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Underground press

The terms underground press or clandestine press refer to periodicals and publications that are produced without official approval, illegally or against the wishes of a dominant (governmental, religious, or institutional) group. In specific recent (post-World War II) Asian, American and Western European context, the term "underground press" has most frequently been employed to refer to the independently published and distributed underground papers associated with the counterculture of the late 1960s and early 1970s in India and Bangladesh in Asia, in the United States and Canada in North America, and the United Kingdom and other western nations. It can also refer to the newspapers produced independently in repressive regimes. In German occupied Europe, for example, a thriving underground press operated, usually in association with the Resistance. Other notable examples include the samizdat and bibuła, which operated in the Soviet Union and Poland respectively, during the Cold War.

Origins

In Western Europe, a century after the invention of the printing press, a widespread underground press emerged in the mid-16th century with the clandestine circulation of Calvinist books and broadsides, many of them printed in Geneva, which were secretly smuggled into other nations where the carriers who distributed such literature might face imprisonment, torture or death. Both Protestant and Catholic nations fought the introduction of Calvinism, which with its emphasis on intractable evil made its appeal to alienated, outsider subcultures willing to violently rebel against both church and state. In 18th century France, a large illegal underground press of the Enlightenment emerged, circulating anti-Royalist, anti-clerical and pornographic works in a context where all published works were officially required to be licensed. Starting in the mid-19th century an underground press sprang up in many countries around the world for the purpose of circulating the publications of banned Marxist political parties; during the German Nazi occupation of Europe, clandestine presses sponsored and subsidized by the Allies were set up in many of the occupied nations, although it proved nearly impossible to build any sort of effective underground press movement within Germany itself.

The French resistance published a large and active underground press that printed over 2 million newspapers a month; the leading titles were Combat, Libération, Défense de la France, and Le Franc-Tireur. Each paper was the organ of a separate resistance network, and funds were provided from Allied headquarters in London and distributed to the different papers by resistance leader Jean Moulin. Allied prisoners of war (POWs) published an underground newspaper called POW WOW. In Eastern Europe, also since approximately 1940, underground publications were known by the name samizdat.

The countercultural underground press movement of the 1960s borrowed the name from previous "underground presses" such as the Dutch underground press during the Nazi occupations of the 1940s. Those predecessors were truly "underground", meaning they were illegal, thus published and distributed covertly. While the countercultural "underground" papers frequently battled with governmental authorities, for the most part they were distributed openly through a network of street vendors, newsstands and head shops, and thus reached a wide audience.

The underground press in the 1960s and 1970s existed in most countries with high GDP per capita and freedom of the press; similar publications existed in some developing countries and as part of the samizdat movement in the communist states, notably Czechoslovakia. Published as weeklies, monthlies, or "occasionals", and usually associated with left-wing politics, they evolved on the one hand into today's alternative weeklies and on the other into zines.

In Australia
The most prominent underground publication in Australia was a satirical magazine called OZ (1963 to 1969), which initially owed a debt to local university student newspapers such as Honi Soit (University of Sydney) and Tharunka (University of New South Wales), along with the UK magazine Private Eye. The original edition appeared in Sydney on April Fools' Day, 1963 and continued sporadically until 1969. Editions published after February 1966 were edited by Richard Walsh, following the departure for the UK of his original co-editors Richard Neville and Martin Sharp, who went on to found a British edition (London Oz) in January 1967. In Melbourne Phillip Frazer, founder and editor of pop music magazine Go-Set since January 1966, branched out into alternate, underground publications with Revolution in 1970, followed by High Times (1971 to 1972) and The Digger (1972 to 1975).

List of Australian underground papers

 * The Digger (1972–1975)
 * The Living Daylights (1973–1974)
 * High Times (1971–1972)
 * OZ Sydney (1963–1969)
 * New Dawn magazine
 * Nexus magazine
 * Revolution (1970–1971)

In the United Kingdom
The underground press offered a platform to the socially impotent and mirrored the changing way of life in the UK underground.

In London, Barry Miles, John Hopkins, and others produced International Times from October 1966 which, following legal threats from The Times newspaper was renamed IT.

Richard Neville arrived in London from Australia, where he had edited Oz (1963 to 1969). He launched a British version (1967 to 1973), which was A4 (as opposed to IT ' s broadsheet format). Very quickly, the relaunched Oz shed its more austere satire magazine image and became a mouthpiece of the underground. It was the most colourful and visually adventurous of the alternative press (sometimes to the point of near-illegibility), with designers like Martin Sharp.

Other publications followed, such as Friends (later Frendz), based in the Ladbroke Grove area of London; Ink, which was more overtly political; and Gandalf's Garden which espoused the mystic path.

Legal challenges
The flaunting of sexuality within the underground press provoked prosecution. IT was taken to court for publishing small ads for homosexuals; despite the 1967 legalisation of homosexuality between consenting adults in private, importuning remained subject to prosecution. Publication of the Oz "School Kids" issue brought charges against the three Oz editors, who were convicted and given jail sentences. This was the first time the Obscene Publications Act 1959 was combined with a moral conspiracy charge. The convictions were, however, overturned on appeal.

Harassment and intimidation
Police harassment of the British underground, in general, became commonplace, to the point that in 1967 the police seemed to focus in particular on the apparent source of agitation: the underground press. The police campaign may have had an effect contrary to that which was presumably intended. If anything, according to one or two who were there at the time, it actually made the underground press stronger. "It focused attention, stiffened resolve, and tended to confirm that what we were doing was considered dangerous to the establishment", remembered Mick Farren. From April 1967, and for some while later, the police raided the offices of International Times to try, it was alleged, to force the paper out of business. In order to raise money for IT a benefit event was put together, "The 14 Hour Technicolor Dream" Alexandra Palace on 29 April 1967.

On one occasion – in the wake of yet another raid on IT – London's alternative press succeeded in pulling off what was billed as a 'reprisal attack' on the police. The paper Black Dwarf published a detailed floor-by-floor 'Guide to Scotland Yard', complete with diagrams, descriptions of locks on particular doors, and snippets of overheard conversation. The anonymous author, or 'blue dwarf', as he styled himself, claimed to have perused archive files, and even to have sampled one or two brands of scotch in the Commissioner's office. The London Evening Standard headlined the incident as "Raid on the Yard". A day or two later The Daily Telegraph announced that the prank had resulted in all security passes to the police headquarters having to be withdrawn and then re-issued.

Support from British pop culture
By the end of the decade, community artists and bands such as Pink Floyd (before they "went commercial"), The Deviants, Pink Fairies, Hawkwind, Michael Moorcock and Steve Peregrin Took would arise in a symbiotic co-operation with the underground press. The underground press publicised these bands and this made it possible for them to tour and get record deals. The band members travelled around spreading the ethos and the demand for underground newspapers and magazines grew and flourished for a while.

Neville published an account of the counterculture called Play Power, in which he described most of the world's underground publications. He also listed many of the regular key topics from those publications, including the Vietnam War, Black Power, politics, police brutality, hippies and the lifestyle revolution, drugs, popular music, new society, cinema, theatre, graphics, cartoons, etc.

Local papers
Apart from publications such as IT and Oz, both of which had a national circulation, the 1960s and 1970s saw the emergence of a whole range of local alternative newspapers, which were usually published monthly. These were largely made possible by the introduction in the 1950s of offset litho printing, which was much cheaper than traditional typesetting and use of the rotary letterpress. Such local papers included:
 * Aberdeen Peoples Press
 * Alarm (Swansea)
 * Andersonstown News (Belfast)
 * Brighton Voice
 * Bristol Voice
 * Feedback (Norwich)
 * Hackney People's Press
 * Islington Gutter Press
 * Leeds Other Paper
 * Response (Earl's Court, London)
 * Sheffield Free Press
 * West Highland Free Press

A 1980 review identified some 70 such publications around the United Kingdom but estimated that the true number could well have run into hundreds. Such papers were usually published anonymously, for fear of the UK's draconian libel laws. They followed a broad anarchist, libertarian, left-wing of the Labour Party, socialist approach but the philosophy of a paper was usually flexible as those responsible for its production came and went. Most papers were run on collective principles.

List of UK underground papers
• Bit

• Black Dwarf

• Brighton Voice

• The Fanatic

• Fapto

• Friends (later Frendz)

• Gandalf's Garden

• Gay News

• Heatwave

• Idiot International

• Ink

• International Times (also IT)

• Muther Grumble

• OZ

• Peace News

• Running Man

Legal definition of "underground"
In the United States, the term underground did not mean illegal as it did in many other countries. The First Amendment and various court decisions (e.g. Near v. Minnesota) give very broad rights to anyone to publish a newspaper or other publication, and severely restrict government efforts to close down or censor a private publication. In fact, when censorship attempts are made by government agencies, they are either done in clandestine fashion (to keep it from being known the action is being taken by a government agency) or are usually ordered stopped by the courts when judicial action is taken in response to them.

A publication must, in general, be committing a crime (for example, reporters burglarizing someone's office to obtain information about a news item); violating the law in publishing a particular article or issue (printing obscene material, copyright infringement, libel, breaking a non-disclosure agreement); directly threatening national security; or causing or potentially causing an imminent emergency (the "clear and present danger" standard) to be ordered stopped or otherwise suppressed, and then usually only the particular offending article or articles in question will be banned, while the newspaper itself is allowed to continue operating and can continue publishing other articles.

In the U.S. the term "underground newspaper" generally refers to an independent (and typically smaller) newspaper focusing on unpopular themes or counterculture issues. Typically, these tend to be politically to the left or far left. More narrowly, in the U.S. the term "underground newspaper" most often refers to publications of the period 1965–1973, when a sort of boom or craze for local tabloid underground newspapers swept the country in the wake of court decisions making prosecution for obscenity far more difficult. These publications became the voice of the rising New Left and the hippie/psychedelic/rock and roll counterculture of the 1960s in America, and a focal point of opposition to the Vietnam War and the draft.

Origins
The North American countercultural press of the 1960s drew inspiration from predecessors that had begun in the 1950s, such as the Village Voice and Paul Krassner's satirical paper The Realist. Arguably, the first underground newspaper of the 1960s was the Los Angeles Free Press, founded in 1964 and first published under that name in 1965.

1965–1973 boom period
According to Louis Menand, writing in The New Yorker, the underground press movement in the United States was "one of the most spontaneous and aggressive growths in publishing history." During the peak years of the phenomenon, there were generally about 100 papers currently publishing at any given time. But the underground press phenomenon proved short-lived.

An Underground Press Syndicate (UPS) roster published in November 1966 listed 14 underground papers, 11 of them in the United States, two in England, and one in Canada. Within a few years the number had mushroomed. A 1971 roster, published in Abbie Hoffman's Steal This Book, listed 271 UPS-affiliated papers; 11 were in Canada, 23 in Europe, and the remainder in the United States. The underground press' combined readership eventually reached into the millions.

The early papers varied greatly in visual style, content, and even in basic concept — and emerged from very different kinds of communities. Many were decidedly rough-hewn, learning journalistic and production skills on the run. Some were militantly political while others featured highly spiritual content and were graphically sophisticated and adventuresome.

By 1969, virtually every sizable city or college town in North America boasted at least one underground newspaper. Among the most prominent of the underground papers were the San Francisco Oracle, San Francisco Express Times, the Berkeley Barb and Berkeley Tribe; Open City (Los Angeles), Fifth Estate (Detroit), Other Scenes (dispatched from various locations around the world by John Wilcock); The Helix (Seattle); Avatar (Boston); The Chicago Seed; The Great Speckled Bird (Atlanta); The Rag (Austin, Texas); Rat (New York City); Space City! (Houston) and in Canada, The Georgia Straight (Vancouver, BC).

The Rag, founded in Austin, Texas, in 1966 by Thorne Dreyer and Carol Neiman, was especially influential. Historian Laurence Leamer called it "one of the few legendary undergrounds," and, according to John McMillian, it served as a model for many papers that followed. The Rag was the sixth member of UPS and the first underground paper in the South and, according to historian Abe Peck, it was the "first undergrounder to represent the participatory democracy, community organizing and synthesis of politics and culture that the New Left of the mid-sixties was trying to develop." Leamer, in his 1972 book The Paper Revolutionaries, called The Rag "one of the few legendary undergrounds". Gilbert Shelton's legendary Fabulous Furry Freak Brothers comic strip began in The Rag, and thanks in part to UPS, was republished all over the world.

Probably the most graphically innovative of the underground papers was the San Francisco Oracle. John Wilcock, a founder of the Underground Press Syndicate, wrote about the Oracle: "Its creators are using color the way Lautrec must once have experimented with lithography – testing the resources of the medium to the utmost and producing what almost any experienced newspaperman would tell you was impossible... it is a creative dynamo whose influence will undoubtedly change the look of American publishing."

In the period 1969–1970, a number of underground papers grew more militant and began to openly discuss armed revolution against the state, some going so far as to print manuals for bombing and urging their readers to arm themselves; this trend, however, soon fell silent after the rise and fall of the Weather Underground and the tragic shootings at Kent State.

High school underground press
During this period there was also a widespread underground press movement circulating unauthorized student-published tabloids and mimeographed sheets at hundreds of high schools around the U.S. (In 1968, a survey of 400 high schools in Southern California found that 52% reported student underground press activity in their school.) Most of these papers put out only a few issues, running off a few hundred copies of each and circulating them only at one local school, although there was one system-wide antiwar high school underground paper produced in New York in 1969 with a 10,000-copy press run. Houston's Little Red Schoolhouse, a citywide underground paper published by high school students, was founded in 1970.

For a time in 1968–1969, the high school underground press had its own press services: FRED (run by C. Clark Kissinger of Students for a Democratic Society, with its base in Chicago schools) and HIPS (High School Independent Press Service, produced by students working out of Liberation News Service headquarters and aimed primarily but not exclusively at New York City schools). These services typically produced a weekly packet of articles and features mailed to subscribing papers around the country; HIPS reported 60 subscribing papers.

G.I. underground press
The GI underground press within the U.S. military produced over four hundred titles during the Vietnam War, some produced by antiwar GI Coffeehouses, and many of them small, crudely produced, low-circulation mimeographed "zines" written by GIs or recently discharged veterans opposed to the war and circulated locally on and off-base. Several GI underground papers had large-scale, national distribution of tens of thousands of copies, including thousands of copies mailed to GI's overseas. These papers were produced with the support of civilian anti-war activists, and had to be disguised to be sent through the mail into Vietnam, where soldiers distributing or even possessing them might be subject to harassment, disciplinary action, or arrest. There were at least two of these papers produced in the combat zone in Vietnam itself, The Boomerang Barb and GI Says.

Technological and financial realities
The boom in the underground press was made practical by the availability of cheap offset printing, which made it possible to print a few thousand copies of a small tabloid paper for a couple of hundred dollars, which a sympathetic printer might extend on credit. Paper was cheap, and many printing firms around the country had over-expanded during the 1950s and had excess capacity on their offset web presses, which could be negotiated for at bargain rates.

Most papers operated on a shoestring budget, pasting up camera-ready copy on layout sheets on the editor's kitchen table, with labor performed by unpaid, non-union volunteers. Typesetting costs, which at the time were wiping out many established big city papers, were avoided by typing up copy on a rented or borrowed IBM Selectric typewriter to be pasted-up by hand. As one observer commented with only slight hyperbole, students were financing the publication of these papers out of their lunch money.

Syndicates and news services
In mid-1966, the cooperative Underground Press Syndicate (UPS) was formed at the instigation of Walter Bowart, the publisher of another early paper, the East Village Other. The UPS allowed member papers to freely reprint content from any of the other member papers.

During this period, there were also a number of left-wing political periodicals with concerns similar to those of the underground press. Some of these periodicals joined the Underground Press Syndicate to gain services such as microfilming, advertising, and the free exchange of articles and newspapers. Examples include The Black Panther (the paper of the Black Panther Party, Oakland, California), and The Guardian (New York City), both of which had national distribution.

Almost from the outset, UPS supported and distributed underground comix strips to its member papers. Some of the cartoonists syndicated by UPS included Robert Crumb, Jay Lynch, The Mad Peck's Burn of the Week, Ron Cobb, and Frank Stack. The Rip Off Press Syndicate was launched c. 1973 to compete in selling underground comix content to the underground press and student publications. Each Friday, the company sent out a distribution sheet with the strips it was selling, by such cartoonists as Gilbert Shelton, Bill Griffith, Joel Beck, Dave Sheridan, Ted Richards, and Harry Driggs.

The Liberation News Service (LNS), co-founded in the summer of 1967 by Ray Mungo and Marshall Bloom, "provided coverage of events to which most papers would have otherwise had no access." In a similar vein, John Berger, Lee Marrs, and others co-founded Alternative Features Service, Inc. in 1970 to supply the underground and college press, as well as independent radio stations, with syndicated press materials that especially highlighted the creation of alternative institutions, such as free clinics, people's banks, free universities, and alternative housing.

By 1973, many underground papers had folded, at which point the Underground Press Syndicate acknowledged the passing of the undergrounds and renamed itself the Alternative Press Syndicate (APS). After a few years, APS also foundered, to be supplanted in 1978 by the Association of Alternative Newsweeklies.

Controversies
One of the most notorious underground newspapers to join UPS and rally activists, poets, and artists by giving them an uncensored voice, was the NOLA Express in New Orleans. Started by Robert Head and Darlene Fife as part of political protests and extending the "mimeo revolution" by protest and freedom-of-speech poets during the 1960s, NOLA Express was also a member of the Committee of Small Magazine Editors and Publishers (COSMEP). These two affiliations with organizations that were often at cross-purposes made NOLA Express one of the most radical and controversial publications of the counterculture movement. Part of the controversy about NOLA Express included graphic photographs and illustrations of which many even in today's society would be banned as pornographic.

Charles Bukowski's syndicated column, Notes of a Dirty Old Man, ran in NOLA Express, and Francisco McBride's illustration for the story "The Fuck Machine" was considered sexist, pornographic, and created an uproar. All of this controversy helped to increase the readership and bring attention to the political causes that editors Fife and Head supported.

Harassment and intimidation
Many of the papers faced official harassment on a regular basis; local police repeatedly raided and busted up the offices of Dallas Notes and jailed editor Stoney Burns on drug charges; charged Atlanta's Great Speckled Bird and others with obscenity; arrested street vendors; and pressured local printers not to print underground papers.

In Austin, the regents at the University of Texas sued The Rag to prevent circulation on campus but the American Civil Liberties Union successfully defended the paper's First Amendment rights before the U.S. Supreme Court. In an apparent attempt to shut down The Spectator in Bloomington, Indiana, editor James Retherford was briefly imprisoned for alleged violations of the Selective Service laws; his conviction was overturned and the prosecutors were rebuked by a federal judge. Drive-by shootings, firebombings, break-ins, and trashings were carried out on the offices of many underground papers around the country, fortunately without causing any fatalities. The offices of Houston's Space City! were bombed and its windows repeatedly shot out. In Houston, as in many other cities, the attackers, never identified, were suspected of being off-duty military or police personnel, or members of the Ku Klux Klan or Minuteman organizations.

Some of the most violent attacks were carried out against the underground press in San Diego. In 1976 the San Diego Union reported that the attacks in 1971 and 1972 had been carried out by a right-wing paramilitary group calling itself the Secret Army Organization, which had ties to the local office of the FBI.

The U.S. Federal Bureau of Investigation (FBI) conducted surveillance and disruption activities on the underground press in the United States, including a campaign to destroy the alternative agency Liberation News Service. As part of its COINTELPRO designed to discredit and infiltrate radical New Left groups, the FBI also launched phony underground newspapers such as the Armageddon News at Indiana University Bloomington, The Longhorn Tale at the University of Texas at Austin, and the Rational Observer at American University in Washington, D.C. The FBI also ran the Pacific International News Service in San Francisco, the Chicago Midwest News, and the New York Press Service. Many of these organizations consisted of little more than a post office box and a letterhead, designed to enable the FBI to receive exchange copies of underground press publications and send undercover observers to underground press gatherings.

Decline of the underground press
By the end of 1972, with the end of the draft and the winding down of the Vietnam War, there was increasingly little reason for the underground press to exist. A number of papers passed out of existence during this time; among the survivors a newer and less polemical view toward middle-class values and working within the system emerged. The underground press began to evolve into the socially conscious, lifestyle-oriented alternative media that currently dominates this form of weekly print media in North America.

In 1973, the landmark Supreme Court decision in Miller v. California re-enabled local obscenity prosecutions after a long hiatus. This sounded the death knell for much of the remaining underground press (including underground comix), largely by making the local head shops which stocked underground papers and comix in communities around the country more vulnerable to prosecution.

The Georgia Straight outlived the underground movement, evolving into an alternative weekly still published today; Fifth Estate survives as an anarchist magazine. The Rag – which was published for 11 years in Austin (1966–1977) – was revived in 2006 as an online publication, The Rag Blog, which now has a wide following in the progressive blogosphere and whose contributors include many veterans of the original underground press.

Given the nature of alternative journalism as a subculture, some staff members from underground newspapers became staff on the newer alternative weeklies, even though there was seldom institutional continuity with management or ownership. An example is the transition in Denver from the underground Chinook, to Straight Creek Journal, to Westword, an alternative weekly still in publication. Some underground and alternative reporters, cartoonists, and artists moved on to work in corporate media or in academia.

United States
More than a thousand underground newspapers were published in the United States during the Vietnam War. The following is a short list of the more widely circulated, longer-lived and notable titles. For a longer, more comprehensive listing sorted by states, see the long list of underground newspapers.

• Ann Arbor Argus, Ann Arbor, Michigan, 1969–1971

• Ann Arbor Sun, Ann Arbor, Michigan, 1971–1976

• Avatar, Boston, Massachusetts, 1967–1968

• Baltimore Free Press, Baltimore, Maryland

• Berkeley Barb, Berkeley, California, 1965–1980

• Berkeley Tribe, Berkeley, California, 1969–1972 (splintered from the Barb)

• The Big Us, Cleveland, Ohio, 1968–1970 (changed name to Burning River News)

• The Black Panther, Oakland, California, 1967–1980

• Boston Free Press, Boston, Massachusetts

• Bugle-American, Milwaukee, Wisconsin, 1970–1978

• Chicago Seed, Chicago, Illinois, 1967–1973

• Chinook, Denver, Colorado, 1969–1972

• Columbus Free Press, Columbus, Ohio, 1969–ongoing

• Connections, Madison, Wisconsin

• Dallas Notes, Dallas, Texas, 1967–1970 (originally Notes from the Underground)

• Distant Drummer, Philadelphia, Pennsylvania, 1967–1979 (changed name to The Drummer)

• Dock of the Bay, San Francisco, California, 1967–1969

• East Village Other, New York, New York, 1965–1972

• Eugene Augur, Eugene, Oregon, 1969–1974

• Extra, Providence, Rhode Island

• Fifth Estate, Detroit, itMichigan, 1965–ongoing

• The Great Speckled Bird, Atlanta, Georgia, 1968–1976

• Good Times, San Francisco, California, 1969–1972 (formerly San Francisco Express–Times)

• Harry, Baltimore, Maryland, 1969–1970

• Helix, Seattle, Washington, 1967–1970

• Hundred Flowers, Minneapolis, Minnesota, 1970–1972

• Illustrated Paper, Mendocino, California, 1966–1967

• Indianapolis Free Press, Indianapolis, Indiana

• Kaleidoscope, Milwaukee, Wisconsin, 1967–1971

• Kudzu, Jackson, Mississippi, 1968–1972

• The Last Times, San Francisco, California, 1967 (Charles Plymell)

• Los Angeles Free Press, Los Angeles, California, 1964–1978 (new series 2005–ongoing)

• Los Angeles Staff, Los Angeles, California (splintered from the Free Press)

• Madison Kaleidoscope, Madison, Wisconsin, 1969–1971

• Middle Earth, Iowa City, Iowa, 1967–1968

• NOLA Express, New Orleans, Louisiana, from 1967

• Northwest Passage, Bellingham, Washington, 1969–1986

• Old Mole, Cambridge, Massachusetts, 1968–1970

• Omaha Kaleidoscope, Omaha, Nebraska, from 1970

• Open City, Los Angeles, California, 1967–1969

• Oracle of Southern California, Los Angeles, California

• The Organ, San Francisco, California, 1970–1971

• Other Scenes, dispatched from various locations around the world

• The Paper, East Lansing, Michigan, from 1965

• Peninsula Observer, Palo Alto, California, 1967–1969 (formerly ''Midpeninsula Observer)

• Philadelphia Free Press, Philadelphia, Pennsylvania, 1968–1972

• Pittsburgh Fair Witness, Pittsburgh, Pennsylvania, 1970–1973 (formerly Grok)

• Quicksilver Times, Washington, D.C., 1969–1972

• The Rag, Austin, Texas, 1966–1977

• Rising Up Angry, Chicago, Illinois, 1969–1975

• ''Root, Memphis, Tennessee

• San Antonio Gazette, San Antonio, Texas, 1971–1975

• San Diego Door, San Diego, California, 1966–1970 (previously Good Morning, Teaspoon)

• San Diego Free Press, San Diego, California, 1968–1970 (changed name to Street Journal)

• San Francisco Oracle, San Francisco, California, 1966–1968

• San Jose Maverick, San Jose, California, 1969–1970

• Second City, Chicago, Illinois

• Space City, Houston, Texas, 1969–1972 (originally Space City News)

• The Spectator, Bloomington, Indiana, 1966–1971

• Spokane Natural, Spokane, Washington, 1967–1970

• The Staff, Los Angeles, California, 1970–1973

• Takeover, Madison, Wisconsin, 1971–1978 (formerly Madison Kaleidoscope)

• Tuesday's Child, Los Angeles, California, 1969–1970

• The Ungarbled Word, New Orleans, Louisiana

• View from the Bottom, New Haven, Connecticut, 1969–1970

• Vortex, Lawrence, Kansas, 1969–1970

• Washington Free Press, Washington, D.C., from 1966

• Willamette Bridge, Portland, Oregon, 1968–1971

• Women's LibeRATion (previously Rat Subterranean News), New York, New York, 1968–1970

• Yarrowstalks, Philadelphia, Pennsylvania, 1967–1975

U.S. military G.I. papers
See Table: GI Underground Press During the Vietnam War (U.S. Military)

Canada

 * Canada Goose, Edmonton, Alberta
 * The Georgia Straight, Vancouver, British Columbia
 * Guerilla, Toronto, Ontario
 * Harbinger, Toronto, Ontario
 * Logos, Montreal, Quebec
 * Loving Couch Press, Winnipeg, Manitoba
 * Mainmise (1970–1978), Montreal, Quebec
 * Octopus, Ottawa, Ontario (a.k.a. Canadian Free Press, Ottawa's Free Press)
 * Pop-See-Cul, Montreal, Quebec
 * Sexus (1967–1968), and Allez chier (1969), Montreal, Quebec
 * Yorkville Yawn and Satyrday, Yorkville, Toronto, Ontario

India

 * Hungry Generation weekly bulletins. Calcutta (1961–1965)

The Hungry Generation was a literary movement in the Bengali language launched by what is known today as the Hungryalist quartet, i.e. Shakti Chattopadhyay, Malay Roy Choudhury, Samir Roychoudhury and Debi Roy (alias Haradhon Dhara), during the 1960s in Kolkata, India. Due to their involvement in this avant garde cultural movement, the leaders lost their jobs and were jailed by the incumbent government. They challenged contemporary ideas about literature and contributed significantly to the evolution of the language and idiom used by contemporaneous artists to express their feelings in literature and painting. This movement is characterized by expression of closeness to nature and sometimes by tenets of Gandhianism and Proudhonianism. Although it originated at Patna, Bihar and was initially based in Kolkata, it had participants spread over North Bengal, Tripura and Benares. According to Dr. Shankar Bhattacharya, Dean at Assam University, as well as Aryanil Mukherjee, editor of Kaurab Literary Periodical, the movement influenced Allen Ginsberg as much as it influenced American poetry through the Beat poets who visited Calcutta, Patna and Benares during the 1960–1970s. Arvind Krishna Mehrotra, now a professor and editor, was associated with the Hungry generation movement. Shakti Chattopadhyay, Saileswar Ghosh, Subhas Ghosh left the movement in 1964.

More than 100 manifestos were issued during 1961–1965. Malay's poems have been published by Prof P. Lal from his Writers Workshop publication. Howard McCord published Malay Roy Choudhury's controversial poem Prachanda Boidyutik Chhutar i.e., "Stark Electric Jesus from Washington State University" in 1965. The poem has been translated into several languages of the world; into German by Carl Weissner, into Spanish by Margaret Randall, into Urdu by Ameeq Hanfee, into Assamese by Manik Dass, into Gujarati by Nalin Patel, into Hindi by Rajkamal Chaudhary, and into English by Howard McCord.

In Italy

 * (Turin)
 * (Milan)
 * (Turin)

In the Netherlands
Clandestine press in the Netherlands is related to the second World War, which ran from 10 May 1940 until 5 May 1945 in the Netherlands.
 * See the list of 1300 Dutch illegal WW2 newspapers on Dutch Wikipedia
 * See also on Dutch Wikipedia
 * List of places of publication of Dutch illegal WW2 newspapers
 * List of printers and publishers of Dutch illegal WW2 newspapers
 * List of legally continued Dutch WW2 newspapers

Interviews

 * Underground press historian Sean Stewart on Rag Radio Interviewed by Thorne Dreyer, August 31, 2010 (57:17)
 * Historian John McMillian, author of Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media in America on Rag Radio Interviewed by Thorne Dreyer, March 4, 2011 (42:18)
 * Thorne Dreyer's 24 hour-long Rag Radio interviews with veterans of the Sixties underground press

title: Underground press


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Roundhouse (venue)

The Roundhouse is a performing arts and concert venue situated at the Grade II* listed former railway engine shed in Chalk Farm, London, England. The building was erected in 1846–1847 by the London & North Western Railway as a roundhouse, a circular building containing a railway turntable, but was used for that purpose for only about a decade. After being used as a warehouse for a number of years, the building fell into disuse just before World War II. It was first made a listed building in 1954.

It reopened after 25 years, in 1964, as a performing arts venue, when the playwright Arnold Wesker established the Centre 42 Theatre Company and adapted the building as a theatre. The large circular structure has hosted various promotions, such as the launch of the underground paper International Times in 1966, one of only two UK appearances by The Doors with Jim Morrison in 1968, and the Greasy Truckers Party in 1972.

The Greater London Council ceded control of the building to Camden Council in 1983. By that time, Centre 42 had run out of funds and the building remained unused until a local businessman purchased the building in 1996 and performing arts shows returned. It was closed again in 2004 for a multi-million pound redevelopment. On 1 June 2006, the Argentine show Fuerzabruta opened at the new Roundhouse.

Since 2006, the Roundhouse has hosted the BBC Electric Proms and numerous iTunes Festivals, as well as award ceremonies such as the BT Digital Music Awards and the Vodafone Live Music Awards. In 2009, Bob Dylan performed a concert, and iTunes promoted a music iTunes Festival, at the venue. In line with the continuing legacy of avant-garde productions, NoFit State Circus performed the show Tabú during which the audience were encouraged to move around the performance space.

History

The Roundhouse was built as a turntable engine shed (or roundhouse) for the London & Birmingham Railway. Known as the Great Circular Engine House, or the Luggage Engine House, it was built by Branson & Gwyther, using designs by architects Robert B. Dockray and Robert Stephenson. Construction started in 1846 and the building opened in 1847.

Within ten years locomotives became too long for the building to accommodate, and the Roundhouse was used for various other purposes. The longest period of use (50 years, beginning in 1871) was as a bonded warehouse for gin distillers W & A Gilbey Ltd.

In 1964 the premises were transferred to Centre 42, which prepared a scheme to convert the building into "a permanent cultural centre with a theatre, cinema, art gallery and workshops, committee rooms for local organisations, library, youth club and restaurant dance-hall". This was estimated to cost between £300,000 and £600,000 (£–£ in worth), and was supported by "well-known actors, playwrights, authors, musicians and others". In 1966 the Roundhouse became an arts venue, after the freehold was taken up by the then new Greater London Council. The opening concert was the 15 October 1966 All Night Rave, in which Soft Machine and Pink Floyd appeared at the launch of the underground newspaper International Times. The first major concert took place on New Year's Eve 1966, when a night called Psychadelicamania was headlined by The Who. During the next decade the building became a significant venue for UK Underground music events Middle Earth and Implosion. Many of these were hosted and promoted by Jeff Dexter. Other bands playing at the Roundhouse during this period included Gass, The Rolling Stones, Jeff Beck, The Yardbirds, Zoot Money's Dantalian's Chariot, David Bowie, Jimi Hendrix, Pink Floyd, Led Zeppelin, The Incredible String Band, Fleetwood Mac, Third World War, The Doors with Jefferson Airplane, the Ramones, The Clash with The Jam, Elvis Costello, Elkie Brooks, Otis Redding, and Motörhead, who appeared at the Roundhouse on 20 July 1975.

While lying in a state of general abandonment in the 1980s, the Roundhouse was used as the main location for the science fiction horror film Hardware by Richard Stanley. Sets were built inside the structure, although the lack of proper soundproofing meant all of the dialogues had to be re-recorded.

The building was used again in 1996 to film the promotional video for the Manic Street Preachers' single "A Design for Life" prior to the start of redevelopment. Promotional videos for the singles "No Matter What" by Boyzone (1998), "Handbags & Gladrags" by Stereophonics (2001), and "Burn Burn" by Lostprophets (2003) were also filmed there. A scene from the comedy film Smashing Time set in the revolving restaurant at the top of the GPO Tower was filmed there in 1967. In July that year the Roundhouse hosted the "Dialectics of Liberation" with (among others) R. D. Laing, Herbert Marcuse and Allen Ginsberg.

The Roundhouse has also been used for theatre, and has had two periods of theatrical glory, with musicals such as Catch My Soul (1969). Under administrator George Hoskins, the first phase also featured experimental theatre productions, such as the Living Theatre production of 1776 and other plays directed by Peter Brook. The once controversial nude revue Oh! Calcutta! opened in July 1970, and started a run of nearly four thousand performances in London, and the anarchic "Evening of British Rubbish" with professor Bruce Lacey and The Alberts had one performance in 1967.

The Greater London Council passed the building to the Camden London Borough Council in 1983, and attempts were made to establish it as a Black Arts Centre programming music, theatre and community projects; however, it was closed as a venue due to lack of funds. During this time, on New Year's Eve 1991/92, Spiral Tribe held a week-long party in the venue. During the party the generators cut out, so power had to be sourced from nearby British Rail train lines.

Restoration
The building lay largely empty until it was purchased for £6m in 1996 by the Norman Trust led by the philanthropist Torquil Norman. In 1998 he set up the Roundhouse Trust and led its redevelopment, with a board of trustees which included musicians Bob Geldof and Suggs, and filmmaker Terry Gilliam.

The venue opened for a two-year period to raise awareness and funds for a redevelopment scheme, with former Battersea Arts Centre director Paul Blackman as its director. Shows promoted at this time included the Royal National Theatre's Oh, What a Lovely War!, dancer Michael Clark's comeback performance, percussion extravaganza Stomp, Ken Campbell's 24-hour-long show The Warp and the Argentine De La Guarda's Villa Villa which ran for a year, becoming the venue's longest running show, ending when the building was closed for redevelopment.

The website dance.com, commenting on the redevelopment project, said: "The redeveloped Roundhouse will house up to 3,300 people standing or up to 1,700 seated. It will provide a highly flexible and adaptable performance space that will give artists and audiences opportunities and experiences they cannot find elsewhere. It will accommodate a programme of work that reflects the excitement and diversity of twenty-first-century culture. It will include a wide range of the performing arts including, music, theatre, dance, circus and digital media."

The renovated Roundhouse, designed by architects John McAslan & Partners in association with engineering company Buro Happold, reopened on 1 June 2006, promoting Fuerzabruta. Since 1996 the renovations had cost £27m.

On 20 December 2006, George Michael held a free concert for NHS nurses as a thank you for the care given to his mother Lesley, who died of cancer in 1997.

In 2008, Michael Boyd, artistic director of the Royal Shakespeare Company, transferred his RSC Histories Cycle to the Roundhouse, rearranging the performing space to match the Courtyard Theatre in Stratford upon Avon, where the cycle had first been staged.

On 31 March 2009, the charitable circus group NoFit State began presenting Tabu, utilising the open space at the Roundhouse. On 26 April 2009, Bob Dylan and his band performed at the Roundhouse as part of his 2009 UK tour, and in July 2009 the iTunes Music Festival (supported by Apple Computer) was held at the venue. In January 2010, the Roundhouse introduced contemporary classical music to its events repertoire when it hosted the Reverb festival, which included performances by the London Contemporary Orchestra, the Orchestra of the Age of Enlightenment, The Magnets, Nico Muhly, Sam Amidon and the Britten Sinfonia.

For the September 2015 Apple Music Festival, Apple announced an environmental makeover gift for the venue: "making major upgrades to the lighting, plumbing, and HVAC systems; installing recycling and composting bins… offering reusable water bottles instead of plastic ones… to reduce the Roundhouse's annual carbon emissions by 60 tons, save 60,000 gallons of water a year, and divert more than 1,600 kilograms of waste from landfills".

Roundhouse Trust
Alongside its role as an arts venue, the Roundhouse is also a registered charity and runs a creative programme for 11–25s through the Roundhouse Trust.

From 2006 to 2012 the Trust taught over 13,000 11- to 25-year-olds in live music, circus, theatre and new media. Courses are held in the Roundhouse Studios, which include a music recording suite, film production rooms, TV and radio studios and rehearsal rooms, all located underneath the Main Space.

Architecture
The Roundhouse is Grade II* listed. It was declared a National Heritage Site in 2010, when a Transport Trust Heritage Plaque was presented by Prince Michael of Kent. It is regarded as a notable example of mid-19th century railway architecture. The original building, 48 m in diameter, is constructed in yellow brick and is distinctive for its unusual circular shape and pointed roof. The conical slate roof has a central smoke louvre (now glazed) and is supported by 24 cast-iron Doric columns (arranged around the original locomotive spaces) and a framework of curved ribs. The interior has original flooring and parts of the turntable and fragments of early railway lines.

The 2006 renovation was supported with conservation advice and funding from English Heritage and with grants from the Heritage Lottery Fund and the Arts Council England. The project added seven layers of soundproofing to the roof, reinstated the glazed roof-lights, and added the steel and glass New Wing, which curves around the north side of the main building, to house the box office, bar and café, an art gallery foyer and offices.

Discography

 * Alex Korner's Breakdown Group Featuring Cyril Davis: Blues From The Roundhouse (1957)
 * The Beatles: Carnival of Light (1967)
 * The Rolling Stones: Deluxe edition bonus disc of Sticky Fingers, recorded 1971, released 2015 (5 tracks)
 * Greasy Truckers: Greasy Truckers Party (1972) (Hawkwind, Man, Brinsley Schwarz and Magic Michael)
 * Hawkwind: "Silver Machine" (recorded 1972)
 * Mott the Hoople: "Saturday Gigs" (recorded 1974) contains the line "Float up to the Roundhouse on a Sunday afternoon".
 * Man: Back into the Future (recorded 1973)
 * Nektar: Sunday Night at London Roundhouse (recorded 1973, released 1974)
 * The Amazing ZigZag Concert (recorded 1974, released 2010) Michael Nesmith with Red Rhodes, John Stewart, Help Yourself, Chilli Willi and the Red Hot Peppers and Starry Eyed and Laughing.
 * Pink Fairies: Live at the Roundhouse 1975 – released in 1982
 * Man: Maximum Darkness (recorded 1975)
 * UFO Lights Out 1976 (bonus tracks only)
 * Man: All's Well That Ends Well (recorded 1977)
 * The Damned: The Captain's Birthday Party recorded 1977 – released 1986
 * Motörhead: What's Words Worth? (recorded 1978)
 * M People: "One Night in Heaven" 1993
 * Opeth: The Roundhouse Tapes (recorded 2006)
 * The Dresden Dolls: Live at the Roundhouse (recorded 2006)
 * The Stranglers: Rattus at the Roundhouse (recorded 2007)
 * Fat Freddy's Drop: Live at Roundhouse (recorded 2008)
 * Shpongle: Live in Concert (2008)
 * David Gray: Draw the Line 2009 (bonus CD only)
 * Oasis: Time Flies... 1994–2009 (Disc 4: iTunes Live: London Festival, recorded 2009)
 * Ultravox: Return to Eden Live at the Roundhouse (13 April 2010)
 * The King Blues: Live at the Roundhouse (recorded 2011)
 * Linkin Park: iTunes Festival: London 2011 (EP) (recorded 2011)
 * Adele: iTunes Festival: London 2011 (recorded 2011)
 * City and Colour: City and Colour: Europe 2011 (Live in London) [The Roundhouse 18.10.11]  (recorded 2011)
 * Ed Sheeran: iTunes Festival Day 2 2012
 * Devin Townsend: The Retinal Circus (recorded 2012)
 * Lady Gaga: Live at iTunes Festival (Artpop: Disc 2, recorded 2013)
 * Sam Smith: Sam Smith Live from the Roundhouse (released 2014)
 * Franz Ferdinand: Live 2014 at the London Roundhouse (recorded 2014)
 * Status Quo: Aquostic! Live at the Roundhouse (recorded 2014)
 * Europe: The Final Countdown: 30th Anniversary Show (Live at the Roundhouse) (recorded 2016)
 * Biffy Clyro: MTV Unplugged (Live at Roundhouse, London) (recorded 2017)
 * Nick Mason's Saucerful of Secrets: Live at The Roundhouse (2020)
 * Ben Böhmer: Live at The Roundhouse, London (2022)
 * Tinlicker: Live at The Roundhouse (2023)

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

title: Roundhouse (venue)


text:
Cyberlore

Cyberlore Studios, Inc. was an American video game developer based in Northampton, Massachusetts.

History
The company was founded in 1992 by Lester Humphreys, Ken Grey, and Herb Perez. Since 1992, they produced expansion packs for MechWarrior 4, Heroes of Might and Magic II, and Warcraft II: Beyond the Dark Portal. They also produced Playboy: The Mansion (2005), a simulation game based on the life of Hugh Hefner and Playboy, and a PlayStation 2 version of the classic board game Risk. Their most notable game is Majesty: The Fantasy Kingdom Sim, whose original concept was created by Jim DuBois, who worked for the company as a senior designer.

The company grew from six employees in 1992 to thirty employees in 2000.

In 2005, Cyberlore ceased development of general entertainment games after the collapse of their publisher, Hip Games, and the subsequent layoff of two-thirds of their staff. The company refocused on the serious game corporate training market, under the new company name of Minerva.

Published games

 * Al-Qadim: The Genie's Curse (1994)
 * Entomorph: Plague of the Darkfall (1995)
 * Warcraft II: Beyond the Dark Portal (1996)
 * Heroes of Might and Magic II: The Price of Loyalty (1997)
 * Deadlock II: Shrine Wars (1998)
 * Majesty: The Fantasy Kingdom Sim (2000)
 * Majesty: The Northern Expansion (2001)
 * MechWarrior 4: Black Knight (2001)
 * MechWarrior 4: Mercenaries (2002)
 * Risk: Global Domination (2003)
 * Playboy: The Mansion (2005)

title: Cyberlore


text:
Callao (disambiguation)

Callao is a seaside city, port and region in the Lima metropolitan area of Peru.

Callao may also refer to:

Places

 * Avenida Callao ('Callao Avenue'), Buenos Aires, Argentina
 * Callao (Line B Buenos Aires Underground)
 * Callao (Line D Buenos Aires Underground)
 * Callao District, Callao Region, Peru
 * Roman Catholic Diocese of Callao, Peru
 * Callao Cave, Peñablanca, Cagayan province, Philippines
 * Callao Square, Madrid, Spain
 * Callao (Madrid Metro)
 * Callao, Missouri, United States
 * Callao Township, Macon County, Missouri, United States
 * Callao, Utah, United States
 * Callao, Virginia, United States
 * El Callao Municipality, Bolivar State, Venezuela
 * El Callao, Venezuela

Ships

 * SPANISH GUNBOAT Callao, 1888–1898
 * USS Callao, the name of several American ships

Other uses

 * "Callao" (song), by Anna Carina, 2019
 * Callao, a song by Wisin & Yandel from the 2018 album Los Campeones del Pueblo
 * Pilsen Callao, a beer by Backus and Johnston Brewery
 * National University of Callao, in Callao province, Peru

title: Callao (disambiguation)


text:
User talk:Xtc2000

Do not delete the VfD header of an article that is in dispute until the VfD process is finished. Please also do not re-instate the deleted picture -- there cannot be a photograph of a fictional person. Continued misbehavior may be regarded as vandalism.

I note that you have created several different login accounts for yourself. Why? -- The Anome 20:13, 8 Aug 2004 (UTC)

Unverified images
Hi! Thanks for uploading the following image:

 * Image:Devon1.jpg

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you claim fair use, etc.) If you don't know what any of this means, just let me know at my talk page where you got the images and I'll tag them for you. Thanks so much. [[User:Poccil|Peter O. (Talk, automation script)]] 05:00, Dec 11, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

title: User talk:Xtc2000


text: Category:Boat types

title: Category:Boat types


text:
UFO Club

The UFO Club ( ) was a short-lived British counter-culture nightclub in London in the 1960s. The club was established by Joe Boyd and John "Hoppy" Hopkins. It featured light shows, poetry readings, well-known rock acts such as Jimi Hendrix, avant-garde art by Yoko Ono, as well as local house bands, such as Pink Floyd and Soft Machine. The club operated for the nine months from December 1966 to August 1967, and an additional seven months at 31 Tottenham Court Road in Fitzrovia, followed by a further two months at the Roundhouse in Chalk Farm.

History
The UFO Club was founded by John Hopkins known as "Hoppy" and Joe Boyd in the Blarney Club, an Irish dancehall in the basement of 31 Tottenham Court Road, under the Gala Berkeley Cinema which was opened on Friday 23 December 1966. Initially the club was advertised as "UFO Presents Nite Tripper", because Boyd and Hopkins could not decide on "UFO" or "Nite Tripper" as a name. Eventually they settled on "UFO".

Soft Machine and Pink Floyd performed on the opening night and the next Friday, and were re-engaged as the club continued into 1967, after initial success. The first events combined live music with light shows, avant-garde films and slide shows, and dance troupes.

Pink Floyd's tenure at UFO was short, because as their fame grew, they were able to play bigger venues for higher fees. Boyd protested that their increasing fame was largely due to the success of UFO, but the band's management wanted to move on and an agreement was made for just three more Floyd performances at UFO, at an increased fee.

Hopkins and Boyd had to cast around for a new "house band" for UFO. They settled on Soft Machine but also started booking other acts who were attracted by the club's reputation. Amongst them were The Incredible String Band, Arthur Brown, Tomorrow, and Procol Harum, the latter of which played there when "A Whiter Shade of Pale" was No 1 in the charts.

An advertisement featuring the Flammarion engraving in the Feb 13–26 issue of The International Times for "UfOria! Festival of Love 10.30 till dawn" [sic] announced "feb.10 – the bonzo dog doodah band • flix–dali–bunuel • ginger johnson african drums" as well as "feb 17 – Soft Machine • mark boyle projections • movies • food • erogenius 3 + 4".

Hapshash and the Coloured Coat, consisting of Michael English and Nigel Waymouth, designed psychedelic posters to advertise events. Waymouth said, "We were trying to give a visual concept of what we were experiencing, which was like hallucinations." The food was macrobiotic and included brown rice rissoles, vegetarian stuffed vine leaves and felafel, supplied by Craig Sams, who went on to co-found Whole Earth Foods and Green & Black's.

Jack Bracelin's (Fiveacres Lights) created some of the light shows with equipment that ranged from 16mm projection of early "art house" films (often projected sideways or projected into smoke) or 5 kW 'Panis' (effects projectors) borrowed from Samuelsons at Pinewood or Elstree film studios (or Strand Electric at Vauxhall) to overhead projectors with transparent trays borrowed from refrigerators and filled with Indian water, ink, beer etc. A favourite was to use 'Aldis' slide projectors with dual layer 2×2 glass specimen slides with basic designs created with wax crayons (drawn by Lou – the oft naked lady) and then various substances introduced with syringes – Indian inks, snot, semen – in fact anything of immiscible viscosities. Bubbles made by injecting air between the glass plates which were then squeezed (by a pair of long nose pliers – in time to the music) would send folks even further off their heads!

After a sordid article published in the News of the World on 30 July, the landlord told Joe Boyd the UFO could not continue at the Blarney. Brian Epstein offered the Champagne Lounge at his Saville Theatre but Boyd decided on the larger Roundhouse venue. In October 1967 the UFO Club at the Roundhouse folded.

The UFO Club's success was its downfall – being too small to accommodate the increasing number of visitors. If a big name such as Jeff Beck was playing, UFO broke even, but the club usually lost money.

Blarney Club

 * 23/30 Dec: Nite Tripper under Gala Berkeley Cinema; Warhol movies; Soft Machine; Pink Floyd; Anger movies; Heating warm; IT god
 * 13 Jan: Pink Floyd; Marilyn Monroe movie; The Sun Trolley; Technicolor strobe; Fiveacre slides; Karate
 * 20 Jan: Pink Floyd; Anger movie
 * 27 Jan: AMM Music; Pink Floyd; Five Acre Light; Flight of the Aerogenius Chpt 1; International Times; IT Girl Beauty Contest
 * 3 Feb: Soft Machine; Brown's Poetry; Flight of the Aerogenius Chpt 2; Bruce Connor Movies
 * 10 Feb: Bonzo Dog Doo Dah Band; Ginger Johnson African Drums; flix – Dali – Bunuel, WC Fields
 * 17 Feb: Soft Machine; Indian Music; Disney Cartoons; Mark Boyle Projections; Feature Movie; 'erogenius 3 + 4'
 * 24 Feb: Pink Floyd; Brothers Grimm
 * 3 Mar: Soft Machine; Pink Floyd
 * 10 Mar: Pink Floyd
 * 17 Mar: St Patrick's day off
 * 24 Mar: Soft Machine
 * 31 Mar: Crazy World of Arthur Brown; Pink Alberts; 'spot the fuzz contest'
 * 7 Apr: Soft Machine
 * 14 Apr: Arthur Brown; Social Deviants; Special: the fuzz
 * 21 Apr: Pink Floyd
 * 28 Apr: Tomorrow; The Purple Gang
 * (29/30 Apr: The 14 Hour Technicolor Dream at the Alexandra Palace)
 * 5 May: Soft Machine; Arthur Brown
 * 12 May: The Graham Bond Organisation; Procol Harum
 * 19 May: Tomorrow; Arthur Brown; The People Show
 * 26 May: The Move, The Knack
 * 2 Jun: Pink Floyd; Soft Machine; The Tales of Ollin dance group; Hydrogen Jukebox
 * 9 Jun: Procol Harum; The Smoke
 * 10 Jun: Pink Floyd
 * 16 Jun: Crazy World of Arthur Brown; Soft Machine; The People Blues Band 4.30am
 * 23 Jun: Liverpool Love Festival; The Trip
 * 30 Jun: Tomorrow; The Knack; Dead Sea Fruit
 * 7 Jul: Denny Laine; The Pretty Things
 * 14 Jul: Arthur Brown; Alexis Korner; Victor Brox
 * 21 Jul: Tomorrow; Bonzo Dog Doo Dah Band
 * 28 Jul: Pink Floyd; CIA v UFO; Fairport Convention; Shiva's Children

Roundhouse

 * 4 Aug: Eric Burdon & The New Animals; Family; The Hydrogen Juke Box
 * 11 Aug: Tomorrow
 * 18 Aug: Arthur Brown; The Incredible String Band
 * 1/2 Sep: UFO Festival: Pink Floyd; Soft Machine; The Move; Arthur Brown; Tomorrow; Denny Laine
 * 8 Sep: Eric Burdon & The New Animals; Aynsley Dunbar
 * 15 Sep: Soft Machine; Family
 * 22 Sep: Dantalian's Chariot w/ Zoot Money & His Light Show; The Social Deviants; The Exploding Galaxy
 * 29 Sep: Jeff Beck; Ten Years After; Mark Boyle's New Sensual Laboratory; Contessa Veronica

title: UFO Club


text:
Battle of Solebay

The naval Battle of Solebay took place on 28 May Old Style, 7 June New Style 1672 and was the first naval battle of the Third Anglo-Dutch War.

The battle began as an attempted raid on Solebay port where an English fleet was anchored and largely unprepared for battle. They were then surprised by a Dutch fleet. The battle prevented a planned allied naval invasion of the Dutch Republic and boosted the morale of the Dutch population.

Battle

A fleet of 75 warships, 20,738 men and 4,484 cannon of the United Provinces, commanded by Lieutenant-Admirals Michiel de Ruyter, Adriaen Banckert and Willem Joseph van Ghent, surprised a joint Anglo-French fleet of 93 warships (sources vary), 35,000-40,000 men and 6,158 cannon at anchor in Solebay (nowadays just Southwold bay), at Southwold in Suffolk, on the east coast of England. The Dutch had the weather gauge until their withdrawal.

The Duke of York and Vice-Admiral Comte Jean II d'Estrées planned to blockade the Dutch in their home ports and deny the North Sea to Dutch shipping. The Dutch had hoped to repeat the success of the Raid on the Medway and a frigate squadron under Van Ghent sailed up the Thames in May but discovered that Sheerness Fort was now too well prepared to pass. The Dutch main fleet came too late, mainly due to coordination problems between the five Dutch admiralties, to prevent a joining of the English and French fleets. It followed the Allied fleet to the north, which, unaware of this, put in at Solebay to refit. On 7 June the Allies were caught by surprise and got into disarray when the Dutch fleet, having the weather gauge, suddenly appeared on the horizon in the early morning. The French fleet, whether through accident or design, steered south followed by Banckert's fifteen ships and limited its action to long-distance fire. Nevertheless, the Superbe was heavily damaged and des Rabesnières killed by fire from Enno Doedes Star's Groningen; total French casualties were about 450.

This left the Dutch vanguard and centre to fight it out with the English, and the latter were hard pressed, as they had great difficulty to beat upwind to bring ships out. The Duke of York had to move his flag twice, finally to London, as his flagships Prince and St Michael were taken out of action. The Prince was crippled by De Ruyter's flagship De Zeven Provinciën in a two hours' duel. De Ruyter was accompanied by the representative of the States-General of the Netherlands, Cornelis de Witt (the brother of Grand Pensionary Johan de Witt) who bravely remained seated on the main deck, although half of his guard of honour standing next to him was killed or wounded.

Lieutenant-Admiral Aert Jansse van Nes on the Eendracht first duelled Vice-Admiral Edward Spragge on HMS London and then was attacked by HMS Royal Katherine. The latter ship was then so heavily damaged that Captain John Chichely struck her flag and was taken prisoner; the Dutch prize crew however got drunk on the brandy found and allowed the ship to be later recaptured by the English.

The flagship of Admiral Edward Montagu, 1st Earl of Sandwich, HMS Royal James, was first fiercely engaged by Lieutenant-Admiral Van Ghent, who in 1667 had executed the Raid on the Medway, on Dolfijn. Van Ghent was however killed by shrapnel. Then captain Jan van Brakel made his Groot Hollandia attack to the Royal James, incessantly pounding the hull of that ship for over an hour and bringing her into such a condition that Lord Sandwich considered to strike his flag but decided against it because it was beneath his honour to surrender to a mere captain of low birth. He then ordered sloops from other ships to board the Groot Hollandia; his upper deck soon swarming with Englishmen Van Brakel was forced to cut the lines and retreat between friendly vessels to drive the boarding teams off. The Royal James now drifted away, sinking, and was attacked by several fire ships. She sank two, but a third, Vrede, commanded by Jan Daniëlszoon van den Rijn, its approach shielded by Vice-Admiral Isaac Sweers's Oliphant, set her on fire. She burnt with great loss of life; Sandwich himself and his son-in-law Philip Carteret drowned trying to escape when his sloop collapsed under the weight of panicked sailors jumping in; his body washed ashore, only recognisable by the scorched clothing still showing the shield of the Order of the Garter.

During the battle the wind shifted, giving the English the weather gauge, and in the late afternoon the Dutch withdrew.

Losses were heavy on both sides: one Dutch ship, the Jozua, was destroyed and another, the Stavoren, captured, a third Dutch ship had an accident during repairs immediately after the battle and blew up. The battle ended inconclusively at sunset.

In a strategic sense, it can be seen as a Dutch victory as it deterred Anglo-French plans to blockade Dutch ports and land troops on the Dutch coast. Tactically both sides sustained heavy damages; two English ships were sunk, including the fleet's flagship the ‘’Royal James’’, as well as two French ships sunk. The Dutch also lost two large ships, in addition to many fire ships.

The fleets met again at the Battle of Schooneveld in 1673.

Ship list
Not all fireships are listed; there were about 24 of them on the Allied, 36 on the Dutch side.

In popular culture

 * The battle is described in verse, as if in an eyewitness account seen from the coast at Dunwich, in the ballad "A Merry Song on the Duke's late glorious Success over the Dutch", which appears in print (apparently taken from a broadside ballad) in the Suffolk Garland of 1818.
 * Leeds Central Library has a 50 ft (15m), step by step, pictorial record of the sea battle which dates from around 1910. It is based on contemporary parchments and also features scenes depicting the Battle of Texel. It forms part of the Gascoigne collection.
 * The battle is described in the novel "An Affair of Dishonour" published in 1910 by William de Morgan who was also an artist in glass and ceramics. A wounded survivor becomes an important character in the story.
 * The Battle of Solebay forms the historic background to children's adventure novel The Lion of Sole Bay, the fourth book in the Strong Winds series by Julia Jones
 * The Adnams Brewery created a beer, named Broadside, in commemoration of the battle's tercentenary.

In his novel, “The Black Tulip”, Alexandre Dumas refers to the historical role of Cornelius de Witt in the battle. (Chapter 2, “The Two Brothers”)

title: Battle of Solebay


text:
User:The King~enwiki

The King of Gdansk etc

title: User:The King~enwiki


text:
Strategyproofness

In mechanism design, a strategyproof (SP) mechanism is a game form in which each player has a weakly-dominant strategy, so that no player can gain by "spying" over the other players to know what they are going to play. When the players have private information (e.g. their type or their value to some item), and the strategy space of each player consists of the possible information values (e.g. possible types or values), a truthful mechanism is a game in which revealing the true information is a weakly-dominant strategy for each player. An SP mechanism is also called dominant-strategy-incentive-compatible (DSIC), to distinguish it from other kinds of incentive compatibility.

An SP mechanism is immune to manipulations by individual players (but not by coalitions). In contrast, in a group strategyproof mechanism, no group of people can collude to misreport their preferences in a way that makes every member better off. In a strong group strategyproof mechanism, no group of people can collude to misreport their preferences in a way that makes at least one member of the group better off without making any of the remaining members worse off.

Examples
Typical examples of SP mechanisms are:

 * a majority vote between two alternatives;
 * a second-price auction when participants have quasilinear utility;
 * a VCG mechanism when participants have quasilinear utility

Typical examples of mechanisms that are not SP are:

 * any deterministic non-dictatorial election between three or more alternatives;
 * a first-price auction

SP in network routing
SP is also applicable in network routing. Consider a network as a graph where each edge (i.e. link) has an associated cost of transmission, privately known to the owner of the link. The owner of a link wishes to be compensated for relaying messages. As the sender of a message on the network, one wants to find the least cost path. There are efficient methods for doing so, even in large networks. However, there is one problem: the costs for each link are unknown. A naive approach would be to ask the owner of each link the cost, use these declared costs to find the least cost path, and pay all links on the path their declared costs. However, it can be shown that this payment scheme is not SP, that is, the owners of some links can benefit by lying about the cost. We may end up paying far more than the actual cost. It can be shown that given certain assumptions about the network and the players (owners of links), a variant of the VCG mechanism is SP.

Formal definitions
There is a set $$X$$ of possible outcomes.

There are $$n$$ agents which have different valuations for each outcome. The valuation of agent $$i$$ is represented as a function:

 * $$v_i : X \longrightarrow R_+$$

which expresses the value it has for each alternative, in monetary terms.

It is assumed that the agents have Quasilinear utility functions; this means that, if the outcome is $$x$$ and in addition the agent receives a payment $$p_i$$ (positive or negative), then the total utility of agent $$i$$ is:

 * $$u_i := v_i(x) + p_i$$

The vector of all value-functions is denoted by $$v$$.

For every agent $$i$$, the vector of all value-functions of the other agents is denoted by $$v_{-i}$$. So $$v \equiv (v_i,v_{-i})$$.

A mechanism is a pair of functions:
 * An $$Outcome$$ function, that takes as input the value-vector $$v$$ and returns an outcome $$x\in X$$ (it is also called a social choice function);
 * A $$Payment$$ function, that takes as input the value-vector $$v$$ and returns a vector of payments, $$(p_1,\dots,p_n)$$, determining how much each player should receive (a negative payment means that the player should pay a positive amount).

A mechanism is called strategyproof if, for every player $$i$$ and for every value-vector of the other players $$v_{-i}$$:
 * $$v_i(Outcome(v_i,v_{-i})) + Payment_i(v_i,v_{-i}) \geq v_i(Outcome(v_i',v_{-i})) + Payment_i(v_i',v_{-i})$$

Characterization
It is helpful to have simple conditions for checking whether a given mechanism is SP or not. This subsection shows two simple conditions that are both necessary and sufficient.

If a mechanism with monetary transfers is SP, then it must satisfy the following two conditions, for every agent $$i$$:

1. The payment to agent $$i$$ is a function of the chosen outcome and of the valuations of the other agents $$v_{-i}$$ - but not a direct function of the agent's own valuation $$v_i$$. Formally, there exists a price function $$Price_i$$, that takes as input an outcome $$x\in X$$ and a valuation vector for the other agents $$v_{-i}$$, and returns the payment for agent $$i$$, such that for every $$v_i,v_i',v_{-i}$$, if:
 * $$Outcome(v_i,v_{-i}) = Outcome(v_i',v_{-i})$$

then:
 * $$Payment_i(v_i,v_{-i}) = Payment_i(v_i',v_{-i})$$

PROOF: If $$Payment_i(v_i,v_{-i}) > Payment_i(v_i',v_{-i})$$ then an agent with valuation $$v_i'$$ prefers to report $$v_i$$, since it gives him the same outcome and a larger payment; similarly, if $$Payment_i(v_i,v_{-i}) < Payment_i(v_i',v_{-i})$$ then an agent with valuation $$v_i$$ prefers to report $$v_i'$$.

As a corollary, there exists a "price-tag" function, $$Price_i$$, that takes as input an outcome $$x\in X$$ and a valuation vector for the other agents $$v_{-i}$$, and returns the payment for agent $$i$$ For every $$v_i,v_{-i}$$, if:
 * $$Outcome(v_i,v_{-i}) = x$$

then:
 * $$Payment_i(v_i,v_{-i}) = Price_i(x,v_{-i})$$

2. The selected outcome is optimal for agent $$i$$, given the other agents' valuations. Formally:
 * $$Outcome(v_i, v_{-i}) \in \arg\max_{x} [v_i(x) + Price_i(x,v_{-i})]$$

where the maximization is over all outcomes in the range of $$Outcome(\cdot,v_{-i})$$.

PROOF: If there is another outcome $$x' = Outcome(v_i',v_{-i})$$ such that $$v_i(x') + Price_i(x',v_{-i}) > v_i(x) + Price_i(x,v_{-i})$$, then an agent with valuation $$v_i$$ prefers to report $$v_i'$$, since it gives him a larger total utility.

Conditions 1 and 2 are not only necessary but also sufficient: any mechanism that satisfies conditions 1 and 2 is SP.

PROOF: Fix an agent $$i$$ and valuations $$v_i,v_i',v_{-i}$$. Denote:
 * $$x := Outcome(v_i, v_{-i})$$ - the outcome when the agent acts truthfully.
 * $$x' := Outcome(v_i', v_{-i})$$ - the outcome when the agent acts untruthfully.

By property 1, the utility of the agent when playing truthfully is:
 * $$u_i(v_i) = v_i(x) + Price_i(x, v_{-i})$$

and the utility of the agent when playing untruthfully is:
 * $$u_i(v_i') = v_i(x') + Price_i(x', v_{-i})$$

By property 2:
 * $$u_i(v_i) \geq u_i(v_i')$$

so it is a dominant strategy for the agent to act truthfully.

Outcome-function characterization
The actual goal of a mechanism is its $$Outcome$$ function; the payment function is just a tool to induce the players to be truthful. Hence, it is useful to know, given a certain outcome function, whether it can be implemented using a SP mechanism or not (this property is also called implementability).

The monotonicity property is necessary for strategyproofness.

Truthful mechanisms in single-parameter domains
A single-parameter domain is a game in which each player $$i$$ gets a certain positive value $$v_{i}$$ for "winning" and a value 0 for "losing". A simple example is a single-item auction, in which $$v_{i}$$ is the value that player $$i$$ assigns to the item.

For this setting, it is easy to characterize truthful mechanisms. Begin with some definitions.

A mechanism is called normalized if every losing bid pays 0.

A mechanism is called monotone if, when a player raises his bid, his chances of winning (weakly) increase.

For a monotone mechanism, for every player i and every combination of bids of the other players, there is a critical value in which the player switches from losing to winning.

A normalized mechanism on a single-parameter domain is truthful if the following two conditions hold:
 * 1) The assignment function is monotone in each of the bids, and:
 * 2) Every winning bid pays the critical value.

Truthfulness of randomized mechanisms
There are various ways to extend the notion of truthfulness to randomized mechanisms. They are, from strongest to weakest:

 * Universal truthfulness: for each randomization of the algorithm, the resulting mechanism is truthful. In other words: a universally-truthful mechanism is a randomization over deterministic truthful mechanisms, where the weights may be input-dependent.
 * Strong stochastic-dominance truthfulness (strong-SD-truthfulness): The vector of probabilities that an agent receives by being truthful has first-order stochastic dominance over the vector of probabilities he gets by misreporting. That is: the probability of getting the top priority is at least as high AND the probability of getting one of the two top priorities is at least as high AND ... the probability of getting one of the m top priorities is at least as high.
 * Lexicographic truthfulness (lex-truthfulness): The vector of probabilities that an agent receives by being truthful has lexicographic dominance over the vector of probabilities he gets by misreporting. That is: the probability of getting the top priority is higher OR (the probability of getting the top priority is equal and the probability of getting one of the two top priorities is higher) OR ... (the probability of getting the first m-1 priorities priority is equal and the probability of getting one of the m top priorities is higher) OR (all probabilities are equal).
 * Weak stochastic-dominance truthfulness (weak-SD-truthfulness): The vector of probabilities that an agent receives by being truthful is not first-order-stochastically-dominated by the vector of probabilities he gets by misreporting.

Universal implies strong-SD implies Lex implies weak-SD, and all implications are strict.

Truthfulness with high probability
For every constant $$\epsilon>0$$, a randomized mechanism is called truthful with probability $$1-\epsilon$$ if for every agent and for every vector of bids, the probability that the agent benefits by bidding non-truthfully is at most $$\epsilon$$, where the probability is taken over the randomness of the mechanism.

If the constant $$\epsilon$$ goes to 0 when the number of bidders grows, then the mechanism is called truthful with high probability. This notion is weaker than full truthfulness, but it is still useful in some cases; see e.g. consensus estimate.

False-name-proofness
A new type of fraud that has become common with the abundance of internet-based auctions is false-name bids – bids submitted by a single bidder using multiple identifiers such as multiple e-mail addresses.

False-name-proofness means that there is no incentive for any of the players to issue false-name-bids. This is a stronger notion than strategyproofness. In particular, the Vickrey–Clarke–Groves (VCG) auction is not false-name-proof.

False-name-proofness is importantly different from group strategyproofness because it assumes that an individual alone can simulate certain behaviors that normally require the collusive coordination of multiple individuals.

title: Strategyproofness


text:
Wikipedia:Articles for deletion/Mai Zhou

Just a random professor. -- Spleeman 20:17, 8 Aug 2004 (UTC)
 * Substub has been around for a year. Only link is from Bean_machine. Delete if not expanded. --Ianb 22:01, 8 Aug 2004 (UTC)
 * Delete substub.   — Chameleon Main/Talk/Images 22:34, 8 Aug 2004 (UTC)
 * Delete: Whatever explanation is needed is in the Bean machine.  No one has been motivated to fix it in this much time, and the professor is not notable out of context. Geogre 02:38, 9 Aug 2004 (UTC)


text:
Horse culture

A horse culture is a tribal group or community whose day-to-day life revolves around the herding and breeding of horses. Beginning with the domestication of the horse on the steppes of Eurasia, the horse transformed each society that adopted its use. Notable examples are the Mongols of Mongolia, the Scythian and Turkic nomads of Central Asia, the Plains Indians, the Guaycuru peoples of the Gran Chaco, and the Mapuche and Tehuelche of Patagonia after horses were imported from Europe, particularly from Spain, during the 16th century.

History
History offers many examples of horse cultures, such as the Huns and other peoples in Europe and Asia. Horse cultures tend to place a great deal of importance on horses and by their very nature are nomadic and usually hunter-gatherer or nomadic pastoralist societies. For example, the arrival of the horse in the Americas altered the cultures of the Native Americans in the Great Plains, the Gran Chaco and Patagonia. The horse increased mobility; the ability of the horse to cover a lot of ground in a very short period of time allowed native people to easily move from place to place, bringing on a nomadic shift in their culture, with an impact on transportation, trade, hunting and warfare.

However, there were also disadvantages to adopting horse culture, such as the increased responsibility of caring for the horses and keeping them healthy. Social structures of the community also had to shift to accommodate the physical space for horses to graze and feed easily.

title: Horse culture


text:
M+NetMail

M+NetMail was an ISP-grade E-mail package by Messaging Architects. It was designed to deliver scalable messaging and calendaring services, using Internet-standard protocols (e.g. IMAP, iCalendar, POP, SMTP), across a large enterprise, or to a large group of users who are not particularly associated (for example, the user population of a typical ISP). The original name for the product, when owned by Novell, was Novell Internet Messaging System (NIMS). Messaging Architects showcased NetMail on its MyRealBox website, this service was discontinued on June 1, 2011.

In late February 2007, Novell sold the Netmail source code and brand name to Messaging Architects, which has since released a new version. This new version came with several long-awaited fixes along with a new "web 2.0" web mail client.

Since 2014 Netmail EMEA uses the brand name to deliver software solution. Netmail EMEA is as a formally subsidiary from Messaging Architects (called later Netmail/NetGovern) and now part of Ipro Tech.

Positioning
NetMail is not designed as a group collaboration software, such as Novell GroupWise, IBM Lotus Notes / Domino, or Microsoft Exchange Server. It is not positioned to compete with those products.

Design
M+NetMail is designed around open standards, including LDAP, PKCS, iCal, POP3, IMAP4, SSL, and S/MIME. Because it is standards-based, there is no "native" client. It instead works with any standards-based IMAP4, POP3 or iCal client. The web interface is likewise usable by most web browsers.

Platforms
M+NetMail's server components run atop a variety of platforms, letting the NetMail customer choose the platform most appropriate to their environment. In contrast, some competing products attempt to lock their customers into a single platform. NetMail components are available for SUSE and Red Hat Linux, Novell NetWare v5.1 and later, Novell Open Enterprise Server (in both its OES-Linux and OES-NetWare versions), and Microsoft Windows platforms.

title: M+NetMail


text:
AJ6

AJ6 was a Jewish organisation open to all Jews in school years 11-13 in the UK. It was founded in 1977. AJ6 was peer-led and had its own constitution. Until 2007, It ran both a membership side and a services side, the latter covering schools and campus. However, in October 2007, AJ6 handed over the services part of the organisation to the UJIA. In July 2009, AJ6 ceased to exist in its previous form, teaming up with UJIA-JAMS to deliver activities through both mainstream and Jewish schools.

Activities
Following the closure of AJ6 in 2009, a new programme of activities such as campus visits, university mentors, campus skills training, advocacy sessions and university activist training is being developed. These new activities will be planned and run by professional youth workers, with input and assistance from experienced students and from sixtform participants. The programmes will be run with a similar ethos as AJ6 always had: cross-communal participation, an emphasis on peer leadership and an inclusive and supportive atmosphere for debate.

History
AJ6's vision was of an educated and tolerant Jewish community, responsible for one another, excited and enriched by its Judaism and inspired by its younger members. Its mission was to educate and develop Jewish fifth- and sixth-formers, enabling them to shape Jewish life at school, on campus and in the wider community.

AJ6 held regional meetings, where Jews aged 15–18 met with each other to socialize, discuss issues relevant to their lives and talk about future events.

In 2005 at AJ6's national conference, Shlomi, a small town on the northern Israeli border was made a region, making AJ6 an international movement. AJ6 had strong connections with Shlomi and invited young people over for conference, as well as giving them the opportunity to participate in AJ6's annual Israel and Europe tours in the summer. Conference 2006 saw the election of Shlomi's first regional chair, Doron Gerlitz. In addition to this, AJ6 Israel Tour Participants stayed in Shlomi with young Israelis for 2 days as part of the mifgashim, or encounters in order to educate AJ6 members about life in Israel.

As well as regional activities AJ6 ran four major national events a year: National Weekends in October, April and July and a five-day Conference in December. There were also at least two national "balls" each year: the Spring Ball and the summer Boat Ball.

Like many other Jewish youth movements, AJ6 ran summer tours to Israel and Europe. In 2006, AJ6 became the first movement to include Paris on its Europe tour and in 2007 AJ6 was the first movement to run a 2 week Israel tour.

AJ6 also had its own gap year programme, AJ6 Yearscheme - Shnat Hachshorah. Each year, about half a dozen participants from the UK and several from Shlomi spent ten months in Israel.

title: AJ6


text:
User talk:Kenndann

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

Here are some tips to help you get started:

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Good luck!

title: User talk:Kenndann


text:
User talk:The King~enwiki

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

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Follow the Simplified Ruleset
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

Jumping into the Wikipedia feet first by making Polish nationalist edits will make many of us think that you're a previously-posting User who has been blocked or kept a watch on. Don't think those edits will stand. RickK 20:37, Aug 8, 2004 (UTC)

If you continue to make disruptive edits, you will be blocked. →Raul654 20:58, Aug 8, 2004 (UTC)

What do you mean???? Please be priceize and cite the Wikipedia rules? Thank you The King 21:00, 8 Aug 2004 (UTC)

Personal attacks will get you blocked from editing. RickK 21:01, Aug 8, 2004 (UTC)

King, you have on several occasions called Rickk a swine, and you have in your edit summaries described edits by other users as "nazi". These are personal attacks and if you make any more, you could be banned.

Listing Raul on RFAr will get you nowhere, considering your shaky history of edits. I'd remove it before an admin does it for you. Mike H 21:09, Aug 8, 2004 (UTC)

I have blocked this user for 24 hours for disruptive edits, personal attacks, and frivilous requests for arbitration. →Raul654 21:11, Aug 8, 2004 (UTC)

Reversions
You have now reverted Gdansk three times. Wikipedia policy is that if you revert an article more than three times in a 24 hour period, you will be blocked for 24 hours. If you come back after your block period and begin the article attacks again, you can be blocked once more. RickK 21:12, Aug 8, 2004 (UTC)

Your account will be renamed
Hello,

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

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

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 03:03, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 19:37, 22 April 2015 (UTC)

title: User talk:The King~enwiki