired in order to provide more balance. -- Jeff Q 05:03, 23 Jul 2004 (UTC)

Hallway dash art references
I mentioned that "in the frenetic scene where Bugs, Daffy, and Elmer dash in and out of various doors in a hallway, they appear in many characterizations of famous art works." Unfortunately, I am rather ignorant on this subject and could not identify 14 of the 15 quickie characterizations. (I only recognized number 3 — Bugs as "Whistler's Mother". I suspect that Bugs' rather wraith-like appearance in number 8 was an Edward Gorey riff.) I invite any serious art students to review the movie and provide a quick list of each characterization. — Jeff Q 22:12, 17 Aug 2004 (UTC)

Mona Lisa
I haven't seen this movie, and probably won't anytime soon. (Not to say I don't like Looney Tunes; I grew up on them!) Could someone who's seen the movie please update Mona Lisa#Role in popular culture, describing exactly what they did to her? :-) Thanks, • Benc • 10:03, 31 Aug 2004 (UTC)

 * Done. — Jeff Q 02:14, 13 Sep 2004 (UTC)
 * Many thanks, Jeff. • Benc • 06:16, 13 Sep 2004 (UTC)

Three Bears
I think the Bears in the Eiffel Tower scene are actually the "Three Bears" characters created by Chuck Jones and seen in such Looney Tunes shorts as "A Bear for Punishment", etc. Jeff schiller 00:00, 2004 Sep 4 (UTC)

 * Thanks for the tip. I'm going to review LTBiA again to check out this and the Mona Lisa question above. I've been doing some research on classic Looney Tunes and Merrie Melodies cartoons and may have some additional info that would help verify this. I'll post what I find out and do appropriate updates (unless someone beats me to it). — Jeff Q 04:48, 5 Sep 2004 (UTC)

 * I still haven't gotten my hands on any of the Three Bears cartoons, but I did see that Stan Freberg, who did the voice of Junyer Bear in most of them, was credited with the voice of Baby Bear in LTBiA. I've deleted my erroneous reference to the Hillbilly Bears. Someone might want to list the specific WB characters that appear in the movie, so links can be provided to Wikipedia pages on them. — Jeff Q 01:58, 13 Sep 2004 (UTC)

 * I'm your man! I kept the list while watching the first time.

Movie summary
There really needs to be more about the movie summary in this article; all the references are fine but they're ultimately dominating the article. -- Wack'd About Wiki 07:22, 19 Jun 2005 (UTC)

 * As the guy who created this article and added most of the cultural references, I heartily agree (see Cultural riffs above). The great thing about Wikipedia is that anyone can contribute whatever information they have, so nobody has to do the whole job themselves. It was my hope that folks would be sufficiently concerned about the imbalance to jump in and add the summary. I'm rather surprised that no one has done so in nearly a year! — Jeff Q (talk) 09:54, 19 Jun 2005 (UTC)

Plant Monster
I belive that the Plant Monster in the Area 52 scene is a Triffid

Lola Bunny In Looney Tunes Back In Action
Although, she does not make any 'official' appearance in the movie, she can be seen in many background posters with either by herself, with Bugs Bunny, or with both Bugs and Daffy. (See screen-shots of the scenes in question from the movie.)

Here, we will quote what I believe is an indirect reference to the whole Lola Bunny controversy:

(--Looneyman 21:00, 12 July 2005 (UTC)is to be credited for this description of the scene)

''In the restaurant, as Kates discusses with Bugs Bunny his to-be popularity without the assistance of Daffy Duck: ...''Kate: "Answer, we team you up with a hot female co-star."( App. ref. to Lola Bunny, conveniently in the background poster.)

Bugs: "Usually, (spin changes into drag queen outfit and starts talking in high, female voice) I play the female love interest."

Michigan: (in backround) Hello, my baby, hello, my darling, hello my ragtime doll...

Kate: "About the cross-dressing thing. In the past, funny. Today, disturbing."

Bugs spin-changes back to normal attire except for lipstick as Michigan stops singing.

Bugs: (while wiping off lipstick) "Lady, if you don't find a rabbit with lipstick amusing, you and I have nothin' to say to each other."

--Looneyman 21:00, 12 July 2005 (UTC) Q: Was Kate suggesting that Honey Bunny was actually nothing more than Bugs Bunny cross-dressing? If so it would be a plausible explanation to her dissapearance, and to Lola Bunny replacing her as a way more contemporary version of a 'Bugs Bunny sweetheart'.

Besides, this little discussion DOES make up for the damage done to the character's personality in Space Jam since Bugs acted then, a little too 'boorish' and all 'head over heels' over Lola. It also gives us a little idea that says something among the lines "Bugs Bunny's character will not completely be changed for a non-needed greed of popularity, he will simply evolve with time as will his fans".

I like to think, and hope we will be seen more of Lola Bunny in future Looney Tunes movies, though it is sad to think that such characters can be so easily invented then discerned by WB for commercial purposes. I, once a Honey Bunny fan, have easily welcomed Lola Bunny's 'fresh and feminine' character but I doubt I will, in the same way, accept her suddenly dissapearing to be replaced yet again by a new one: It is about time that WB declared an official Bugs Bunny 'girlfriend and sweetheart'.

Females have been diregarded for years and years by Looney Tunes now. They have come and gone. Examples such as Melissa Duck, Petunia Pig and Tasmanian She Devil have all had maybe two appearances and then disappeared never to be heard from again. Lola is no different from them. Sure the way Bugs Bunny was portrayed in Space Jam was way off, but that is no need to get rid of what could have been a leading female Looney Tunes star. My opinion doesn't matter so I can only hope the current writers can listen to longtime fans and finally include a female lead instead of a one time appearance female supporter.

---Nilie DaStar-- for Wikipedia.Nilie 19:57, 23 November 2005 (UTC)

Couldn't agree with you more.

WAVY 10 18:37, 19 December 2006 (UTC)

I think the WB should let female characters(Lola Bunny, Melissa Duck,Petunia Pig and Tasmanian She Devil) appear in some cartoon shorts in the future. (If they plan to create more cartoon short)

User: Ken Seng1991

"Females have been diregarded for years and years by Looney Tunes now. They have come and gone." BS. Granny and Penelope Pussycat, anyone? Anyway, the reason none of the females you mentioned stayed is that none of them were worthy of being kept, as they didn't make as much of an impression nor were as successful as the other characters. What characters stay simply depends on their success, their gender has nothing to do with anything. There are a lot of male characters that received the same treatment as the females you mentioned, too, so don't pull the gender card. - 190.231.20.106 (talk) 02:53, 30 August 2010 (UTC)

Cast list
Do the movie credits really list the characters as "George Washington 'Bugs' Bunny", "Porcine 'Porky' Pig", etc.? — Amcaja 21:51, 14 December 2005 (UTC)

No, George Washington Bunny is Bugs's real name according to a comic book, and Porcine Pig is Porky's real name according to the book Bugs Bunny: 50 Years and only one Gray Hare.--JFP 03:23, 22 July 2007 (UTC)

 * The following discussion is an archived debate of the . Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

move. — Nightst a  llion  (?) 10:44, 28 February 2006 (UTC)

Requested move
Looney Tunes: Back In Action → Looney Tunes: Back in Action – non-controversial standard capitalization fix. The article was originally correctly capitalized, but was inexplicably moved to the current incorrect version around 6 January 2006, 01:30 (UTC) by SNIyer12, who immediately executed several ultimately self-reverted edits that now prevent a simple move to correct the capitalization.

Voting

 * Add *Support or *Oppose followed by an optional one-sentence explanation, then sign your vote with ~

 * Support. There is no reason to ignore Naming conventions (capitalization), especially since the article was correct to begin with. ~ Jeff Q (talk) 10:38, 22 February 2006 (UTC)

 * Support as per the above. David Kernow 15:21, 22 February 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

 * Dated November 7, 2006

By "JC"

I would like to know why Warner Brothers is currently having second thoughts about the popularity of the Looney Toons! If so, why did they release the film on DVD? Also, why did they release the Looney Tunes: Golden Collections? Please give a citation, someone!

By Concerned Animation Historian

Nemo reference
I doubt that the Nemo thing's the exact thing. I saw that the fish was red (in the DVD anyway), and I don't think it had three stripes on it. So I highly doubt that it's a proper reference. --Addict 2006 22:46, 8 December 2006 (UTC)

Unreleased shorts
I hope Warner Bros. releases the shorts that were scrapped with the failure of this movie in the near future.

WAVY 10 18:38, 19 December 2006 (UTC)

 * Posted by "JS" [I used to go as "JC", which explains why that's on this page just a few remarks above this one] on December 27, 2006, answering WAVY 10's question: Actually, I think they already have. I've seen this Duck Dodgers short called Attack of the Drones or something like that on the Internet, although I can't remember where. Also, they've just recently released, on video and television, a pleasant 45-minute long feature called Bah Humduck! A Looney Tunes Christmas Fa-la-la-la-la, la-la-la-la! It was great, by the way. Also, I have spotted an error in the article for which this talk page has been supplied. In the CULTURAL REFERENCES--ART REFERENCES part of the article, it states that Elmer, Bugs, and Daffy dash in and out of doors in the hallway, appearing in various homages to works of art. Actually, I believe they jump out of actually paintings in the Louvre hallway, not doors. Am I correct?

Yeah, I saw "Bah-Humduck". It was okay, not (obviously) on par with the original or some of the special shorts from the early '90s, but it's a start.

WAVY 10 00:48, 28 December 2006 (UTC)

Posted by JS on January 7, 2007: I agree with you, WAVY 10, that "Bah Humduck" is not on par with the classic shorts (Maybe when I said "great", I should have put "better than expected.") The designs of Gossamer, Hubie and Bertie, and Wile E. seem particularly off-center. But the one great thing about Bah Humduck is this: it gives Daffy a chance to be in the spotlight. You can go to the Daffy Duck article's talk page and look under "HAPPY BIRTHDAY, DAFFY!" to get a better understanding of what I mean.

Dubious and unreferenced "alternate ending" moved from Trivia section

 * An alternate ending for the movie involves DJ in Africa who has turned his dad into a monkey so he can escape from Mr. Smith, which he does. Mr. Chairman complains, telling Mr. Smith to throw Daffy Duck into a vat of lava. DJ then throws the Blue Monkey at Mr. Smith's head, which doesn't work, while Kate picks up the diamond and accidentally turns Bugs into one of his very early characters, Happy Rabbit (Happy's first appearance since Elmer's Candid Camera). Mr. Smith approaches Kate, then she throws the diamond to DJ, only to be thrown to Mr. Chairman. Afterwards, Daffy manages to steal the diamond from Mr. Chairman, but then, Mr. Smith starts approaching him, to which he becomes frantic. He tries to zap him with the diamond, but only succeeds in turning Kate in a cavewoman, while turning Bugs from Happy Rabbit to Prehistoric Bugs. Then Daffy tries to fix the problem, only to turn himself into an egg with two feet. DJ then grabs the Monkey, but Mr. Smith grabs him by the neck, but his whistle-watch tells him to take a break. Mr. Chairman commands him to return, but Smith merely says "Take it up with the Teamsters." DJ now is about to zap Mr. Chairman, but he says by zapping him, he will only succeed in making him smarter. Then, he pulls out a bag containing the Tasmanian Devil, who threatens to kill Bugs, Daffy, and Kate. DJ has a choice of zapping the chairman or Taz. He decides to zap a nearby Tweety Bird into the lava, to which Mr. Chairman says "I've enjoyed many of your films!!", then he tells DJ to give him the diamond. DJ gives it to him. DJ now asks him where birds are descended from. Mr. Chairman brags that he was taught in the very finest schools in Europe. "Birds, my friend, are descended from..." Then a pterodactyl Tweety Bird arrives out of the lava. "...the dinosaurs," he finishes afraid. He then spots Tweety behind him, then he says in a Porky Pig manner, "That's all folks!!" Then Tweety eats him. Tasmanian Devil becomes scared, and turns into little pieces and goes away. Tweety spits out the diamond, DJ grabs it, and turns Tweety back into a little canary.

This seems a little "out there" to me. If someone can reference it, then clean it up and put it back in. Mdotley 03:27, 6 May 2007 (UTC)

That scene is actually real. It was included on the "Out of Action" deleted scene montage bonus feature on the film's DVD and a similar ending was used in the film's video game adaptation.--JFP 03:26, 22 July 2007 (UTC)

Rating
It says on the back of the DVD that this film is rated PG for mild language and inuenndo. There was inuendo, but I didn't here a single swear in this film. Could someone explain?

 * Actually I think there is a momentary use of profanity. Right when the film cuts to the scene where Steve Martin is reprimanding Wile E. Coyote, I can remember him saying "Goddamn, man, what am I going to do with you? ..."  But I'll check the DVD to make sure. — Cinemaniac (talk  •  contribs) 02:58, 25 January 2008 (UTC)

 * No, I was wrong. The Chairman just says "My God, man! What am I going to do with you?" I didn't catch any other swear words either, so I'm curious about the rating, too. — Cinemaniac (talk  •  contribs) 14:59, 25 January 2008 (UTC)

 * Actually, according to this site, that use of "My God!" was good enough to give the film a PG rating for "mild language." Hmm. . . — Cinemaniac (talk  •  contribs) 23:36, 26 January 2008 (UTC)

Michael Jordan Writing the Script
It currently says that Michael Jordan wrote an early draft of the script. This strikes me as bullshit, the man's a basketball player why would he write for the Looney Tunes movie he's not even in? Plus it had no sources. —Preceding unsigned comment added by 152.30.242.151 (talk) 01:20, 9 September 2009 (UTC)

Favorite Line.
Daffy: Duck Danger to the rescue! (boom!) Duck Danger to the rescue! (boom!) Duck Danger to the... (boom!) Duck Danger... (boom!) Duck. (boom!)(99.114.169.92 (talk) 18:16, 7 June 2011 (UTC))

Actor problems!
Are we sure about the actors being correct? Look at http://www.imdb.com/title/tt0318155/fullcredits#cast and check, I just want to make sure before changing anything — Preceding unsigned comment added by Vatr5 (talk • contribs) 22:46, 1 November 2011 (UTC)

Mel Blanc
Ehm - how is Mel Blanc the voice actor for so many of these characters if he in fact died in 1989? 195.89.37.17 (talk) 13:16, 3 November 2011 (UTC)
 * Archive voice recordings. RAP (talk 13:18 7 November 2011 (UTC)
 * Probable facts vandalism here by 68.34.10.197. Slight  Smile  02:51, 11 November 2011 (UTC)

What about Who Framed Roger Rabbit?
"The film is the second live action feature-length featuring the Looney Tunes characters, the first being Space Jam (1996)". What about Who Framed Roger Rabbit (1988)? Looney Tunes characters weren't the main characters, but they were there (eg. Bugs Bunny). 213.135.36.104 (talk) 09:43, 27 March 2013 (UTC)
 * Damn straight! 14.200.76.101 (talk) 21:18, 18 October 2014 (UTC)
 * Since the original comment, it's been reworded to say "starring" instead of "featuring." Trivialist (talk) 00:05, 19 October 2014 (UTC)

Crediting fictional characters as "stars"
This issue is currently being discussed at Wikipedia_talk:WikiProject_Film. Please comment there. - Sum mer PhD v2.0 03:56, 5 January 2016 (UTC)
 * The consensus seems to be that we credit actors as starring. Crediting fictional characters is a marketing ploy. - Sum mer PhD v2.0 05:12, 6 February 2016 (UTC)

Semi-protected edit request on 22 July 2017
Danny Mann, who voices the Robo Dog and the Spy Car is not credited for some reason. 173.54.199.149 (talk) 20:55, 22 July 2017 (UTC)
 * Technically that's an observation, not a request, but I've added him to the cast list. Trivialist (talk) 01:37, 23 July 2017 (UTC)

Heavy Competition
According to the article, there are two major reasons why this film bombed at the box office. The first was Warner Bros. barley promoting the film, and the second reason was heavy competition against other films.

Normally, both the summer and the later fall/winter are very competitive for movies at the box office, and Looney Tunes: Back in Action (regular US premier on November 14th) was no exception. Facing competition against this film included Walt Disney's Brother Bear (released November 1st), Elf (released November 7th), Master and Commander: The Far Side of the World (released the same day as LT:BIA), and the live action remake of the The Cat in the Hat (released November 21st). Would it be worth a mention that these four films competed against Looney Tunes: Back in Action at the box office back in the fall of 2003? --JCC the Alternate Historian (talk) 14:35, 12 August 2017 (UTC)

 * If you have sources discussing this, sure. Trivialist (talk) 18:45, 12 August 2017 (UTC)

 * Why the heck would we need sources for these four films? It is pretty obvious that the four films I listed with their release dates would've competed against Looney Tunes: Back in Action at the box office back in November 2003. Besides, other film articles here on Wikipedia list any films they would have competed against in their run at the box office and no one complains about that. --JCC the Alternate Historian (talk) 13:57, 13 August 2017 (UTC)

 * If you are merely saying these films were released at around the same time, that's true (sort of: "around the same time" is an unsourced opinion) but trivial enough not to merit mention.

 * What you are actually trying to say, though, is that the film would have brought in more money were it not for these four films being released around the same time. That is your guess, not a verifiable fact. Your guess is no more encyclopedic that someone else's guess based on the U.S. economy at the time, bad weather in major cities that month, poor ad placement or any other guess another editor would want to make. - Sum mer PhD v2.0 16:49, 13 August 2017 (UTC)

 * With WB's poor promotion of this, I don't think it would have brought in much more money and probably would've barely made a profit. To be fair, its box office returns could've been much worse, though. Originally, Looney Tunes: Back in Action was planned to premier in the summer of 2003. However, if the film actually stayed to its original release date, the film would have been nuked at the box office and would have been overshadowed by films such as Finding Nemo, Hulk, Terminator 3: Rise of the Machines, Legally Blonde 2: Red, White & Blonde, Charlie's Angels: Full Throttle, and Sinbad: Legend of the Seven Seas. --JCC the Alternate Historian (talk) 13:59, 14 August 2017 (UTC)

 * I'm tempted to question how many people had trouble deciding between an R rated action film and a G rated cartoon, there's a far more important point. This article talk page is for discussing improvements to the article, not for general discussion of the article's topic. Your speculation does not belong here. - Sum mer PhD v2.0 18:10, 14 August 2017 (UTC)

 * Well SummerPhDv2.0, according to the commercial reception section of this article, it says that this film suffered from heavy competition and little promotion. With the movies that premiered around the same time as this film, I was trying to list the list the movies that would have rivaled it at the box office. So, adding those films that would have competed against it would improve that article. Believe me, I've done my research, I wouldn't lie about this stuff. I guess we can continute this discussion on my talk page so we don't clog up this talk page. --JCC the Alternate Historian (talk) 14:00, 15 August 2017 (UTC)

 * Sorry, I hadn't noticed that earlier. That claim was unsourced for over two years. I've removed it. - Sum mer PhD v2.0 17:51, 15 August 2017 (UTC)

 * That's alright SummerPhDv2.0. I was wondering why that text reading "With heavy competition and little promotion" on the article was grayed out for some reason. --JCC the Alternate Historian (talk) 19:57, 16 August 2017 (UTC)

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Semi-protected edit request on 16 February 2021
67.87.71.232 (talk) 19:08, 16 February 2021 (UTC)unlocked it please
 * Full-protection-shackle-no-text.svg Not done: requests for decreases to the page protection level should be directed to the protecting admin or to Requests for page protection if the protecting admin is not active or has declined the request. RandomCanadian (talk / contribs)  19:27, 16 February 2021 (UTC)

Semi-protected edit request on 30 May 2021
Change "then" to "than". 114.108.236.138 (talk) 10:24, 30 May 2021 (UTC)
 * Pictogram voting question.svg Question: Where in the article? ― Qwerfjkl  | 𝕋𝔸𝕃𝕂 (please use  on reply) 14:35, 30 May 2021 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. Run n Fly (talk) 15:19, 30 May 2021 (UTC)

Semi-protected edit request on 12 July 2021
Hi. Mind if I edit the reception of the film on here please? Thank you. 142.118.158.66 (talk) 19:27, 12 July 2021 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. ScottishFinnishRadish (talk) 19:39, 12 July 2021 (UTC)

Semi-protected edit request on 5 March 2023
Add a citation for "Dante agreed to direct Back in Action as tribute to Jones. He and screenwriter Larry Doyle reportedly wanted the film to be the "anti-Space Jam" as Dante disliked how that film represented the Looney Tunes brand and personalities."

On a July 5, 2022 episode of his podcast, "The Movies That Made Me", Dante discusses how he knew Chuck Jones and that Jones did not like the way the characters had been portrayed in Space Jam, and how this was a motivation for him agreeing to take the job.

https://trailersfromhell.com/podcast/mailbag-2/ Samills8 (talk) 22:33, 5 March 2023 (UTC)
 * ✅ -Lemonaka  18:29, 7 March 2023 (UTC)

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

title: Talk:Looney Tunes: Back in Action


text:
Congressional Record

The Congressional Record is the official record of the proceedings and debates of the United States Congress, published by the United States Government Publishing Office and issued when Congress is in session. The Congressional Record Index is updated daily online and published monthly. At the end of a session of Congress, the daily editions are compiled in bound volumes constituting the permanent edition. Chapter 9 of Title 44 of the United States Code authorizes publication of the Congressional Record.

The Congressional Record consists of four sections: the House section, the Senate section, the Extensions of Remarks, and, since the 1940s, the Daily Digest. At the back of each daily issue is the Daily Digest, which summarizes the day's floor and committee activities and serves as a table of contents for each issue. The House and Senate sections contain proceedings for the separate chambers of Congress.

A section of the Congressional Record titled Extensions of Remarks contains speeches, tributes and other extraneous words that were not uttered during open proceedings of the full Senate or of the full House of Representatives. Witnesses in committee hearings are often asked to submit their complete testimony "for the record" and only deliver a summary of it in person. The full statement will then appear in a printed volume of the hearing identified as "Statements for the Record". In years past, this particular section of the Congressional Record was called the "Appendix". While members of either body may insert material into Extensions of Remarks, Senators rarely do so. The overwhelming majority of what is found there is entered at the request of Members of the House of Representatives. From a legal standpoint, most materials in the Congressional Record are classified as secondary authority, as part of a statute's legislative history.

By custom and rules of each house, members also frequently "revise and extend" their remarks made on the floor before the debates are published in the Congressional Record. Therefore, for many years, speeches that were not delivered in Congress appeared in the Congressional Record, including in the sections purporting to be verbatim reports of debates. In recent years, however, these revised remarks have been preceded by a "bullet" symbol or, more recently and currently, printed in a typeface discernibly different from that used to report words spoken by members.

The Congressional Record is publicly available for records before 1875 via the Library of Congress' American Memory Century of Lawmaking website, and since 1989 via Congress.gov (which replaced the THOMAS database in 2016). Thanks to a partnership between GPO and the Library of Congress, digital versions of the bound editions are available on govinfo.gov for 1873 to 2001 (Volumes 1-147) and 2005 to 2015 (Volumes 151-161). Govinfo.gov also provides access to digital versions of the daily edition from 1994 (Volume 140) to the present.

History
In early United States history, there was no record of Congressional debates. The contemporary British Parliament from which Congress drew its tradition was a highly secretive body, and publishing parliamentary proceedings in Britain did not become legal until 1771. The Constitution, in Article I, Section 5, requires Congress to keep a journal of its proceedings, but both the House Journal and the Senate Journal include only a bare record of actions and votes rather than records of debates. In the first twenty years, Congress made frequent use of secret sessions. Beginning with the War of 1812, public sessions became commonplace.

In the early 1800s, political reporting was dominated by National Intelligencer, the first newspaper of Washington, D.C. Newspapers with reporters in the chamber regularly published floor statements in their reports. Joseph Gales and William Seaton, the editors of the Intelligencer, became regular fixtures in the House and Senate chambers.

In 1824, Gales and Seaton began publishing the Register of Debates, the first series of publications containing congressional debates. The Register of Debates contains summaries of "leading debates and incidents" of the period rather than a verbatim debate transcript. From 1834 to 1856, Gale and Seaton retroactively compiled the Annals of Congress, covering congressional debates from 1789 to 1824 using primarily newspaper accounts.

When Andrew Jackson's Democrats came into power in congress around 1830, Gales and Seaton's popularity declined due to their differing views with the administration. The new printing partnership of Francis Preston Blair and John Cook Rives founded the Congressional Globe in 1833 with President Jackson's support. In 1837, Register of Debates ceased publication.

In 1851, the Congressional Globe began publishing near-verbatim reports of debates thanks to the publication's heavy use of stenographers.

The Congressional Record was first published in 1873.

title: Congressional Record


text:
Seed drill

A seed drill is a device used in agriculture that sows seeds for crops by positioning them in the soil and burying them to a specific depth while being dragged by a tractor. This ensures that seeds will be distributed evenly.

The seed drill sows the seeds at the proper seeding rate and depth, ensuring that the seeds are covered by soil. This saves them from being eaten by birds and animals, or being dried up due to exposure to the sun. With seed drill machines, seeds are distributed in rows; this allows plants to get sufficient sunlight, nutrients from the soil.

Before the introduction of the seed drill, most seeds were planted by hand broadcasting, an imprecise and wasteful process with a poor distribution of seeds and low productivity. Use of a seed drill can improve the ratio of crop yield (seeds harvested per seed planted) by as much as eight times. The use of seed drill saves time and labor.

Some machines for metering out seeds for planting are called planters. The concepts evolved from ancient Chinese practice and later evolved into mechanisms that pick up seeds from a bin and deposit them down a tube.

Seed drills of earlier centuries included single-tube seed drills in Sumer and multi-tube seed drills in China, and later a seed drill in 1701 by Jethro Tull that was influential in the growth of farming technology in recent centuries. Even for a century after Tull, hand-sowing of grain remained common.

Function
Many seed drills consist of a hopper filled with seeds arranged above a series of tubes that can be set at selected distances from each other to allow optimum growth of the resulting plants. Seeds are spaced out using fluted paddles which rotate using a geared drive from one of the drill's land wheels. The seeding rate is altered by changing gear ratios. Most modern drills use air to convey seeds in plastic tubes from the seed hopper to the colters. This arrangement enables seed drills to be much wider than the seed hopper—as much as 12m wide in some cases. The seed is metered mechanically into an air stream created by a hydraulically powered onboard fan and conveyed initially to a distribution head which sub-divides the seeds into the pipes taking the seeds to the individual colters.

Before the operation of a conventional seed drill, hard ground has to be plowed and harrowed to soften it enough to be able to get the seeds to the right depth and make a good "seedbed", providing the right mix of moisture, stability, space and air for seed germination and root development. The plow digs up the earth and the harrow smooths the soil and breaks up any clumps. In the case that the soil is not as compacted as to need a plow, it can also be tilled by less deeply disturbing tools, before drilling. The least interruption of soil structure and soil fauna happens when a type of drilling machine is used which is outfitted to be able to "direct drill"; "direct" referring to sowing into narrow rows opened by single teeth placed in front of every seed-dispensing tube, directly into/ between the partly composted remains (stubble) of the last crop (directly into an untilled field). The drill must be set for the size of the seed used. After this the grain is put in the hopper on top, from which the seed grains flow down to the drill which spaces and plants the seed. This system is still used today but has been updated and modified over time in many aspects; the most visible example being very wide machines with which one farmer can plant many rows of seed at the same time.

A seed drill can be pulled across the field, depending on the type, using draft animals, like bullocks or by a power engine, usually a tractor. Seeds sown using a seed drill are distributed evenly and placed at the correct depth in the soil.

Precursors
In older methods of planting, a field is initially prepared with a plow to a series of linear cuts known as furrows. The field is then seeded by throwing the seeds over the field, a method known as manual broadcasting. The seeds may not be sown to the right depth nor the proper distance from one another. Seeds that land in the furrows have better protection from the elements, and natural erosion or manual raking will cover them while leaving some exposed. The result is a field planted roughly in rows, but having a large number of plants outside the furrow lanes.

There are several downsides to this approach. The most obvious is that seeds that land outside the furrows will not have the growth shown by the plants sown in the furrow since they are too shallow on the soil. Because of this, they are lost to the elements. Many of the seeds remain on the surface where they are vulnerable to being eaten by birds or carried away on the wind. Surface seeds commonly never germinate at all or germinate prematurely, only to be killed by frost.

Since the furrows represent only a portion of the field's area, and broadcasting distributes seeds fairly evenly, this results in considerable wastage of seeds. Less obvious are the effects of over seeding; all crops grow best at a certain density, which varies depending on the soil and weather conditions. Additional seeding above this will actually reduce crop yields, in spite of more plants being sown, as there will be competition among the plants for the minerals, water, and the soil available. Another reason is that the mineral resources of the soil will also deplete at a much faster rate, thereby directly affecting the growth of the plants.

History

While the Babylonians used primitive seed drills around 1400 BCE, the invention never reached Europe. Multi-tube iron seed drills were invented by the Chinese in the 2nd century BCE. This multi-tube seed drill has been credited with giving China an efficient food production system that allowed it to support its large population for millennia. This multi-tube seed drill may have been introduced into Europe following contacts with China. In the Indian subcontinent, the seed drill was in widespread use among peasants by the time of the Mughal Empire in the 16th century.

The first known European seed drill was attributed to Camillo Torello and patented by the Venetian Senate in 1566. A seed drill was described in detail by Tadeo Cavalina of Bologna in 1602. In England, the seed drill was further refined by Jethro Tull in 1701 in the Agricultural Revolution. However, seed drills of this and successive types were both expensive and unreliable, as well as fragile. Seed drills would not come into widespread use in Europe until the mid to late 19th century, when manufacturing advances such as machine tools, die forging and metal stamping allowed large scale precision manufacturing of metal parts.

Early drills were small enough to be pulled by a single horse, and many of these remained in use into the 1930s. The availability of steam, and later gasoline tractors, however, saw the development of larger and more efficient drills that allowed farmers to seed ever larger tracts in a single day.

Recent improvements to drills allow seed-drilling without prior tilling. This means that soils subject to erosion or moisture loss are protected until the seed germinates and grows enough to keep the soil in place. This also helps prevent soil loss by avoiding erosion after tilling. The development of the press drill was one of the major innovations in pre-1900 farming technology.

Impact
The invention of the seed drill dramatically improved germination. The seed drill employed a series of runners spaced at the same distance as the plowed furrows. These runners, or drills, opened the furrow to a uniform depth before the seed was dropped. Behind the drills were a series of presses, metal discs which cut down the sides of the trench into which the seeds had been planted, covering them over.

This innovation permitted farmers to have precise control over the depth at which seeds were planted. This greater measure of control meant that fewer seeds germinated early or late and that seeds were able to take optimum advantage of available soil moisture in a prepared seedbed. The result was that farmers were able to use less seed and at the same time experience larger yields than under the broadcast methods.

The seed drill allows farmers to sow seeds in well-spaced rows at specific depths at a specific seed rate; each tube creates a hole of a specific depth, drops in one or more seeds, and covers it over. This invention gives farmers much greater control over the depth that the seed is planted and the ability to cover the seeds without back-tracking. The result is an increased rate of germination, and a much-improved crop yield (up to eight times compared to broadcast seeding ).

The use of a seed drill also facilitates weed control. Broadcast seeding results in a random array of growing crops, making it difficult to control weeds using any method other than hand weeding. A field planted using a seed drill is much more uniform, typically in rows, allowing weeding with a hoe during the growing season. Weeding by hand is laborious and inefficient. Poor weeding reduces crop yield, so this benefit is extremely significant.

title: Seed drill


text:
The Jim Henson Company

The Jim Henson Company (formerly known as Muppets, Inc., Henson Associates, Inc., and Jim Henson Productions, Inc.; commonly referred to as Henson) is an American entertainment company located in Los Angeles, California. The company is known for its innovations in the field of puppetry, particularly through the creation of Kermit the Frog and the Muppets characters.

Brian Henson is chairman and Lisa Henson is CEO. Since 2000, The Jim Henson Company is headquartered at the Jim Henson Company Lot, the historic former Charlie Chaplin Studios, in Hollywood.

The company was established in November 1958 by puppeteers Jim and Jane Henson, and is currently independently owned and operated by their children. Henson has produced many successful television series, including The Muppet Show (1976–1981), Fraggle Rock (1983–1987), and Bear in the Big Blue House (1997–2006); as well, the company designed the Muppet characters for Sesame Street (1969–present).

The company has also produced theatrical films, including The Muppet Movie (1979), The Dark Crystal (1982) and Labyrinth (1986). Henson also operates Jim Henson's Creature Shop, an animatronics and visual effects studio which has created characters and effects for both Henson productions and outside projects. In 1989, the company entered merger negotiations with The Walt Disney Company, which were canceled following Jim Henson's death in 1990.

Subsequently, control of the company was assumed by Henson's children: Lisa, Cheryl, Brian, John, and Heather. In 2000, Henson was sold to German media company EM.TV & Merchandising AG; by the end of that year, however, EM.TV's stock collapsed, and the Henson family re-acquired the company in 2003.

In the interim, EM.TV sold the rights to the Sesame Street Muppets to Sesame Workshop in early January 2001, following a December 2000 announcement. Henson sold The Muppets and Bear in the Big Blue House properties to Disney in 2004, but retains the remainder of its program library and assets.

, Brian, Lisa, Cheryl, and Heather Henson maintain control of the company. Jane Henson died in April 2013 and John Henson died in February 2014.

1958 to 1990
Jim and Jane Henson officially founded Muppets, Inc. on November 20, 1958, three years after Sam and Friends debuted on WRC-TV in Washington, D.C. Aside from Sam and Friends, the majority of its work until 1969 was in advertising; appearances on late-night talk shows; and short "meeting films" primarily for enterprise use, produced from 1965 to 1996. In 1968, the company began designing characters and producing short films for the fledgling Sesame Street, which premiered on NET (succeeded by PBS) in November 1969.

One of the company's first characters to appear regularly on television, Rowlf the Dog, originated in commercials for Purina Dog Chow and became a regular character on The Jimmy Dean Show from 1963 to 1966. During this time, the show's host, Jimmy Dean, refused an opportunity to own 40% of the company, assuming that he did not attain that right. Jim Henson also pitched several different projects to the major American television networks, to little avail. Some ideas became unaired pilots, while others were never produced.

In 1976, producer Lew Grade approached Henson to produce a weekly series in Grade's native United Kingdom. This series became The Muppet Show, produced by Associated Television (ATV) for the ITV network. The success of The Muppet Show led to the Muppets becoming an enduring media franchise. Another company controlled by Grade, ITC Entertainment, originally owned The Muppet Show, among other Henson productions, but Henson acquired the rights to these productions in the 1980s. During this time, Henson formed Jim Henson's Creature Shop, a special effects studio partially responsible for the films The Dark Crystal and Labyrinth; and television series The StoryTeller, Farscape, and Dinosaurs.

Later in his life, Henson produced Fraggle Rock and The Jim Henson Hour. In August 1989, Henson and Disney CEO Michael Eisner began merger discussions reportedly valued at $150 million, which also included a fifteen-year contract for Henson's personal "creative services." However, the deal did not include the rights to the Sesame Street characters, which were owned by Henson, although merchandising revenue was split between Henson and the Children's Television Workshop.

Also during the negotiations, management of the company's Henson International Television distribution unit based in the United Kingdom purchased their unit from the company, leading to the establishment of HIT Entertainment. On May 16, 1990, as negotiations continued, Jim Henson died of toxic shock syndrome. Following Henson's death, neither Disney nor Jim Henson Productions could come to an accord. Negotiations officially ended in December 1990, and Henson remained an independent company.

1991 to 1999
The Henson family assumed management of the company, and Brian Henson was named president, chairman, and CEO in January 1991. In the following years, Henson entered into deals with several companies, including television rights to the Henson library with Disney Channel and Nickelodeon; a record label with BMG Kidz; and a home media label with Buena Vista Home Video. In 1995, Henson entered into an agreement with ABC to produce primetime television series, leading to Muppets Tonight and Aliens in the Family.

Following the releases of The Muppet Christmas Carol and Muppet Treasure Island by Walt Disney Pictures, Henson formed Jim Henson Pictures with Sony Pictures Entertainment. In 1998, the company signed a deal with Columbia TriStar Home Video to launch Jim Henson Home Entertainment. By 1999, Henson held partial interests in two cable channels: The Kermit Channel (broadcasting in Asia) and Odyssey Network (broadcasting in the United States), both jointly owned with Hallmark Entertainment. After Hallmark (through Crown Media Holdings) assumed full ownership of these networks, the Kermit Channel was discontinued and Odyssey was renamed the Hallmark Channel.

2000 to 2004
In 2000, the Henson family sold the company to the German media company EM.TV & Merchandising AG, for $680 million. That summer, EM.TV sold Henson's stakes in the Odyssey and Kermit cable channels in exchange for an 8.2% stake in Hallmark-controlled Crown Media Holdings. By the end of 2000, after EM.TV subsequently experienced major financial problems, EM.TV sold the company's ownership of the Sesame Street Muppets and Henson's small interest in the Noggin television network to Sesame Workshop, and by early 2001, Henson itself was marked for sale. Disney, Viacom, HIT Entertainment, AOL Time Warner, Haim Saban, Classic Media, as well as Henson management, among others, were all parties reportedly interested in acquiring the company.

In December 2002, a deal was announced in which EM.TV would sell a 49.9% stake in Henson to an investment group led by Dean Valentine, a former executive at Disney and UPN. However, in March 2003, the deal was canceled, citing financial issues on Valentine's part. In May 2003, EM.TV was reportedly nearing an agreement to sell Henson to a consortium between Classic Media and Sesame Workshop (with financing from Sony Pictures Entertainment), until the Henson family re-acquired the company for a closing price of $84 million.

In February 2004, Henson sold the Muppets and Bear in the Big Blue House to Disney, who subsequently formed The Muppets Studio (known at that time as The Muppets Holding Company). The term "Muppet", likewise, became a legal trademark of Disney; Sesame Workshop retained permission to use the term for its Sesame Street characters under a license from Disney until 2023.

2004 to present
On April 1, 2004, Henson and HIT Entertainment agreed to a five-year global distribution and production deal which included distribution of 440 hours of the company's remaining library including Fraggle Rock, Emmet Otter's Jug-Band Christmas, The Hoobs and Jim Henson's Mother Goose Stories. In addition, the agreement also included the production of new properties, including Frances, in which both companies co-produced and also both co-own the copyright to the series. After that deal expired, Henson entered similar agreements with Lionsgate Home Entertainment and Gaiam Vivendi Entertainment. As well, the company became involved with computer-animated projects, including the direct-to-video Unstable Fables series; Sid the Science Kid; Dinosaur Train; and Splash and Bubbles, as well as the puppet series Pajanimals.

Henson later formed Henson Alternative, which specializes in adult content, including the live shows known alternatively as Puppet Improv, Puppet Up!, and Stuffed and Unstrung. In recent years, the Fraggle Rock characters have made several appearances, usually at special events. The characters appeared with Ben Folds Five in the music video for "Do It Anyway"; and in 2013, Gobo and Red Fraggle hosted a Fraggle Rock marathon on the Hub Network.

In 2019, The Dark Crystal: Age of Resistance, a prequel to The Dark Crystal, premiered on Netflix. In 2022, Fraggle Rock: Back to the Rock, a reboot of Fraggle Rock, premiered on Apple TV+.

On August 9, 2022, the company signed a worldwide distribution agreement with Shout! Factory which would allow Shout! to distribute thirteen series and specials from the Henson catalog on home entertainment and streaming platforms across all territories. A similar worldwide distribution agreement went into effect on January 1, 2024, for streaming, video on demand, broadcast, digital download, packaged media and certain non-theatrical rights for the films Labyrinth and The Dark Crystal, as well as behind the scenes specials Inside the Labyrinth and The World of the Dark Crystal.

On June 20, 2024, the company announced they were planning to sell the Jim Henson Company Lot off La Brea Avenue in Hollywood, which it purchased in 1999, as “part of a much longer-term strategy to have The Jim Henson Company and our renowned Burbank-based Jim Henson’s Creature Shop under one roof, which is not feasible in Hollywood due to the space the Shop requires.”

Henson family

 * Jim Henson (1936–1990) – Founder of The Jim Henson Company.
 * Jane Henson (1934–2013) – Co-founder of The Jim Henson Company.
 * Brian Henson – Chairman of The Jim Henson Company.
 * Lisa Henson – CEO of The Jim Henson Company.
 * Cheryl Henson – Board of Directors member, President of the Jim Henson Foundation. Formerly a liaison to Sesame Workshop from 1992 to 2000.
 * John Henson (1965–2014) – Board of Directors member.
 * Heather Henson – Board of Directors member.

Leadership

 * Peter Schube – President and COO of The Jim Henson Company.
 * Lori Don – Executive Vice President and CFO of The Jim Henson Company.
 * Richard Goldsmith – Executive Vice President, Global Distribution, and International Consumer Projects.
 * Joe Henderson – Executive Vice President, Worldwide Administration.
 * Stephanie Schroeder – Executive Vice President, Business Affairs & Legal.
 * Halle Stanford – Executive Vice President of Children's Entertainment.
 * Nicole Goldman – Senior Vice President, Marketing and Publicity.
 * Karen Lee Arbeeny – Vice President, Business Operations, Global Distribution.
 * Faryal Ganjehei – Vice President and Studio Operations at the Henson Recording Studio.
 * Anna Jordan Douglass – Vice President, Digital Development & Interactive Media.
 * Howard Sharp – Vice President of Administration.
 * Peter Brooke – Creative Supervisor at Jim Henson's Creature Shop.
 * Jerry Houle - Vice President of Marketing 1977-1984

Other staff members

 * Karen Falk – Historian and archivist.

Television
From 1969 to 2000, Henson was contracted to design and create Muppet characters for Sesame Street. With the exception of occasional appearances in the Muppets franchise, the characters were used exclusively for Sesame Street, but Henson legally owned these characters prior to their acquisition by Sesame Workshop. The only exception was Kermit the Frog, who was featured in other projects prior to Sesame Street. Sesame Workshop retains the rights to use any Sesame Street footage featuring the character.

The sale ended any direct affiliation between The Muppets and Sesame Street, although the series retains use of the term "Muppet" under license from Disney. Many of the puppeteers continue to perform with both The Muppets and Sesame Street franchises. While no longer owning the Sesame Street characters, Henson continues to design them. This list excludes pre-2001 Sesame Street co-productions outside the United States.

As a contributor

 * The Tonight Show (1955–1961)
 * Sesame Street (1969–present)
 * Saturday Night Live (Season 1)
 * "The Land of Gorch" segments (1975–1976)
 * The High Fructose Adventures of Annoying Orange (2012–2014)

TV specials

 * Hey, Cinderella! (1969)
 * The Great Santa Claus Switch (1970)
 * The Frog Prince (1971)
 * The Muppet Musicians of Bremen (1972)
 * Out to Lunch (1974)
 * The Muppets Valentine Show (1974)
 * The Muppet Show: Sex and Violence (1975)
 * Emmet Otter's Jug-Band Christmas (1977)
 * The Muppets Go Hollywood (1979)
 * John Denver and the Muppets: A Christmas Together (1979)
 * The Muppets Go to the Movies (1981)
 * Of Muppets and Men (1981)
 * The Fantastic Miss Piggy Show (1982)
 * Rocky Mountain Holiday (1983)
 * The Muppets: A Celebration of 30 Years (1986)
 * The Tale of the Bunny Picnic (1986)
 * The Christmas Toy (1986)
 * A Muppet Family Christmas (1987)
 * Sesame Street... 20 Years & Still Counting (1989)
 * The Muppets at Walt Disney World (1990)
 * The Muppets Celebrate Jim Henson (1990)
 * Mr. Willowby's Christmas Tree (1995)

Direct-to-video

 * Jim Henson Play-Along Video (1988)
 * Hey, You're as Funny as Fozzie Bear: A Comedy Show Starring Fozzie Bear and You
 * Mother Goose Stories: Miss Muffet, Songs of Sixpence, Little Boy Blue (1987–1990)
 * Neat Stuff... To Know and Do
 * Peek-A-Boo, A Big Surprise for Little People
 * Sing-Along, Dance-Along, Do-Along: Rowlf teaches kids about music
 * Wow, You're a Cartoonist!
 * Muppet Sing Alongs
 * Billy Bunny's Animal Songs (1993)
 * It's Not Easy Being Green (1994)
 * Muppet Treasure Island Sing Along (1996)
 * Things That Fly (1996)
 * Muppet Classic Theater (1994)
 * Jim Henson's Preschool Collection (1995)
 * Mother Goose Stories: Humpty Dumpty
 * Mother Goose Stories: Mary Had a Little Lamb
 * Muppets on Wheels
 * Yes, I Can Be a Friend
 * Yes, I Can Learn
 * Yes, I Can Help
 * Kermit's Swamp Years (2002)

Web content

 * The Skrumps (2007)
 * The Sam Plenty Cavalcade of Action Show Plus Singing! (2008)

Henson Alternative
The following list contains projects of The Jim Henson Company under its Henson Alternative banner.

Television series
The first eight series are produced under its Henson Alternative banner exclusively in North America before premiering worldwide in 2015.
 * Tinseltown (2007)
 * Alt/Reality (2010–2011)
 * Simian Undercover Detective Squad (2012)
 * Late Night Buffet with Augie and Del (2006)
 * Del's Vegas Comedy Binge (2007)
 * Late Night Liars (2010)
 * Marvin E. Quasniki for President (2011–12)
 * Neil's Puppet Dreams (2012–13)
 * Ketchup with the Hot Dogs (2013–14)
 * Good Morning Today (2013–14)
 * No, You Shut Up! (2013–2016)
 * The Curious Creations of Christine McConnell (2018)

Stage shows

 * Puppet Up! - Uncensored (2006–present)
 * Stuffed and Unstrung (2010–2013)

Other productions

 * The Muppet segments of the Nintendo Digital Event, shown during E3 (2015).
 * Star Fox Zero commercial (2016).

title: The Jim Henson Company


text:
USS Kennedy

USS Kennedy may refer to:

 * Named for John Pendleton Kennedy (1795–1870)
 * USS John P. Kennedy (1853) was a supply ship purchased by the US Navy in 1853 and sold in November 1855
 * USS Kennedy (DD-306) was a Clemson-class destroyer launched 15 February 1919 and scrapped in 1931
 * Named for Joseph Patrick Kennedy, Jr. (1915–1944)
 * USS Joseph P. Kennedy Jr. (DD-850) was a Gearing-class destroyer launched 26 July 1945, decommissioned in 1973 and preserved as a museum ship
 * Named for John Fitzgerald Kennedy (1917–1963)
 * USS John F. Kennedy (CV-67), an aircraft carrier in commission from 1968 to 2007
 * USS John F. Kennedy (CVN-79), a Gerald R. Ford-class aircraft carrier currently fitting out

title: USS Kennedy


text:
Ford Fairlane

Ford Fairlane may refer to:

Automobiles

 * Ford Fairlane (Americas), a car manufactured by the Ford Motor Company between 1955 and 1970
 * Ford Fairlane (Australia), a car manufactured by the Ford Motor Company of Australia between 1959 and 2007
 * Ford Fairlane 500 Skyliner, a car manufactured by the Ford Motor Company between 1957 and 1959

Movies

 * The Adventures of Ford Fairlane, a 1990 movie starring Andrew Dice Clay, Priscilla Presley and Wayne Newton

title: Ford Fairlane


text:
New York City English

New York City English, or Metropolitan New York English, is a regional dialect of American English spoken primarily in New York City and some of its surrounding metropolitan area. It is described by sociolinguist William Labov as the most recognizable regional dialect in North America. Its pronunciation system—the New York accent—is widely represented in American media by many public figures and fictional characters. Major features of the accent include a high, gliding vowel (in words like talk and caught); a split of the "short a" vowel  into two separate sounds; variable dropping of r sounds; and a lack of the cot–caught, Mary–marry–merry, and hurry–furry mergers heard in many other American accents.

Today, New York City English is associated particularly with urban New Yorkers of lower and middle socioeconomic status who are descended from 19th- and 20th-century European immigrants. The dialect is spoken in all five boroughs of the City and throughout Long Island's Nassau County; it is also heard to varying degrees in Suffolk County (Long Island), Westchester County, and Rockland County of New York State plus Hudson County, Bergen County, and the city of Newark (Essex County) in northeastern New Jersey.

History
The origins of many of New York City English's diverse features are probably not recoverable. New York City English, largely with the same major pronunciation system popularly recognized today, was first reproduced in literature and scientifically documented in the 1890s. It was then, and still mostly is, associated with ethnically diverse European-American native-English speakers. The entire Mid-Atlantic United States, including both New York City and the Delaware Valley (whose own distinct dialect centers around Philadelphia and Baltimore) shares certain key features, including a high vowel with a glide (sometimes called the aww vowel) as well as a phonemic split of the short a vowel,  (making gas and gap, for example, have different vowels sounds)—New York City's split not identical though to Philadelphia's. Linguist William Labov has pointed out that a similarly structured (though differently pronounced) split is found today even in the southern accents of England; thus, a single common origin of this split may trace back to colonial-era England.

New York City became an urban economic power in the eighteenth century, with the city's financial elites maintaining close ties with the British Empire even after the Revolutionary War. According to Labov, New York City speakers' loss of the r sound after vowels (incidentally, not found in the nearby Delaware Valley) began as a nineteenth-century imitation of the prestigious British feature, consistently starting among the upper classes in New York City before spreading to other socioeconomic classes. After World War II, social perceptions reversed and r-preserving (rhotic) pronunciations became the new American prestige standard, rejecting East Coast and British accent features, while postwar migrations transferred rhotic speakers directly to New York City from other regions of the country. The result is that non-rhoticity, which was once a high-status feature and later a city-wide feature, has been diminishing and now, since the mid-twentieth century onward, largely remains only among lower-status New Yorkers. Today, New York City metropolitan accents are often rhotic or variably rhotic.

Other features of the dialect, such as the dental pronunciations of d and t, and related th-stopping, likely come from contact with foreign languages, particularly Italian and Yiddish, brought into New York City through its huge immigration waves of Europeans during the mid-to-late nineteenth century. Grammatical structures, such as the lack of inversion in indirect questions, similarly suggest contact with immigrant languages, plus several words common in the city are derived from such foreign languages.

Influence on other dialects
Philadelphians born in the twentieth century exhibit a short-a split system that some linguists regard as a simplification of the very similar New York City short-a split. Younger Philadelphians, however, are retreating from many of the traditional features shared in common with New York City. Due to an influx of immigrants from New York City and neighboring New Jersey to southern Florida, some resident southern Floridians now speak with an accent reminiscent of a New York accent. Additionally, as a result of social and commercial contact between New Orleans, Louisiana and New York City, the traditional accent of New Orleans, known locally as "Yat", bears distinctive similarities with the New York accent, including the (moribund) coil–curl merger, raising of the vowel to, a similar split in the short-a system, and th-stopping. Similarly, dialectal similarities suggest that older New York City English also influenced Cincinnati, Ohio and Albany, New York, whose older speakers in particular may still exhibit a short-a split system that linguists suggest is an expanded or generalized variant of the New York City short-a system. Certain New York City dialect features also understandably appear in New York Latino English.

Recent developments
Though William Labov argued in 2010 that the New York City accent is basically stable at the moment, some recent studies have revealed a trend of recession in most features of the accent, especially among younger speakers from middle-class or higher backgrounds. Documented loss of New York City accent features includes the loss of the coil–curl merger (now almost completely extinct), non-rhoticity, and the extremely raised long vowel (as in talk, cough, or law). Researchers proposed that the motivation behind these recessive trends is the stigmatization of the typical New York City accent since the mid-1900s as being associated with a poorer or working-class background, often also corresponding with particular ethnic identities. While earlier projects detected trends of emphasizing New York City accents as part of a process of social identification, recent research attributes the loss of typical accent features to in-group ethnic distancing. In other words, many of the young generations of ethnic groups who formerly were the most representative speakers of the accent are currently avoiding its features to not stand out socially or ethnically.

Pronunciation
The pronunciation of New York City English, most popularly acknowledged by the term New York accent, is readily noticed and stereotyped, garnering considerable attention in American culture. Some distinctive phonological features include its traditional dropping of r except before vowels, a short-a split system (in which, for example, the a in gas is not assonant to the a in gap), a high gliding vowel (in words like talk, thought, all, etc. and thus an absence of the cot–caught merger), absence of the Mary–marry–merry merger, and the highly stigmatized (and largely now-extinct) coil–curl merger.

Vocabulary and grammar
These are some words or grammatical constructions used mainly in Greater New York City:
 * bodega : a small neighborhood convenience store; used in recent decades, particularly in New York City though not on Long Island generally; it comes from Spanish, originally meaning "a wine storehouse" via the Puerto Rican Spanish term for "small store; corner store"; by extension, "bodega cats" is the term for the cats that inhabit such establishments. These small stores may also be called delis, which is the short form of delicatessens.
 * bubkes : a worthless amount; little or nothing (from Yiddish; probably an abbreviation of kozebubkes, literally, "goat droppings")
 * dungarees: an older term for blue jeans
 * egg cream: a mixture of cold milk, chocolate or vanilla syrup, and seltzer (carbonated water)
 * have a catch: to play a game of catch
 * hero: a footlong sandwich or "sub"
 * Mischief Night: the night before Halloween
 * on line: Metro New Yorkers tend to say they stand on line, whereas most other New York State and American English speakers tend to stand in line.
 * punchball and stickball: street variants of baseball, suitable for smaller urban areas, in which a fist or stick substitutes for the bat and a rubber ball (a "Spaldeen") is used
 * skel(l): a vagrant, beggar, or small-time street criminal
 * s(c)hmuck: an insulting term for an unlikeable man (from Yiddish shmok: "penis")

The word punk tends to be used as a synonym for "weak", "someone unwilling or unable to defend himself" or perhaps "loser", though it appears to descend from an outdated New York African-American English meaning of male receptive participant in anal sex.

Conversational styles
New York City speakers have some unique conversational styles. Linguistics professor Deborah Tannen notes in a New York Times article it has "an emphasis to involve the other person, rather than being considerate. It would be asking questions as a show of interest in the other person, whereas in other parts of [the] country, people don't ask because it might put the person on the spot." Metro New Yorkers "stand closer, talk louder, and leave shorter pauses between exchanges," Tannen said. "I call it 'cooperative overlap'. It's a way of showing interest and enthusiasm, but it's often mistaken for interrupting by people from elsewhere in the country." On the other hand, linguist William Labov demurs, "there's nothing known to linguists about 'normal New York City conversation.

Notable speakers
The New York City accent has a strong presence in media; pioneer variationist sociolinguist William Labov describes it as the most recognizable variety of North American English. The following famous people are native New York City–area speakers—including some speakers of other varieties native to the region—that all demonstrate typical features of the New York City accent.

 * Bella Abzug
 * Eric Adams
 * Danny Aiello
 * Alan Alda
 * Woody Allen
 * Iris Apfel
 * Jack Armstrong
 * Mel Brooks
 * James Caan
 * Sid Caesar
 * James Cagney
 * Mariah Carey
 * George Carlin
 * Robert Caro
 * Andrew Dice Clay
 * Michael Cohen
 * Howard Cosell
 * Billy Crystal
 * Andrew Cuomo
 * Mario Cuomo
 * Tony Curtis
 * Larry David
 * Rodney Dangerfield
 * Tony Danza
 * Dead End Kids
 * Dion DiMucci
 * Billy Donovan
 * Robert De Niro
 * Alan Dershowitz
 * Kevin Dobson
 * Fran Drescher
 * Jimmy Durante
 * Jeffrey Epstein
 * Anthony Fauci
 * Richard Feynman
 * Bobby Flay
 * Mike Francesa
 * Ace Frehley
 * John Garfield
 * Ruth Bader Ginsburg
 * Rudy Giuliani
 * Whoopi Goldberg
 * Gilbert Gottfried
 * Buddy Hackett
 * Sean Hannity
 * Paul Heyman
 * Judd Hirsch
 * Billy Joel
 * Meir Kahane
 * Wendy Kaufman
 * Harvey Keitel
 * Peter King
 * Ed Koch
 * Burt Lancaster
 * Cyndi Lauper
 * Spike Lee
 * John Leguizamo
 * Vince Lombardi
 * Natasha Lyonne
 * Bernard Madoff
 * Barry Manilow
 * Garry Marshall
 * Penny Marshall
 * The Marx Brothers; prominently Groucho Marx
 * Jackie Mason
 * Walter Matthau
 * Debi Mazar
 * Garry McCarthy
 * John Mearsheimer
 * Al Michaels
 * Chris Mullin
 * Al Pacino
 * Joe Paterno
 * Bernadette Peters
 * Rosie Perez
 * Rhea Perlman
 * Regis Philbin
 * Colin Quinn
 * George Raft
 * Charles Rangel
 * Michael Rapaport
 * Paul Reiser
 * Leah Remini
 * Don Rickles
 * Thelma Ritter
 * Joan Rivers
 * Phil Rizzuto
 * Ray Romano
 * Maxie Rosenbloom
 * Lynn Samuels
 * Bernie Sanders
 * Adam Sandler
 * Michael Savage
 * Telly Savalas
 * Chuck Schumer
 * Vin Scully
 * Judge Judy Sheindlin
 * Phil Silvers
 * Paul Simon
 * Al Smith
 * Phil Spector
 * Ronnie Spector
 * Art Spiegelman
 * Sebastian Stan
 * Arnold Stang
 * Paul Stanley
 * Barbara Stanwyck
 * Peter Steele
 * Howard Stern
 * Barbra Streisand
 * Marisa Tomei
 * John Travolta
 * Donald Trump
 * Christopher Walken
 * Eli Wallach
 * Denzel Washington
 * Barry Wellman
 * Mae West
 * Lenny Wilkens
 * Richard D. Wolff
 * Janet Yellen

Fictional characters
Many fictional characters in popular films and television shows have used New York City English, whether or not the actors portraying them are native speakers of the dialect. Some examples are listed below.
 * Travis Bickle
 * The Bowery Boys
 * Archie and Edith Bunker
 * Bugs Bunny
 * The Honeymooners cast
 * Terry Malloy
 * Meowth from Pokémon
 * Mob Wives cast
 * Rhoda Morgenstern
 * Linda Richman
 * Jerry Seinfeld and George Costanza from Seinfeld
 * The Sopranos cast
 * The Three Stooges
 * Mona Lisa Vito from My Cousin Vinny
 * Joey Wheeler from Yu-Gi-Oh!

Geographic boundaries
The accent is not spoken in the rest of New York State beyond the immediate New York City metropolitan area. Specifically, the upper Hudson Valley mixes New York City and Western New England accent features, while Central and Western New York belong to the same dialect region as Great Lakes cities such as Chicago and Detroit, a dialect region known as the Inland North.

New York State
New York City English is confined to a geographically small but densely populated area of New York State including all five boroughs of New York City as well as many parts of Long Island; the dialect region spans all of Nassau County and some of Suffolk County. Moreover, the English of the Hudson Valley forms a continuum of speakers who gather more features of New York City English the closer they are to the city itself; some of the dialect's features may be heard as far north as the state capital of Albany.

Connecticut
A small portion of southwestern Connecticut speaks a similar dialect, primarily speakers in Fairfield County and as far as New Haven County.

New Jersey
The northeastern quarter of New Jersey, prominently Hudson, Bergen, Union, and Essex Counties, including the municipalities of Weehawken, Hoboken, Jersey City, and Newark, plus Middlesex and Monmouth Counties, are all within the New York metropolitan area and thus also home to the major features of New York City English. With the exception of New York City's immediate neighbors like Jersey City and Newark, the New York metropolitan dialect as spoken in New Jersey is rhotic (or fully r-pronouncing) so that, whereas a Brooklynite might pronounce "over there" something like "ovah theah/deah", an Elizabeth native might say "over there/dare". The Atlas of North American English by William Labov et al. shows that the short-a pattern of New York City has diffused to many r-pronouncing communities in northern New Jersey, like Rutherford (Labov's birthplace) and North Plainfield. However, in these communities, the function word constraint of the city's short-a pattern is lost, and the open syllable constraint is used only variably.

Notable speakers
The following is a list of notable lifelong native speakers of the rhotic New York City English of northeastern New Jersey:

 * Jon Bon Jovi
 * Danny DeVito
 * James Gandolfini
 * Ed Harris
 * Richard Kind
 * William Labov
 * Ray Liotta
 * Joe Pesci
 * Patti Stanger
 * Zakk Wylde

Comedian Joey Diaz, sportscaster Dick Vitale, and late singer Frank Sinatra are examples of considerably non-rhotic speakers from New Jersey.

General and cited references

 * Becker, Kara & Amy Wing Mei Wong. 2009. The short-a system of New York City English: An update. 'University of Pennsylvania Working Papers in Linguistics. Volume 15, Issue 2 Article 3. pp: 10–20. http://repository.upenn.edu/pwpl/vol15/iss2/3/
 * Becker, Kara & Elizabeth Coggshall. 2010. The vowel phonologies of white and African American New York Residents. In Malcah Yaeger-Dror and *Erik R. Thomas (eds.) African American English Speakers And Their Participation In Local Sound Changes: A Comparative Study. American Speech Volume Supplement 94, Number 1. Chapel Hill, NC: Duke University Press. pp: 101–128
 * Becker, Kara & Elizabeth L. Coggshall. 2009. The Sociolinguistics of Ethnicity in New York City, 2009, Language and Linguistic Compass, 3(3): 751–766.4
 * Becker, Kara. 2010. Regional Dialect Features on the Lower East Side of New York City: Sociophonetics, Ethnicity, and Identity. Unpublished Doctoral Dissertation, NYU.
 * Bonfiglio, Thomas Paul. 2002. Race and the Rise of Standard American. New York: Mouton de Gruyter. 214–225. ISBN 978-3-1101-7189-1.
 * Cutler, Cece. 2007. Hip-hop language in sociolinguistics and beyond. Language and Linguistics Compass, 1(5):519–538.
 * Cutler, Cece. 2008 Brooklyn Style: hip-hop markers and racial affiliation among European immigrants. International Journal of Bilingualism, 12(1–2), 7–24.
 * Hubell, Allan F. 1972. The Pronunciation of English in New York City. NY: Farrar, Straus, and Giroux.
 * Kurath, Hans and Raven I. McDavid. 1961. The Pronunciation of English in the Atlantic States. Ann Arbor: University of Michigan Press.
 * Labov, William, Paul Cohen, Clarence Robins, and John Lewis. 1968. A study of the Non-Standard English of Negro and Puerto Rican Speakers in New York City, V. 1: Phonological and Grammatical Analysis. Washington, DC: Office of Education, Bureau of Research/ERIC.
 * Labov, William, Paul Cohen, Clarence Robins, and John Lewis. 1968. A study of the Non-Standard English of Negro and Puerto Rican Speakers in New York City', V. 2: The Use of Language in the Speech Community. Washington, DC: Office of Education, Bureau of Research/ERIC.
 * Labov, William. 1972a. Language in the Inner City: Studies in the Black English Vernacular. Philadelphia, PA: University of Pennsylvania Press.
 * Labov, William. 1972b. Sociolinguistic Patterns. Philadelphia, PA: University of Pennsylvania Press.
 * Labov, William (1994) Principles of Linguistic Change: Volume 1: Internal Factors Blackwell ISBN 0-631-17914-3
 * Labov, William (2001) Principles of Linguistic Change: Volume 2: Social Factors Blackwell ISBN 0-631-17916-X
 * Labov, William (2007) "Transmission and Diffusion", Language June 2007
 * Newman, Michael (2005). "New York Talk" in American Voices Walt Wolfram and Ben Ward (eds.). p. 82–87. Blackwell. ISBN 1-4051-2109-2.
 * Schneider, E. W., Kortmann, B. (2005), A Handbook of Varieties of English: A Multi-Media Reference Tool, Mouton de Gruyter, ISBN 3-11-017532-0, p. 284
 * Wells, J. C. 1982. Accents of English. 3 vols. Cambridge: Cambridge University Press.
 * Wolfram, Walt. 1974. Sociolinguistic Aspects of Assimilation: Puerto Rican English in New York City. Washington, DC: Center for Applied Linguistics.
 * Wolfram, Walt & Natalie Schilling Estes (2006) American English 2nd edition Blackwell ISBN 1-4051-1265-4
 * Wolfram, Walt & Ward, Ben (2005) American Voices: How Dialects Differ from Coast to Coast Blackwell ISBN 1-4051-2109-2
 * Labov, William (2007) "Transmission and Diffusion", Language June 2007
 * Newman, Michael (2005). "New York Talk" in American Voices Walt Wolfram and Ben Ward (eds.). p. 82–87. Blackwell. ISBN 1-4051-2109-2.
 * Schneider, E. W., Kortmann, B. (2005), A Handbook of Varieties of English: A Multi-Media Reference Tool, Mouton de Gruyter, ISBN 3-11-017532-0, p. 284
 * Wells, J. C. 1982. Accents of English. 3 vols. Cambridge: Cambridge University Press.
 * Wolfram, Walt. 1974. Sociolinguistic Aspects of Assimilation: Puerto Rican English in New York City. Washington, DC: Center for Applied Linguistics.
 * Wolfram, Walt & Natalie Schilling Estes (2006) American English 2nd edition Blackwell ISBN 1-4051-1265-4
 * Wolfram, Walt & Ward, Ben (2005) American Voices: How Dialects Differ from Coast to Coast Blackwell ISBN 1-4051-2109-2
 * Wells, J. C. 1982. Accents of English. 3 vols. Cambridge: Cambridge University Press.
 * Wolfram, Walt. 1974. Sociolinguistic Aspects of Assimilation: Puerto Rican English in New York City. Washington, DC: Center for Applied Linguistics.
 * Wolfram, Walt & Natalie Schilling Estes (2006) American English 2nd edition Blackwell ISBN 1-4051-1265-4
 * Wolfram, Walt & Ward, Ben (2005) American Voices: How Dialects Differ from Coast to Coast Blackwell ISBN 1-4051-2109-2
 * Wolfram, Walt & Ward, Ben (2005) American Voices: How Dialects Differ from Coast to Coast Blackwell ISBN 1-4051-2109-2

title: New York City English


text:
Aero Engineers Australia

Aeronautical Engineers Australia (AEA) is an Australian aeronautical engineering consultancy and aircraft technical service provider. It is the largest civil aircraft design organisation in the Asia Pacific region and is now headquartered in Adelaide.

History
AEA was established by Graham Swannell in Perth in 1978 in order fill the gap in airworthiness people authorised to approve the design of modifications and repairs in Western Australia. Originally starting with a few desks in a part-owned hangar at Jandakot Airport, the practice grew and moved to its current location at 1 Eagle Drive in 1990. In 1995, the company established its second office at Parafield Airport in Adelaide to widen its client base and better serve existing customers in the Adelaide region. In 2000, AEA joined with HSJ aviation and founded its third office at Sydney's Bankstown Airport. The company has since gone on to establish offices at Brisbane and Melbourne.

In 2003, a Cessna 404 crashed at Jandakot Airport. On investigation, the Australian Transport Safety Bureau found a replacement bush used in one of the engine fuel pumps and approved by AEA had seized, causing the engine to fail shortly after takeoff. The pilot chose to turn the plane around to attempt a landing at the airport. However the plane’s speed fell below the best airspeed and it crashed in bushland. The pilot's quick actions saved the lives of three passengers. The families and employer of the victims are suing the Civil Aviation Safety Authority though AEA, as many of the other companies involved have since ceased trading.

In 2010 AEA was bought by the Nova Defence Group to expand Nova's business into the commercial sector.

Services
AEA provides a variety of services to the general aviation industry, including the design and certification of aircraft modifications, repairs and testing of aircraft components, aircraft weight control (aircraft reweighs, trimsheets and loading systems) in accordance with Civil Aviation Order 100.7 (CAO 100.7), design and manufacture of aircraft components (such as cargo nets, replacement parts, survey installations, equipment frames, skis, etc.) under a Production Certificate and Civil Aviation Safety Regulation Part 21 (CASR 21), flammability testing to FAR/JAR25.853 and similar provisions, systems integration, flight and performance testing, aircraft design, aeronautical consultancy, civil/military platform design etc.

Additionally Airline Technical Services was established as a wholly owned subsidiary of AEA to provide speciality services to the airline sector, and Swannell Racing now provides roll cage homologation services to the local racing industry.

Major projects

 * CASA 212 Skiplane for Skytraders
 * Fokker 50 Hardened Cockpit Door for Skywest and Alliance Airlines
 * Dornier 328 Inflight Opening Door for AeroRescue
 * Grumman G-73 Turbo Mallard Conversion for Paspaley Pearling
 * Pilatus PC-12 Aeromedical Conversion for the Royal Flying Doctor Service
 * Cessna 441 Life Extension Program for TAE

Aircraft designs
Since the 1980s, AEA has also been involved in the design of a number of whole aircraft projects including the Eagle 150B and the Explorer.

The Explorer is a high-performance but rugged utility aircraft that can perform a wide variety of roles at a lower cost than other equivalent aircraft. It was developed to cope with the harsh Australian conditions and unprepared dirt strips but still deliver a 180 kn cruise, almost 1000 nmi range and economical performance. The aircraft utilises the latest in aerofoil design, a carbon fibre fuselage shell, a unique retractable undercarriage, flat cabin floor, and a newly devised construction method that minimises construction and assembly time. The aircraft was initially developed as the 350R but now incorporates the 500T turbine variant and the stretched 750T.

AEA conceived, designed and developed the Explorer and started Explorer Aircraft Australia Pty Ltd to develop and market the family of aircraft. As the Explorer project grew, this role was passed onto Explorer Aircraft Inc. which is now located in Houston, Texas. To date, no funding has been received to continue the project to the development stage.

 * Eagle Aircraft 150B (1997) Single-engine two-seat civil utility aircraft with conventional tailplane and canard surfaces.  Composite construction
 * AEA Maverick (1987) Single-engine one-seat sport aircraft of composite construction
 * Explorer 500R (1998) Single-engine high-wing transport aircraft.  Piston engine
 * Explorer 500T (2000) Turboprop version of 500R
 * Explorer 750T (____) Stretched version of 500T

Role
Under Civil Aviation Regulation 42U (CAR42U), any modification or repair that is carried out on an Australian aircraft must be done in accordance with 'approved data'. This approved data is usually contained within the aircraft's manuals (aircraft maintenance manual, structural repair manual, component maintenance manuals etc.) issued by the aircraft's manufacturer. However, sometimes there is damage to the aircraft that is outside the scope of these manuals or the operator wishes to modify the aircraft to help it perform a specific function (aerial firefighting, search and rescue) or alter the aircraft in some other way. To ensure that the aircraft continues to be airworthy (i.e. safe to fly), the repair or modification must be examined by an aeronautical engineer so that the many complex factors that affect aircraft flight, structures and systems can be assessed and the design change approved as airworthy. To do this the engineer assesses the design of the modification or repair against the airworthiness requirements for the aircraft and then must justify that the design meets these requirements through the use of analysis, testing and experience. If the design has been shown to meet the airworthiness requirements it may be approved under Civil Aviation Regulation 35 (CAR35) and is hence 'approved data', satisfying CAR42U.

Provisions similar to CAR42U exist for how to and what to use when performing maintenance on an aircraft under CAR42V. If maintenance personnel wish to deviate from the aircraft's approved maintenance data, the materials and procedures need to be approved under CAR36A.

AEA, along with other similar approved persons around Australia, is an approved design authority under CAR35 and CAR36 (for the approval of replacement components). AEA is also approved under the Papua New Guinea Civil Aviation Rules Part 146 which mirrors CAR35 for PNG registered (P2 registered) aircraft.

title: Aero Engineers Australia


text:
User talk:Ylai

Welcome
Hello, welcome to Wikipedia.

You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!

 * If you made any edits before you got an account, you might be interested in assigning those to your username.

 * You can sign your name using three tildes, like this: . If you use four, you can add a datestamp too.

 * If you ever think a page or image should be deleted, please list it at the votes for deletion page. There is also a votes for undeletion page if you want to retrieve something that you think should not have been deleted.

Again, welcome! - UtherSRG 05:09, 23 Jul 2004 (UTC)

MacAdam Ellipse
Hello - please check out the rewrite of the last paragraph of MacAdam ellipse - I tried to incorporate your edits. PAR 20:54, 17 August 2005 (UTC)

Tylium
Episode "1 x 10"? As far as I can see there is no such episode so what are you talking about? Plus you still haven't given the reference to the article. You have to add it to the main page - not make one up for the talk page. Cyberia23 21:51, 1 December 2006 (UTC)

 * I see what you did, you're talking about "Hand of God". I myself don't recall the discussion of Tylium's scientific properties - so MatthewFenton said he'd check the episode. Sorry about the misunderstanding. The way it appeared and because I didn't remember the dialog made it look suspiciously made up. Cyberia23 22:08, 1 December 2006 (UTC)

Manufacturer
Hi, I removed this addition from the infobox as unlike things such as weapons or fighters a manufacturer doesn't really have any bonded relationship with the spacecraft, they only build (not to mention you can have several manufactures) Matthew 08:53, 12 March 2007 (UTC)
 * Yes. Bracketed plurals should be avoided, that's not the point, however. Infobox Fictional Spacecraft was designed to be about the ship, i.e. it's contents, etc. Your addition is something that's generally minor in sf, e.g. the 'Toga in SAaB, it's built by Aero-Tech JLOA, yet that's nothing critical to the ship its self, none the less if you wish, you could start a thread on the discussion page and if people concur with you then I will accept that consensus. Matthew 09:01, 12 March 2007 (UTC)

Lucida typeface edits
Hi Ylai. In your recent edit to the article on the typeface Lucida you add the pasage "Bigelow & Holmes, together with Y&Y." I wonder if you could please include a brief explanation of Y&Y? For some users it is likely self evident, for others it is not. Thanks. CApitol3 13:17, 5 September 2007 (UTC)

Plot of parton distribution functions
The plot showing different parton distribution functions does not state which hadron the parton belongs to. I assume it is a proton so I have added this to the image text. If this is not correct please correct it. --Skou 10:38, 19 October 2007 (UTC)

Extrasolar_Planets_Encyclopaedia edit comments
I noted your comments with your edits to this article.

http://en.wikipedia.org/w/index.php?title=Extrasolar_Planets_Encyclopaedia&diff=269425262&oldid=262401473

perhaps you could elaborate on the talkpage as I am not clear how your edit fits with your commnets.

GabrielVelasquez (talk) 03:23, 17 April 2009 (UTC)

Revision to Sid Meier's Alien Crossfire and Sid Meier's Alpha Centauri articles
I noticed that you have revised either Sid Meier's Alpha Centauri or Sid Meier's Alien Crossfire.

I intend to revise those articles following the WikiProject Video games/Article guidelines. There are more details on the discussion pages of those articles. I'd be interested in any comments you have. It would be best if your comments were on the discussion pages of the two articles.

Thank you.

Vyeh (talk) 03:46, 10 June 2010 (UTC)

Categories for discussion nomination of Category:Space: Above and Beyond
Category:Space: Above and Beyond, which you created, has been nominated for discussion. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. —Justin (koavf)❤T☮C☺M☯ 09:29, 20 September 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:48, 23 November 2015 (UTC)

"Colonia Ulpia Traiana" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Colonia_Ulpia_Traiana&redirect=no Colonia Ulpia Traiana] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Anyone, including you, is welcome to comment on this redirect at  until a consensus is reached. Significa liberdade (she/her) (talk) 02:33, 30 March 2024 (UTC)

title: User talk:Ylai


text:
Jersey English

Jersey English may refer to:

 * New Jersey English, dialects of American English from New Jersey, U.S.
 * Channel Island English, from Jersey in the Channel Islands

title: Jersey English


text:
Isicathamiya

Isicathamiya (, where the c represents a tenuis dental click) is a singing style that originated from the Zulu people, a South African ethnic group. In European understanding, a cappella is also used to describe this form of singing.

The word itself does not have a literal translation; it is derived from the Zulu verb -cathama, which means 'walking softly', or 'tread carefully'. Isicathamiya contrasts with an earlier name for Zulu a cappella singing, mbube, meaning 'lion'. The change in name marks a transition in the style of the music: traditionally, music described as mbube is sung loudly and powerfully, while isicathamiya focuses more on achieving a harmonious blend between the voices. The name also refers to the style's tightly choreographed dance moves that keep the singers on their toes.

South African singing groups such as Ladysmith Black Mambazo demonstrate this style. Isicathamiya choirs are traditionally all male. Its roots reach back before the turn of the 20th century, when numerous men left the homelands to search for work in the cities. As many of the tribesmen became urbanized, the style was forgotten through much of the 20th century.

Today, isicathamiya competitions in Johannesburg and Durban take place on Saturday nights, with up to 30 choirs performing from 8 o'clock at night to 8 o'clock the following morning.

Origin: traditional music, culture and spirituality
Although the style exponentially emerged in the 20th century, specifically in the 1920s and 1930s, many academics argue it can be traced back to the end of the 19th century. They believe the roots of isicathamiya are found in the American minstrels and ragtime US vaudeville troupes that toured South Africa extensively in 1860. Isicathamiya would have merged from a combination of minstrel inspired songs and Zulu traditional music.

Culturally and traditionally, isicathamiya is influenced by Zulu indigenous beliefs such as: belief in communalism which is expressed in the Zulu dictum, "umuntu, ngumuntu, ngabantu", competition, strength and power associated with animals, reverence of the fireplace as a resource for food and warmth and, dreams for communicating with ancestors. The expression "umuntu, ngumuntu, ngabantu" which means "a person is a person because of other people", dominates Zulu social organization and is used as a tool to strengthen social harmony. In the Zulu community, competition is highly valued, especially with music, as it is seen as a social issue which is subject to competition. It is also perceived as a public platform in which people can establish a concept of identity in a community. Isicathamiya performers improve their image by winning competitions. In Zulu folklore, bulls are a common symbol of power and masculinity. Other wild animals such as snakes, crocodiles, tigers and lions are expressions of power relations and assertion of power in competitive isicathamiya competitions. Early isicathamiya groups were named after animals such as Empangeni Home Tigers and Brave Lion Singers.

The fireplace is used metaphorically for the "cooking of songs" in isicathamiya stage performances. Emphasis is placed on the social organization based on the Zulu indigenous residence which took form in a circular bee-hive grass hut and at the center the head of surrounded by wives and children. The same formation takes places when isicathamiya songs were created with the leader in the center of the group. Dreams were an essential part of communicating with ancestors and formed part of a deeply rooted Zulu religious process. Some isicathamiya musicians claim some of their songs were created in the spiritual realm given to them by ancestors. Joseph Shabalala of Ladysmith Black Mambazo claimed he was inspired by dreams whereby, for six months in the 1960s, he was visited by voices. These were spiritual elders who were singing in the isicathamiya style. He experienced a final examination where each of the twenty-four elders asked him a musical question and Shabalala achieved a perfect score.

Pre- and post-Ladysmith
In the 1980s, isicathamiya competitions were held in male hostels such as Glebeland, in Umlazi, one of townships in Durban. The groups were allowed to perform two songs adhering to the competition formation.

Joseph Shabalala formed Ladysmith Black Mambazo and had the opportunity to work with Paul Simon on the Graceland album which included two tracks, "Homeless" and "Diamonds on Soles of her Shoes", which gained the group international recognition. The influence Joseph Shabalala had would change the context of isicathamiya in the late 20th century. Shabalala, Bongani Mthethwa and Paulos Msimango formed an organization called South African Traditional Music Association to help reclaim isicathamiya as a form of traditional music. Competitions were no longer in hostels but at the YMCA in Beatrice Street in the city center of Durban.

The change in venues allowed for variation in the basic theme of the competitions. A competition for the best dressed man was implemented and on occasion for the best dressed woman. Furthermore, all who registered to compete now paid a voluntary amount to the event conveners and the contribution of each group would be announced as they entered the hall.

Shabalala recognized the significance of his position on a global scale and would honor the community by conducting workshops for aspiring isicathamiya groups. Ladysmith Black Mambazo addressed pressing issues in South African in the 1990s such as HIV/AIDS, crime, violence and rape. The group would honor prominent members of South African society such as Nelson Mandela and Archbishop Desmond Tutu.

The level of interaction the group uses with the audience has grown vastly. Shabalala communicated with the audience beyond the musical and dance aspects. There was a shift in language usage, no longer restricted to Zulu, Shabalala would recite the words to "Homeless" to teach the audience.

Shabalala continued to extend the boundaries of isicathamiya formalities by introducing Zulu maskanda (traditional musicians playing on European instruments, guitar and concertina) to open for Shabalala and his group.

Competition etiquette and formalities
The core of isicathamiya were the all-night choir competitions that took place during the weekends in Johannesburg and Durban. Competitions were held all night long due to the number of choirs that would sign up at the start of the evening. Each choir had a group leader who was responsible for signing up the group and paying an entrance fee which would contribute to the monetary prize at the end of the evening.

Dress code
The isicathamiya groups dressed in suits, with white gloves, sparkling white shirts, shiny black shoes and red socks. The leader dressed in opposing colours from the group.

Formation
Before the group enters the stage, there would be a moment of pre-performance prayer with the group gathered in a circle praying for spiritual guidance. This circle formation is reminiscent of the cattle enclosure of a Zulu village, a sacred space where the men could feel the presence of their ancestors and pray to them.

The isicathamiya groups enter the stage for the competition and start with the group standing in a semicircle with the leader in front of the group. The group faces the judges and audience. Usually the first song is sung with the group standing still under the instruction of the leader in a makwaya (choral) setting. In the second half the group would incorporate leg dances or i-steps with their bodies synchronized to the rhythm of the song. At this point, the participants' girlfriends or wives would come up to support the group.

Style and composition
The leader of the group is often the founder and the composer. Often the migrant workers are not educated in musical notation, however possess a different compositional technique. The founder of Ladysmith Black Mambazo, Joseph Shabalala, has said he composes when his body is sleeping and his spirit is at work. Typically the songs are written in response to what is troubling him at that moment. He strives to address troubling situations by composing a new song. These topics vary from love to politics and religious matters. The recurring theme is the social and political issues pertaining to life for black South Africans in KwaZulu-Natal, which burdened him greatly. Shabalala acknowledges the group used their music to educate the audiences they would encounter.

Shabalala shares how he learned to compose in the isicathamiya style; as it was through dreams where he heard voices from spiritual elders. This is common among Zulu traditionalists and isicathamiya composers.

Stylistically, isicathamiya is characterized by male voices performing a capella, with the SATB formation (one leading voice, a tenor, followed by one soprano (falsetto), one alto and the rest singing bass); however, in some cases there are recordings with banjo or piano as it was thought the instruments would appeal to the Black elite. A good isicathamiya performance includes call and response and multilayered vocal polyphony.

Worldwide recognition
The Western breakthrough for this style was Paul Simon's album Graceland (1986), which featured such tracks as "Homeless" and "Diamonds on the Soles of her Shoes", in which Simon was backed by the haunting voices of Ladysmith Black Mambazo. The group itself has since gone on to enjoy great popularity and recognition, including songs such as "Hello My Baby" and also recordings of Bob Dylan's "Knockin' on Heaven's Door", the Rugby World Cup theme "The World in Union", and "Mbube" (a song composed in 1939 by Zulu worker Solomon Linda – The song, with additional lyrics, is also known as "The Lion Sleeps Tonight") — this last having given its name, meaning  lion, to the genre. "Mambazo" members are also born again Christians and frequently demonstrate the close relationship between isicathamiya and gospel music in songs such as "Amazing Grace" and various Zulu hymns. "Mambazo" is the primary a cappella group from South Africa to garner worldwide attention; all other widely known South African musicians use some form of instrumental backing, though some groups such as the Mahotella Queens, who sing against an electric guitar "Mbaqanga" melody, occasionally sing without instrumental backing.

title: Isicathamiya