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William Healey Dall

William Healey Dall (August 21, 1845 – March 27, 1927) was an American naturalist, a prominent malacologist, and one of the earliest scientific explorers of interior Alaska. He described many mollusks of the Pacific Northwest of North America, and was for many years America's preeminent authority on living and fossil mollusks.

Dall also made substantial contributions to ornithology, zoology, physical and cultural anthropology, oceanography, and paleontology. In addition he carried out meteorological observations in Alaska for the Smithsonian Institution.

Early life
Dall was born in Boston, Massachusetts. His father Charles Henry Appleton Dall, (1816–86), a Unitarian minister, moved in 1855 to India as a missionary. His family however stayed in Massachusetts, where Dall's mother Caroline Wells Healey was a teacher, transcendentalist, reformer, and pioneer feminist.

In 1862, Dall's father, on one of his few brief visits home, brought his son in contact with some naturalists at Harvard University, where he had studied, and in 1863, when Dall graduated from high school, he took a keen interest in mollusks. In 1863 he became a pupil of Louis Agassiz of Harvard's Museum of Comparative Zoology, in natural science. He encouraged Dall's interest in malacology, a field still in its infancy. He also studied anatomy and medicine under Jeffries Wyman.

First positions, first expeditions
Dall took a job in Chicago. There he met the famous naturalist Robert Kennicott (1835–1866) at the Chicago Academy of Sciences Museum. In 1865 the Western Union Telegraph Expedition was mounted to find a possible route for a telegraph line between North America and Russia by way of the Bering Sea. Kennicott was selected as the scientist for this expedition, and with the influence of Spencer Fullerton Baird of the Smithsonian Institution, he took Dall as his assistant, because of his expertise in invertebrates and fish. Aboard the clipper Nightingale, under the command of the naturalist Charles Melville Scammon, Dall explored the coast of Siberia, with first several stops in Alaska (still Russian territory at that time). Scammon Bay, Alaska was named after Charles Scammon.

In 1866, Dall continued this expedition to Siberia. On a stop at St. Michael, Alaska, he was informed that Kennicott had died of a heart attack on May 13, 1866, while prospecting a possible telegraph route along the Yukon River. Set on finishing Kennicott's Yukon River work, Dall stayed on the Yukon during the winter. Because of cancellation of his own expedition, he had to continue this work at his own expense until autumn 1868. Meanwhile, in 1867, the U.S. had acquired Alaska from Russia for 7.2 million dollars. This was uncharted country, with a fauna and flora still waiting to be explored and described, a task Dall took upon himself as a surveyor-scientist.

Back at the Smithsonian, he started cataloguing the thousands of specimens he had collected during this expedition. In 1870 he published his account of his pioneering travels in Alaska and Its Resources, describing the Yukon River, the geography and resources of Alaska, and its inhabitants. Also in 1870, Dall was appointed Acting Assistant to the United States Coast Survey (renamed the United States Coast and Geodetic Survey in 1878).

Dall went on several more reconnaissance and survey missions to Alaska between 1871 and 1874. His official mission was to survey the Alaska coast, but he took the opportunity to acquire specimens, which he collected in great numbers. In 1871–72, he surveyed the Aleutian Islands. In 1874 aboard the United States Coast Survey schooner Yukon, he anchored in Lituya Bay, which he compared to Yosemite Valley in California, had it retained its glaciers.

He sent his collection of mollusks, echinoderms, and fossils to Louis Agassiz at Harvard's Museum of Comparative Zoology; plants went to Asa Gray at Harvard; archaeological and ethnological material went to the Smithsonian. In 1877–1878 he was associated with the Blake expeditions", along the east coast of the United States. The major publications on the Blake Expeditions were published in the Bulletin of the Museum of Comparative Zoology Harvard.

Dall was in Europe in August 1878, sent to a meeting in Dublin of the British Association for the Advancement of Science. He took the opportunity to visit mollusk collections and meet European scholars.

1880 and after
Dall married Annette Whitney in 1880. They travelled to Alaska on their honeymoon. After arriving in Sitka, his wife went back home to Washington, D.C. He began his final survey season aboard the schooner Yukon. He was accompanied, among others, by the ichthyologist Tarleton Hoffman Bean (1846–1916).

In 1882 Dall contributed for the Republican Congressional Campaign Committee.

In 1884, Dall left the United States Coast and Geodetic Survey (known until 1878 as the U.S. Coast Survey), having already written over 400 papers. In 1885 he transferred to the newly created United States Geological Survey, obtaining a position as paleontologist. He was assigned to the U.S. National Museum as honorary curator of invertebrate paleontology, studying recent and fossil mollusks. He would hold this position until his death.

As part of his work for the U.S. Geological Survey, Dall made trips to study geology and fossils: in the Pacific Northwest (1890, 1892, 1895, 1897, 1901, and 1910), in Florida (1891), and in Georgia (1893).

In 1899 he and an elite crew of scientists, such as the expert in glaciology John Muir, were members of the Harriman Alaska Expeditionalong the glacial fjords of the Alaska coast and the Aleutian Islands and to the Bering Strait aboard the steamer SS George W. Elder. Many new genera and species were described. Dall was the undisputed expert on Alaska, and the scientists aboard were often surprised by his erudition, both in biology and in respect to the cultures of the native Alaskan peoples. His contributions to the reports of the Harriman Alaska Expedition, include a chapter Description and Exploration of Alaska, and Volume 13, Land and Fresh-water Mollusks.

He spent two months at the Bishop Museum in Honolulu, Hawaii, examining its shell collection.

Societies and honors
He was elected member of most of the U.S. scientific societies, vice-president of American Academy of Arts and Sciences (AAAS) (1882, 1885), a founder of the National Geographic Society, and the Philosophical Society of Washington. In 1897 he was elected to both the National Academy of Sciences and the American Philosophical Society. He was a Foreign Member of the Geological Society of London. His eminence also earned him several honorary degrees. Mount Dall, an 8399 ft peak in the Alaska Range, now in Denali National Park and Preserve, was named after Dall by A. H. Brooks of the U.S. Geological Survey in 1902. In 1912, he was elected to the American Academy of Arts and Sciences.

Publications
Dall published over 1,600 papers, reviews, and commentaries. He described 5,427 species, many of them mollusks. Many of his papers were short, but a number of his publications were comprehensive monographs.
 * Report on the Mollusca, Part I Bivalvia Bulletin of the Museum of Comparative Zoology Harvard, Vol. XII (1885–1886)
 * Report on the Mollusca, Part II Gastropoda & Scaphopoda Bulletin of the Museum of Comparative Zoology Harvard, Vol. XVIII, XXIX – (June 1889)
 * On the remains of later prehistoric man obtained from caves in the Catherina Archipelago, Alaska Territory, and especially from the caves of the Aleutian Islands (1878)
 * Meteorology and Bibliography of Alaska
 * The Currents and Temperatures of Bering Sea and the Adjacent Waters (1882)
 * Alaska Coast Pilot (1883)
 * List of Marine Mollusca (1884)
 * Report on the Mollusca Brachiopoda and Pelecypoda of the Blake Expedition (1886)
 * Mollusca of the Southeast Coast of the United States (1890)
 * Instructions for Collecting Mollusks (1892)
 * Contributions to the Tertiary Fauna of Florida (4 vols., 1890–98)
 * Neocene of North America (1892)
 * Alaska as it was and Is. 1865–1895 (1895)
 * Alaska and Its Resources (1870, 1897)
 * Dall, William Healey. "Notes on an original manuscript chart of Bering's expedition of 1725-30, and on an original manuscript chart of his second expedition, together with a summary of a journal of the first expedition, kept by Peter Chaplin, and now first rendered into English from Bergh's Russian version." (4° 2 maps. (Coast and Geodetic Survey. Ann. Report, 1890. App. 19, 759–775.)) See National Geographic for a related article by Dall.
 * Dall, William Healey.Report of geographic and hydrographical explorations on the coast of Alaska [1873.] (4° 1 map. (Coast Survey. Ann. Report, 1873. App. 11, pp. 111–2.))
 * Dall, William Healey. Report on coal and lignite of Alaska. (Geol. Survey. 17 Rpt., pt. 1. 1896. pp. 763–908, pls. 48–58.)
 * Dall, William Healey. Report on Mount Saint Elias, Mount Fairweather, and some of the adjacent mountains. (Coast Survey. Ann. Report, 1875''. App. 10, pp. 157–88).
 * Dall, William Healey. "Tribes of the Extreme Northwest" (Contributions to No. Amer. Ethnology. v. 1, pp. 1–156. ills. 1 map.)
 * Dall, William Healey. Map: Showing the distribution of the tribes of Alaska and adjoining territory. 55° to 65° N latitude × 130° to 170° W longitude. Scale: 50 mi = 7/8 in. Size: 21+3/8 x.

Genera and species named in his honor
Brachiopods:
 * Dallina Beecher, 1895

Mollusks:
 * Conus dalli Stearns, 1873
 * Dalliella Cossman, 1895
 * Haliotis dalli Henderson, 1915
 * Rissoina dalli Bartsch, 1915
 * Caecum dalli Bartsch, 1920
 * Notoplax dalli Is. & Iw. Taki, 1929
 * Knefastia dalli Bartsch, 1944
 * Cirsotrema dalli Rehder, 1945
 * Hanleya dalli Kaas, 1957
 * Propeamussium dalli E.A. Smith, 1886

Crustaceans:
 * Chthamalus dalli Pilsbry, 1916

Fish:

 * Sebastes dallii C. H. Eigenmann & Beeson, 1894 (Calico Rockfish)
 * Lythrypnus dalli (C. H. Gilbert, 1890) (Bluebanded goby)

Mammals:
 * Dall's sheep, Ovis dalli Nelson, 1884
 * Dall's porpoise, Phocoenoides dalli F. True 1885
 * Ursus arctos dalli (Merriam, 1896).

title: William Healey Dall


text: User talk:203.122.52.11

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

title: User talk:203.122.52.11


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Ryan McGinley

Ryan McGinley (born October 17, 1977) is an American photographer living in New York City. McGinley began making photographs in 1998. In 2003, at the age of 25, he was one of the youngest artists to have a solo show at the Whitney Museum of American Art. He was named Photographer of the Year in 2003 by American Photo Magazine. In 2007, McGinley was awarded the Young Photographer Infinity Award by the International Center of Photography. In 2009, he was honored at The Young Collectors Council's Artists Ball at the Guggenheim Museum. A 2014 GQ article declared McGinley, "the most important photographer in America."

Early life and education
McGinley was born in Ramsey, New Jersey, and is the youngest of eight children. From an early age his peers and mentors were skateboarders, graffiti artists, musicians, and artists that were considered to be on the fringes of society. As a teenager, McGinley was a snowboard instructor at Campgaw Mountain, NJ, and competed in the east coast amateur circuits from 1992 to 1995. He enrolled as a graphic design student at Parsons School of Design in New York in 1997. In 1998, he moved to the East Village, and covered the walls of his apartment with Polaroid pictures of everyone who visited him there.

Work
As a student at Parsons, McGinley began experimenting with photography. In 1999, he put these early images together in a handmade, self-published book called The Kids Are Alright, titled after a film about The Who. McGinley had his first public exhibition in 2000 at 420 West Broadway in Manhattan in a DIY opening. One copy of The Kids Are Alright was given to scholar and curator Sylvia Wolf, who later organized McGinley's solo exhibition at the Whitney. In an essay about McGinley, Wolf wrote, "The skateboarders, musicians, graffiti artists and gay people in Mr. McGinley's early work 'know what it means to be photographed. [...] His subjects are performing for the camera and exploring themselves with an acute self-awareness that is decidedly contemporary. They are savvy about visual culture, acutely aware of how identity can be not only communicated but created. They are willing collaborators." While he was a student at Parsons, McGinley was also the acting photo editor at Vice magazine from 2000 to 2002.

McGinley has been long time friends with fellow Lower Manhattan artists Dan Colen and the late Dash Snow. McGinley said of Snow, "I guess I get obsessed with people, and I really became fascinated by Dash."

Ariel Levy, writing in New York magazine about McGinley's friend and collaborator, Snow, said, "People fall in love with McGinleyʼs work because it tells a story about liberation and hedonism: Where Goldin and Larry Clark were saying something painful and anxiety producing about Kids and what happens when they take drugs and have sex in an ungoverned urban underworld, McGinley started out announcing that 'The Kids Are Alright,' fantastic, really, and suggested that a gleeful, unfettered subculture was just around the corner—'still'—if only you knew where to look."

McGinley's early work was primarily shot on 35mm film and using Yashica T4s and Leica R8s. Since 2004, McGinley's style has evolved from documenting his friends in real-life situations towards creating envisioned situations that can be photographed. He casts his subjects at rock ‘n’ roll festivals, art schools, and street castings in cities. In describing the essence of youth and adventure central to McGinley's work, Jeffrey Kluger wrote in TIME, "Photography is about freezing a moment in time; McGinley's is about freezing a stage in a lifetime. Young and beautiful is as fleeting as a camera snap— and thus all the more worth preserving." In 2007, critic Philip Gefter wrote, "He was a fly on the wall. But then he began to direct the activities, photographing his subjects in a cinema-verite mode. 'I got to the point where I couldn't wait for the pictures to happen anymore,' he said. 'I was wasting time, and so I started making pictures happen. It borders between being set up or really happening. There's that fine line.'" This transition to creating work with an emphasis on heavy pre-production is embodied in McGinley's famous summer cross-country road trip series. In a 2014 feature, GQ wrote, "His road trips, legendary among city-dwelling creatives under 30 (they all know someone who knows someone who went on one), have been annual summer occasions for almost a decade. McGinley and his assistants start planning the journey in January. They consult maps, newspapers, travel books. It usually starts with a specific desire—wanting to shoot kids in a cypress tree with Spanish moss, say—and the trip itself is plotted according to where such a setting can be found." As McGinley continued this series, he began incorporating different elements into his photos, such as shooting with fireworks, animals, and in extreme locations like caves.

In conversation with filmmaker Gus Van Sant, McGinley described his practice of making photographs on the road and outside of his New York City based studio, "Such a big part of what I do is removing myself and other people from the city. Taking people to these beautiful and remote locations, being together for long periods of time, getting that intimacy, and doing all these intense activities together every day. In a way, it's like a bizarre summer camp or like touring in a rock band or traveling circus. It's all those things combined. Just taking everyone out of their element so you have their full attention."

In 2009, McGinley returned to the studio as he began experimenting within the confines of traditional studio portraiture. This was also the beginning of what would by 2010 become an all entirely digital photography practice. The result was his 2010 exhibition, Everybody Knows This Is Nowhere, at Team Gallery in NYC, where he displayed his first collection of black and white nudes. This series marked a significant shift in the style and production of McGinley's photographs. His continued work within the realm of digital studio portraiture eventually evolved into his Yearbook series. Team Gallery describes the 2014 installation as, "(...) a single artwork that consists of over five hundred studio portraits of some two hundred models, always in the nude, printed on vinyl and adhered to every available inch of the gallery's walls and ceilings. The installation's effect is hugely impressive in its standalone visual power, an enveloping entity flooding the entire space with bold color and form. Although the sheer abundance of available images renders a total "reading" impossible, there is never any sense of incompleteness, as each individual image functions autonomously, granting the viewer access to a delicate, once-private moment." Yearbook is a traveling exhibition, and while it has evolved in size and application process, it has been exhibited internationally in various forms in San Francisco, Amersfoort, Basel, and Tokyo.

Throughout his career, McGinley has worked with various high-profile charities. Influenced by the death of his brother in 1995 due to HIV/AIDS-related complications, McGinley is vocally passionate about raising funds for HIV/AIDS awareness and treatment research. At the 2014 amfAR Gala, a photograph donated by McGinley was purchased by Miley Cyrus, who narrowly outbid Tom Ford, for a record breaking price. Also in 2014 McGinley photographed Ines Rau, a transgender person, fully nude for a spread in Playboy magazine called "Evolution."

In recent years, McGinley has become well known for the circle of successful younger artists surrounding him and his studio, prompting the New York Times to refer to him as, "The Pied Piper of the Downtown Art World". McGinley describes his mentorship practices as, "In a way, it's a curriculum, as I can give people advice because I’ve been through it."

In 2014, McGinley delivered the commencement address at Parsons School of Design. To graduating students he offered the advice, "Say yes to almost everything and try new things. Don't be afraid to fail, and don't be afraid to work hard. Do your pictures—don't try and do somebody else's pictures. Don't get lost inside your head, and don't worry what camera you’re using." He continued, "I once heard the legendary indie director Derek Jarman had three rules for making his art films: 'Show up early, hold your own light, and don’t expect to get paid.' That always stuck with me. Approach art like it's your job. Show up for photography every day for eight hours. Take it as seriously as a doctor would medicine." Since 2005, McGinley has periodically lectured and done critiques with MFA photography students at Yale University. He has also been a member of the School of Visual Arts Mentors program.

Music
McGinley is credited for the formation of the New York City based band The Virgins after introducing and photographing two of its members in Tulum in 2004. McGinley said of the band, "Their lyrics are really poetic and very much about New York and the life that we live."

In 2008, the Icelandic post-rock band Sigur Rós used one of McGinley's images for their fifth album Með suð í eyrum við spilum endalaust. The video for the first track from the album, "Gobbledigook", was inspired by his work. In 2012, McGinley reunited with the band to direct the video for "Varúð". The non-profit Art Production Fund partnered with the NYC Taxi Commission to show the film in 3,000 cabs. The following year, it was screened in Times Square as part of Art Production Fund's Midnight Moment series, in which every night at midnight for one month the video played simultaneously on electronic billboards and newspaper kiosks throughout Times Square.

McGinley has photographed musicians for both album artwork and editorial projects. In 2012, he provided the artwork for Bat for Lashes's album The Haunted Man. In 2013, he created images for Katy Perry's fourth studio album, Prism. He had also photographed musicians Beyonce for BEAT Magazine, Lady Gaga for Rolling Stone, and Lorde for Dazed and Confused.

Commercial and Editorial work
McGinley has contributed editorial assignments to The New York Times Magazine, including his 2004 Olympic Swimmers, 2008 Oscars Portfolio, and 2010 Winter Olympics.

He has worked in fashion editorial and advertising. In 2009, McGinley helped launch Levi's "Go Forth" campaign. In 2012 and 2013, he worked with U2 singer Bono on producing a short film and photographs for fashion brand EDUN. Additionally, he has made photographs for beauty and fragrance campaigns by Calvin Klein, Dior, Hermès, and Stella McCartney.

McGinley has also been featured as a model in campaigns by The Gap, Marc Jacobs, Salvatore Ferragamo, and Uniqlo.

Short films

 * 2010: Friends Forever
 * 2010: Entrance Romance
 * 2010: Pringle of Scotland – Spring Summer 2010, with Tilda Swinton (7:59 min.)
 * 2012: Beautiful Rebels
 * 2012: Varúð, for Sigur Rós
 * 2012: The Virgins: Prima Materia
 * 2013: Mind of its own, for Mercedes-Benz
 * 2015: We Three, with David Armstrong and Jack Pierson

Exhibitions
In 2003, the Whitney Museum gave McGinley a solo show as part of their First Exposure series. He has also had solo shows at MoMA P.S.1 in New York (2004), and at the MUSAC in Leon, Spain (2005). In 2005, he was the laureate of the Rencontres d'Arles Discovery Award.

In 2007 McGinley exhibited Irregular Regulars at Team Gallery in SoHo. Art critic David Velasco, in his review of the show, wrote, "McGinley went on a two-year road trip, traveling to dozens of Morrissey concerts in the US, the UK, and Mexico. The resultant photos, many of which are densely saturated in the concerts’ colored lights, feature candid shots of fans, regularly zooming in for seductive close-ups of enamored youngsters—a celebration of the ecstatic cult of fame and its ardent enablers."

In 2008 he exhibited I Know Where the Summer Goes, also at Team Gallery. Kluger, writing in Time magazine, said, "But his favorite subject remains youth, as his 2008 exhibit, 'I Know Where the Summer Goes,' proves. In that collection, McGinley's troupe travels the country as he photographs them, sometimes clothed and often not, while they leap fences, lounge in a desert, play together in a tree."

In 2010, McGinley debuted his first collection of black and white studio nudes, Everybody Knows This Is Nowhere, at Team Gallery in New York. Later in 2010, McGinley's exhibition Life Adjustment Center was held at Ratio 3 in San Francisco. There he debuted two new portfolios of black and white portraits and color photographs.

In 2012, McGinley had simultaneous shows at Team Gallery's two SoHo locations. Animals and Grids juxtaposed two new series of photographs: nudes with animals and large grids of intimate portraits of young concert-goers.

In 2013, McGinley exhibited his largest project to date,Yearbook. A collection of hundreds of colorful studio portraits but conceived as a single artwork, the installation covered every available inch of the walls of San Francisco's Ratio 3. In 2014, the exhibition grew larger, this time staged at Team Gallery. Yearbook continued to travel in 2015, showing at Kunsthal kAdE in Amersfoort and Art Unlimited at Art Basel.

In 2015, McGinley's work further departed from his summer road trip series with bicoastal exhibitions Fall and Winter, at Team Gallery's SoHo and Venice Beach locations.

McGinley's work was also featured in the Guggenheim Museum's 2015 exhibition, Storylines. The show was described as "an expansive view of the new paradigms for storytelling forged during the past ten years to communicate ideas about race, gender, sexuality, history, and politics, among other trenchant themes."

Collections
McGinley's work is held in the following public collections:
 * Solomon R. Guggenheim Museum, New York
 * Institute of Contemporary Art, Miami
 * National Portrait Gallery, Washington, D.C.
 * San Francisco Museum of Modern Art
 * Whitney Museum of American Art, New York

Publications

 * The Kids Are Alright. New York: Handmade, 2002.
 * Ryan McGinley (PS1 exhibition catalogue). New York: Flasher Factory, 2004. ISBN 0-9754527-1-1.
 * Sun and Health. Paris: agnès b. Galerie du Jour, 2006. ISBN 2-906496-48-0.
 * Moonmilk. London: Mörel, 2009. ISBN 978-1-907071-09-6.
 * Life Adjustment Center. New York: Dashwood, 2010. ISBN 978-0-9844546-2-4.
 * You and I. Santa Fe: Twin Palms, 2011. ISBN 978-1931885515.
 * Whistle for the Wind. Milan: Rizzoli International, 2012. ISBN 978-0847838318.
 * Way Far. Milan: Rizzoli International, 2015. ISBN 978-0847846917.
 * The Journey is the Destination: the Ryan McGinley Purple Book. Paris: Purple Institute, 2013. Originally distributed with Purple Fashion issue 19.

title: Ryan McGinley


text: User talk:195.10.45.233

title: User talk:195.10.45.233


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National pipe thread

American National Standard Pipe Thread standards, often called national pipe thread standards for short, are United States national technical standards for screw threads used on threaded pipes and pipe fittings. They include both tapered and straight thread series for various purposes, including rigidity, pressure-tight sealing, or both. The types are named with a full name and an abbreviation, such as NPT, NPS, NPTF, or NPSC.

MIP is an abbreviation for male iron pipe, and FIP is an abbreviation for female iron pipe.

Outside North America, some US pipe thread sizes are widely used, as well as many British Standard Pipe threads and ISO 7–1, 7–2, 228–1, and 228-2 threads.

Types
The various types are each named with an abbreviation and a full name, as follows:

Uses
Threaded pipes can provide an effective seal for pipes transporting liquids, gases, steam, and hydraulic fluid. These threads are now used in materials other than steel and brass, including PTFE, PVC, nylon, bronze, and cast iron.

The taper on NPT threads allows them to form a seal when torqued as the flanks of the threads compress against each other, as opposed to parallel/straight thread fittings or compression fittings in which the threads merely hold the pieces together and do not provide a seal. The various types of pipe threads are designed for use both with or without thread sealants, as particular applications demand. The sealants, where used, are typically thread seal tape thread sealant or a thread seal paste pipe dope (sometimes similar in composition to plumber's putty).

Because the thread body is tapered (0.75 in/ft), a larger diameter keeps compressing into a smaller diameter and finally forms a seal (no clearance remains between the crests and roots of the threads because of the taper). This means that NPT fittings should be burr-free and lubricated using a lubricant like lubricating paste or thread seal tape. The use of tape also helps to limit corrosion on the threads, which otherwise can make future disassembly nearly impossible.

Commonly used sizes are $1/8$, 1⁄4, $3/8$, 1⁄2, 3⁄4, 1, $1 1/4$, $1 1/2$, 2, $2 1/2$, 3, 4, 5, and 6 inch, as pipe and fittings by most US suppliers. Sizes smaller than $1/8$ inch are occasionally used for compressed air, while sizes larger than 6 inches are often joined by other methods.

Specifications
NPT is defined by ANSI/ASME standard B1.20.1.

The taper rate for all NPT threads is 1 inch of diameter in 16 inches of length (3/4 in/ft) measured by the change of diameter (of the pipe thread) over distance of thread. The half-angle (between the taper surface and the axis of the pipe) is arctan($1/32$) ≈ 1.7899° ≈ 1° 47′.

The standard for Nominal Pipe Size (often abbreviated NPS, which should not be confused with the abbreviation NPS for the straight thread form standard) is loosely related to the inside diameter of Schedule 40 series of sizes. Because of the pipe wall thickness of Schedule pipe, the actual diameter of the NPT threads is larger than the Nominal Pipe Size diameter, and considerably so for small sizes. Pipe of a given size in a different Schedule than Schedule 40 provides a different wall thickness while maintaining the same outside diameter and thread profile as Schedule 40. Thus the inside diameter of a given size of Schedule pipe differs from the Nominal Pipe Size, while outside diameters for a given nominal Schedule size are the same between Schedules.

Thread form
National Pipe Thread series have the same 60° included angle as Sellers thread. On the other hand, for sealing capability, tapered (pressure-tight) threads have crest and root shapes that differ from Sellers. For example, the NPT has a crest width of 0.038 to 0.062 pitch, which is sharper than the 0.125 pitch of Sellers.

National pipe taper fuel (NPTF)
National Pipe Taper Fuel (NPTF, also called Dryseal American National Standard Taper Pipe Thread, defined by ASME B1.20.3) is designed to provide a more leak-free seal without the use of PTFE tape (often referred to by the popular brand name "Teflon") or another sealant compound. NPTF threads have the same basic shape but with crest and root heights adjusted for an interference fit, eliminating the spiral leakage path.

History
In 1864, William Sellers, then president of Franklin Institute, presented a standard for nuts, bolts, and screws. Out of this effort came the first United States Standard threads, including pipe threads.

title: National pipe thread


text: User talk:212.248.245.241

title: User talk:212.248.245.241


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Rotten Tomatoes

Rotten Tomatoes is an American review-aggregation website for film and television. The company was launched in August 1998 by three undergraduate students at the University of California, Berkeley: Senh Duong, Patrick Y. Lee, and Stephen Wang. Although the name "Rotten Tomatoes" connects to the practice of audiences throwing rotten tomatoes in disapproval of a poor stage performance, the direct inspiration for the name from Duong, Lee, and Wang came from an equivalent scene in the 1992 Canadian film Léolo.

Since January 2010, Rotten Tomatoes has been owned by Flixster, which was in turn acquired by Warner Bros. in 2011. In February 2016, Rotten Tomatoes and its parent site Flixster were sold to Comcast's Fandango ticketing company. Warner Bros. retained a minority stake in the merged entities, including Fandango.

The site is influential among moviegoers, a third of whom say they consult it before going to the cinema in the U.S. It has been criticized for oversimplifying reviews by flattening them into a fresh vs. rotten dichotomy. It has also been criticized for being easy for studios to manipulate by limiting early screenings to critics inclined to be favorable, among other tactics.

History
Rotten Tomatoes was launched on August 12, 1998, as a spare-time project by Senh Duong. His objective in creating Rotten Tomatoes was "to create a site where people can get access to reviews from a variety of critics in the U.S". As a fan of Jackie Chan, Duong was inspired to create the website after collecting all the reviews of Chan's Hong Kong action movies as they were being released in the United States. The catalyst for the creation of the website was Rush Hour (1998), Chan's first major Hollywood crossover, which was originally planned to release in August 1998. Duong coded the website in two weeks and the site went live the same month, but the release of Rush Hour was delayed until September 1998. Besides Jackie Chan films, he began including other films on Rotten Tomatoes, extending it beyond Chan's fandom. The first non-Chan Hollywood movie whose reviews were featured on Rotten Tomatoes was Your Friends & Neighbors (1998). The website was an immediate success, receiving mentions by Netscape, Yahoo!, and USA Today within the first week of its launch; it attracted "600–1,000 daily unique visitors" as a result.

Duong teamed up with University of California, Berkeley classmates Patrick Y. Lee and Stephen Wang, his former partners at the Berkeley, California-based web design firm Design Reactor, to pursue Rotten Tomatoes on a full-time basis. They officially launched it on April 1, 2000.

In June 2004, IGN Entertainment acquired Rotten Tomatoes for an undisclosed sum. In September 2005, IGN was bought by News Corp's Fox Interactive Media. In January 2010, IGN sold the website to Flixster. The combined reach of both companies is 30 million unique visitors a month across all different platforms, according to the companies. In 2011, Warner Bros. acquired Rotten Tomatoes.

In early 2009, Current Television launched The Rotten Tomatoes Show, a televised version of the web review site. It was hosted by Brett Erlich and Ellen Fox and written by Mark Ganek. The show aired Thursdays at 10:30 EST until September 16, 2010. It returned as a much shorter segment of InfoMania, a satirical news show that ended in 2011.

By late 2009, the website was designed to enable Rotten Tomatoes users to create and join groups to discuss various aspects of film. One group, "The Golden Oyster Awards", accepted votes of members for various awards, spoofing the better-known Academy Awards or Golden Globes. When Flixster bought the company, they disbanded the groups.

As of February 2011, new community features have been added and others removed. For example, users can no longer sort films by Fresh Ratings from Rotten Ratings, and vice versa.

On September 17, 2013, a section devoted to scripted television series, called TV Zone, was created as a subsection of the website.

In February 2016, Rotten Tomatoes and its parent site Flixster were sold to Comcast's Fandango Media. Warner Bros retained a minority stake in the merged entities, including Fandango.

In December 2016, Fandango and all its various websites moved to Fox Interactive Media's former headquarters in Beverly Hills, California.

In July 2017, the website's editor-in-chief since 2007, Matt Atchity, left to join The Young Turks YouTube channel. On November 1, 2017, the site launched a new web series on Facebook, See It/Skip It, hosted by Jacqueline Coley and Segun Oduolowu.

In March 2018, the site announced its new design, icons and logo for the first time in 19 years at South by Southwest.

On May 19, 2020, Rotten Tomatoes won the 2020 Webby People's Voice Award for Entertainment in the Web category.

In February 2021, the Rotten Tomatoes staff made an entry on their Product Blog, announcing several design changes to the site: Each film's 'Score Box' at the top of the page would now also include its release year, genre, and runtimes, with an MPAA rating to be soon added; the number of ratings would be shown in groupings – from 50+ up to 250,000+ ratings, for easier visualization. Links to critics and viewers are included underneath the ratings. By clicking on either the Tomatometer Score or the Audience Score, the users can access "Score Details" information, such as the number of Fresh and Rotten reviews, average rating, and Top Critics' score. The team also added a new "What to Know" section for each film entry page, which could combine the "Critics Consensus" blurb with a new "Audience Says" blurb, so users can see an at-a-glance summary of the sentiments of both certified critics and verified audience members.

Critics' aggregate score
Rotten Tomatoes staff first collect online reviews from writers who are certified members of various writing guilds or film critic-associations. To be accepted as a critic on the website, a critic's original reviews must garner a specific number of "likes" from users. Those classified as "Top Critics" generally write for major newspapers. The critics upload their reviews to the movie page on the website, and need to mark their review "fresh" if it is generally favorable or "rotten" otherwise. It is necessary for the critic to do so as some reviews are qualitative and do not grant a numeric score, making it impossible for the system to be automatic.

The website keeps track of all the reviews counted for each film and calculates the percentage of positive reviews. If the positive reviews make up 60% or more, the film is considered "fresh". If the positive reviews are less than 60%, the film is considered "rotten". An average score on a 0 to 10 scale is also calculated. With each review, a short excerpt of the review is quoted that also serves a hyperlink to the complete review essay for anyone interested to read the critic's full thoughts on the subject.

"Top Critics", such as Roger Ebert, Desson Thomson, Stephen Hunter, Owen Gleiberman, Lisa Schwarzbaum, Peter Travers and Michael Phillips are identified in a sub-listing that calculates their reviews separately. Their opinions are also included in the general rating. When there are sufficient reviews, the staff creates and posts a consensus statement to express the general reasons for the collective opinion of the film.

This rating is indicated by an equivalent icon at the film listing, to give the reader a one-glance look at the general critical opinion about the work. The "Certified Fresh" seal is reserved for movies that satisfy two criteria: a "Tomatometer" of 75% or better and at least 80 reviews (40 for limited release movies) from "Tomatometer" critics (including 5 Top Critics). Films earning this status will keep it unless the positive critical percentage drops below 70%. Films with 100% positive ratings that lack the required number of reviews may not receive the "Certified Fresh" seal.

Tomatometer scores
When a film or TV show reaches the requirements for the "Certified Fresh", it is not automatically granted the seal; "the Tomatometer score must be consistent and unlikely to deviate significantly" before it is thus marked. Once certified, if a film's score drops and remains consistently below 70%, it loses its Certified Fresh designation.

Golden Tomato Awards
In 2000, Rotten Tomatoes announced the RT Awards honoring the best-reviewed films of the year according to the website's rating system. The awards were later renamed the Golden Tomato Awards. The nominees and winners are announced on the website, although there is no actual awards ceremony.

The films are divided into wide release and limited release categories. Limited releases are defined as opening in 599 or fewer theaters at initial release. Platform releases, movies initially released under 600 theaters but later receiving wider distribution, fall under this definition. Any film opening in more than 600 theaters is considered wide release. There are also two categories purely for British and Australian films. The "User"-category represents the highest rated film among users, and the "Mouldy"-award represents the worst-reviewed films of the year. A movie must have 40 (originally 20) or more rated reviews to be considered for domestic categories. It must have 500 or more user ratings to be considered for the "User"-category.

Films are further classified based on film genre. Each movie is eligible in only one genre, aside from non-English-language films, which can be included in both their genre and the respective "Foreign" category.

Once a film is considered eligible, its "votes" are counted. Each critic from the website's list gets one vote (as determined by their review), all weighted equally. Because reviews are continually added, manually and otherwise, a cutoff date at which new reviews are not counted toward the Golden Tomato awards is initiated each year, usually the first of the new year. Reviews without ratings are not counted toward the results of the Golden Tomato Awards.

Audience score and reviews
Each movie features a "user average", which calculates the percentage of registered users who have rated the film positively on a 5-star scale, similar to calculation of recognized critics' reviews.

On May 24, 2019, Rotten Tomatoes introduced a verified rating system that would replace the earlier system where users were merely required to register in order to submit a rating. So, in addition to creating an account, users will have to verify their ticket purchase through Fandango Media, a ticketing company which Rotten Tomatoes is a subsidiary of. While users can still leave reviews without verifying, those reviews will not account for the average audience score displayed next to the Tomatometer.

"What to Know"
In February 2021, a new "What to Know" section was created for each film entry, combining the "Critics Consensus" and a new "Audience Says" blurbs within it, to give users an at-a-glance summary of the general sentiments of a film as experienced by critics and audiences. Prior to February 2021, only the "Critics Consensus" blurb was posted for each entry, after enough certified critics had submitted reviews. When the "Audience Says" blurbs were added, Rotten Tomatoes initially included them only for newer films and those with a significant audience rating, but suggested that they may later add them for older films as well.

"Critics Consensus" / "Audience Says"
Each movie features a brief blurb summary of the critics' reviews, called the "Critical Consensus", used in that entry's Tomatometer aggregate score.

In February 2021, Rotten Tomatoes added an "Audience Says" section; similar to the "Critics Consensus", it summarizes the reviews noted by registered users into a concise blurb. The Rotten Tomatoes staff noted that for any given film, if there were any external factors such as controversies or issues affecting the sentiments of a film, they may address it in the "Audience Says" section in order to give users the most relevant info regarding their viewing choices.

Localized versions
Localized versions of the site available in the United Kingdom, India, and Australia were discontinued following the acquisition of Rotten Tomatoes by Fandango. The Mexican version of the site, Tomatazos, remains active.

API
The Rotten Tomatoes API provides limited access to critic and audience ratings and reviews, allowing developers to incorporate Rotten Tomatoes data on other websites. The free service is intended for use in the US only; permission is required for use elsewhere. As of 2022, API access is restricted to approved developers that must go through an application process.

Influence
Major Hollywood studios have come to see Rotten Tomatoes as a potential threat to their marketing. In 2017, several blockbuster films like Pirates of the Caribbean: Dead Men Tell No Tales, Baywatch and The Mummy were projected to open with gross receipts of $90 million, $50 million and $45 million, respectively, but ended up debuting with $62.6 million, $23.1 million and $31.6 million. Rotten Tomatoes, which scored the films at 30%, 19% and 16%, respectively, was blamed for undermining them. That same summer, films like Wonder Woman and Spider-Man: Homecoming (both 92%) received high scores and opened at or exceeded expectations with their $100+ million trackings.

As a result of this concern, 20th Century Fox commissioned a 2015 study, titled "Rotten Tomatoes and Box Office", that stated the website combined with social media was going to be an increasingly serious complication for the film business: "The power of Rotten Tomatoes and fast-breaking word of mouth will only get stronger. Many Millennials and even Gen X-ers now vet every purchase through the Internet, whether it's restaurants, video games, make-up, consumer electronics or movies. As they get older and comprise an even larger share of total moviegoers, this behavior is unlikely to change". Other studios have commissioned a number of studies on the subject, with them finding that 7/10 people said they would be less interested in seeing a film if the Rotten Tomatoes score was below 25%, and that the site has the most influence on people 25 and younger.

The scores have reached a level of online ubiquity which film companies have found threatening. For instance, the scores are regularly posted in Google search results for films so reviewed. Furthermore, the scores are prominently featured in Fandango's popular ticket purchasing website, on its mobile app, on popular streaming services like Peacock, and on Flixster, which led to complaints that "rotten" scores damaged films' performances.

Others have argued that filmmakers and studios have only themselves to blame if Rotten Tomatoes produces a bad score, as this only reflects a poor reception among film critics. As one independent film distributor marketing executive noted, "To me, it's a ridiculous argument that Rotten Tomatoes is the problem ... make a good movie!". ComScore's Paul Dergarabedian had similar comments, saying: "The best way for studios to combat the 'Rotten Tomatoes Effect' is to make better movies, plain and simple".

Some studios have suggested embargoing or cancelling early critic screenings in a response to poor reviews prior to a film's release affecting pre-sales and opening weekend numbers. In July 2017, Sony embargoed critic reviews for The Emoji Movie until mid-day the Thursday before its release. The film ended up with a 9% rating (including 0% after the first 25 reviews), but still opened to $24 million, on par with projections. Josh Greenstein, Sony Pictures President of Worldwide Marketing and Distribution, said, "The Emoji Movie was built for people under 18 ... so we wanted to give the movie its best chance. What other wide release with a score under 8 percent has opened north of $20 million? I don't think there is one". Conversely, Warner Bros. also did not do critic pre-screenings for The House, which held a score of 16% until the day of its release, and opened to just $8.7 million; the lowest of star Will Ferrell's career.

That marketing tactic can backfire, and drew the vocal disgust of influential critics such as Roger Ebert, who was prone to derisively condemn such moves, with gestures such as "The Wagging Finger of Shame", on At the Movies. Furthermore, the very nature of withholding reviews can draw early conclusions from the public that the film is of poor quality because of that marketing tactic.

On February 26, 2019, in response to issues surrounding coordinated "bombing" of user reviews for several films, most notably Captain Marvel and Star Wars: The Rise of Skywalker, prior to their release, the site announced that user reviews would no longer be accepted until a film is publicly released. The site also announced plans to introduce a system for "verified" reviews, and that the "Want to See" statistic would now be expressed as a number so that it would not be confused with the audience score.

In April 2023, The Snowman, a 2017 film starring Michael Fassbender, reached the No. 1 spot in America on Netflix's Current Top 10 Most Watched list, despite it holding a score on Rotten Tomatoes of 6%.

Despite arguments on how Rotten Tomatoes scores impact the box office, academic researchers so far have not found evidence that Rotten Tomatoes ratings affect box office performance.

Oversimplification
In January 2010, on the occasion of the 75th anniversary of the New York Film Critics Circle, its chairman Armond White cited Rotten Tomatoes in particular and film review aggregators in general as examples of how "the Internet takes revenge on individual expression". He said they work by "dumping reviewers onto one website and assigning spurious percentage-enthusiasm points to the discrete reviews". According to White, such websites "offer consensus as a substitute for assessment". Landon Palmer, a film and media historian and an assistant professor in the Department of Journalism and Creative Media director in the College of Communication and Information Sciences at the University of Alabama agreed with White, stating that "[Rotten Tomatoes applies a] problematic algorithm to pretty much all avenues of modern media art and entertainment".

Director and producer Brett Ratner has criticized the website for "reducing hundreds of reviews culled from print and online sources into a popularized aggregate score", while expressing respect for traditional film critics. Writer Max Landis, following his film Victor Frankenstein receiving an approval rating of 24% on the site, wrote that the site "breaks down entire reviews into just the word 'yes' or 'no', making criticism binary in a destructive arbitrary way".

Review manipulation
Vulture ran an article in September 2023 that raised several criticisms, including the ease at which large companies are able to manipulate reviewer ratings. The article cited publicity company Bunker 15 as an example of how scores can be boosted by recruiting obscure, often self-published reviewers, using the example of 2018's Ophelia.

Rotten Tomatoes responded by delisting several Bunker 15 films, including Ophelia. It told Vulture in a statement, "We take the integrity of our scores seriously and do not tolerate any attempts to manipulate them. We have a dedicated team who monitors our platforms regularly and thoroughly investigates and resolves any suspicious activity."

WIRED published an article in February 2024 written by Christopher Null, a former film critic, that argued such methods are standard activities performed by all PR agencies. In particular, Null points out that sponsoring legitimate, honest reviews has a long history in other industries and is a "common tactic employed by indie titles to get visibility."

Other criticisms
American director Martin Scorsese wrote a column in The Hollywood Reporter criticizing both Rotten Tomatoes and CinemaScore for promoting the idea that films like Mother! had to be "instantly liked" to be successful. Scorsese, in a dedication for the Roger Ebert Center for Film Studies at the University of Illinois later continued his criticism, voicing that Rotten Tomatoes and other review services "devalue cinema on streaming platforms to the level of content".

In 2015, while promoting the film Suffragette (which has a 73% approval rating) actress Meryl Streep accused Rotten Tomatoes of disproportionately representing the opinions of male film critics, resulting in a skewed ratio that adversely affected the commercial performances of female-driven films. "I submit to you that men and women are not the same, they like different things," she said. "Sometimes they like the same thing, but sometimes their tastes diverge. If the Tomatometer is slighted so completely to one set of tastes that drives box office in the United States, absolutely". Critics took issue with the sentiment that someone's gender or ethnic background would dictate their response to art.

Rotten Tomatoes deliberately withheld the critic score for Justice League based on early reviews until the premiere of its See It/Skip It episode on the Thursday before its release. Some critics viewed the move as a ploy to promote the web series, but some argued that the move was a deliberate conflict of interest on account of Warner Bros.' ownership of the film and Rotten Tomatoes, and the tepid critical reception of the DC Extended Universe films at the time.

The New York Times aggregated statistics on the critical reception of audience scores versus critic scores, and noticed in almost every genre that "The public rates a movie more positively than do the critics. The only exceptions are black comedies and documentaries. Critics systematically rate films in these genres more highly than do Rotten Tomatoes users". Slate magazine collected data in a similar survey that revealed a noticeable favor for movies released before the 1990s, that "may be explained by a bias toward reviewers reviewing, or Rotten Tomatoes scoring, only the best movies from bygone eras".

title: Rotten Tomatoes


text:
Wikipedia:Articles for deletion/Caliculation Routines

 * This page was listed here a while ago. The general consensus was that the page should be moved to Wikibooks, but it looks like no one did. I moved it to Wikibooks here, so I think the page should be deleted now. Quadell (talk) 15:13, Jul 16, 2004 (UTC)
 * Delete, does not belong in the encyclopedia. - SimonP 16:11, Jul 16, 2004 (UTC)
 * What? Why does it even deserve a Wikibook?  It looks like an unclear experiment writeup.  There is no way to tell what's actually being tested, or what "software" is being used; as it's written now, it's just not meaningful.  Move to Kaupp's talk page (under   or something) and delete.  --Ardonik 20:15, Jul 16, 2004 (UTC)
 * Relax, it's not Creature from the Black Lagoon. It's a how-to for estimating the efficiency of a water boiler -- a specialized, but practical topic. Yes, it needs work, I agree. Wile E. Heresiarch 02:09, 17 Jul 2004 (UTC)
 * Quadell, I believe std operating procedure is to delete an article once it's been transwikied, no need for another vfd listing. Thanks for taking the time to transwiki it. Wile E. Heresiarch 02:09, 17 Jul 2004 (UTC)
 * Thanks. Okay, I'll do it. Quadell (talk) 14:38, Jul 17, 2004 (UTC)


text:
Radio Free Asia

Radio Free Asia (RFA) is an American government-funded non-profit corporation operating a news service that broadcasts radio programs and publishes online news, information, and commentary for its audiences in Asia. The service has the stated mission of providing accurate and uncensored reporting to countries in Asia that have poor media environments and limited protections for speech and press freedom and "advancing the goals of United States foreign policy."

Based on Radio Free Europe/Radio Liberty, and preceded by the CIA-operated Radio Free Asia (Committee for a Free Asia), it was established by the US International Broadcasting Act of 1994 with the stated aim of "promoting democratic values and human rights", and countering the narratives and monopoly on information distribution of the Chinese Communist Party, as well as providing media reports about the North Korean government. It is funded and supervised by the U.S. Agency for Global Media (formerly Broadcasting Board of Governors), an independent agency of the United States government.

RFA distributes content in ten Asian languages for audiences in Mainland China, Hong Kong, North Korea, Laos, Cambodia, Vietnam and Myanmar.

History
After the 1989 Tiananmen Square protests and massacre, American interest in starting a government broadcasting organization grew. A more concrete concept for such an organization aimed towards Asian countries was first presented by then-United States Senator from Delaware Joe Biden, and later became a part of President Bill Clinton's platform during his 1992 presidential campaign. The International Broadcasting Act was passed by the Congress of the United States and signed by President Bill Clinton in 1994, officially establishing Radio Free Asia.

Radio Free Asia was incorporated in March 1996, and began broadcasting in September 1996. Although RFA directors preferred to broadcast under the name "the Asia-Pacific Network", Republican representatives including Chris Smith and Jesse Helms insisted on returning the name to Radio Free Asia before broadcasting began, to which president Richard Richter complied. Radio Free Asia was forced to change the name in part due to financial pressures from the US government, for although they operated with an independent board, their initial $10 million dollar annual budget came from the Treasury.

In 1997, the then US Deputy Secretary of State, Strobe Talbott, began talks with the government of Australia to purchase abandoned transmission facilities near Darwin, Northern Territory for the purpose of expanding RFA's signal to overcome jamming. Richter personally lobbied in Canberra to support this effort. Although the Australian Government intended to sell the facilities to a foreign broadcaster, preference was given to the BBC over the fledgling RFA due to fears that such a sale would anger China, with Australian Minister for Foreign Affairs Alexander Downer stating, "we are certainly not in the game of provocatively damaging our relations with China."

In response to radio jamming efforts from China, Newt Gingrich and House Republican leaders helped to increase the budget of RFA and VOA, with further funding of RFA proposed as a way to combat China's political repression without levying trade restrictions that would anger American businesses.

With the passage of the International Broadcasting Act in 1994, RFA was brought under auspices of the United States Information Agency where it remained until the agency's cessation of broadcasting duties and transitioned to U.S. Department of State operated Broadcasting Board of Governors in 1999. In September 2009, the 111th Congress amended the International Broadcasting Act to allow a one-year extension of the operation of Radio Free Asia.

RFA broadcasts in nine languages, via shortwave, satellite transmissions, medium-wave (AM and FM radio), and through the Internet. The first transmission was in Mandarin Chinese and it is RFA's most broadcast language at twelve hours per day. RFA also broadcasts in Cantonese, Tibetan (Kham, Amdo, and Uke dialects), Uyghur, Burmese, Vietnamese, Lao, Khmer (to Cambodia) and Korean (to North Korea). The Korean service launched in 1997 with Jaehoon Ahn as its founding director. Broadcasts in Khmer to Cambodia that began under the country's communist regime continue despite the country no longer being communist. In 2017, RFA and other networks, such as Voice of America, were put under the then newly created U.S. Agency for Global Media that also sends representatives to its board of directors.

In January 2022, RFA announced that it had appointed Carolyn Bartholomew as the new chair of its board of directors. As of December 2023, its board members include: Michael J. Green, Michael Kempner, Keith Richburg, Shanthi Kalathil, and Allison Hooker. RFA receives its funding through annual budget allocations from the U.S. Agency for Global Media.

In March 2024, RFA announced the closure of its Hong Kong bureau, citing safety concerns from the enactment of the Safeguarding National Security Ordinance.

Radio jamming and Internet blocking
Since broadcasting began in 1996, Chinese authorities have consistently jammed RFA broadcasts.

Three RFA reporters were denied access to China to cover U.S. President Bill Clinton's visit in June 1998. The Chinese embassy in Washington had initially granted visas to the three but revoked them shortly before President Clinton left Washington en route to Beijing. The White House and United States Department of State filed complaints with Chinese authorities over the matter but the reporters ultimately did not make the trip.

The Vietnamese-language broadcast signal was also jammed by the Vietnamese government from the beginning. Human rights legislation has been proposed in Congress that would allocate money to counter the jamming. Research by the OpenNet Initiative, a project that monitors Internet filtering by governments worldwide, showed that the Vietnamese-language portion of the Radio Free Asia website was blocked by both of the tested ISPs in Vietnam, while the English-language portion was blocked by one of the two ISPs.

To address radio jamming and Internet blocking by the governments of the countries that it broadcasts to, the RFA website contains instruction on how to create anti-jamming antennas and information on web proxies.

On March 30, 2010, China's domestic internet censor, known as the Great Firewall, temporarily blocked all Google searches in China, due to an unintentional association with the long-censored term "rfa". According to Google, the letters, associated with Radio Free Asia, were appearing in the URLs of all Google searches, thereby triggering China's filter to block search results.

Arrests of Uyghur journalists' relatives
In 2014–2015 China arrested three brothers of RFA Uyghur Service journalist Shohret Hoshur. Their jailing was widely described by Western publishers as Chinese authorities' efforts to target Hoshur for his reports on otherwise unreported violent events of the Xinjiang conflict. Much larger numbers of relatives of RFA's Uyghur-language staff have since been detained, including the family of Gulchehra Hoja.

RFA is the only station outside China that broadcasts in the Uyghur language. It has been recognized by journalists of The Atlantic, The Washington Post, The New York Times, and The Economist for playing a role in exposing Xinjiang internment camps. In particular, The New York Times regards certain RFA articles as part of the few reliable sources of information about Xinjiang.

Xinjiang internment camps
In 2018, after RFA journalist Hoja published an interview with an individual who had been detained in the Xinjiang internment camps, Chinese authorities detained approximately two dozen of Hoja's relatives. Later that year, Chinese authorities forcibly disappeared two brothers and five cousins of an editor for RFA's Uyghur language service.

National Review has reported that as of 2021, eight of Radio Free Asia's fifteen staff of Uyghur ethnicity have family members who are detained in the Xinjiang internment camps.

Mission
Radio Free Asia's functions, as listed in, are to:
 * 1) provide accurate and timely information, news, and commentary about events in Asia and elsewhere; and
 * 2) be a forum for a variety of opinions and voices from within Asian nations whose people do not fully enjoy freedom of expression.

Additionally, the International Broadcasting Act of 1994 (Title III of ), which authorized the creation of the RFA, contains the following paragraph: "The continuation of existing U.S. international broadcasting, and the creation of a new broadcasting service to people of the People's Republic of China and other countries of Asia, which lack adequate sources of free information and ideas, would enhance the promotion of information and ideas, while advancing the goals of U.S. foreign policy." The RFA's mission statement is outlined on its website as follows:

"Radio Free Asia operates under a Congressional mandate to deliver uncensored, domestic news and information to China, Tibet, North Korea, Vietnam, Cambodia, Laos, and Burma, among other places in Asia with poor media environments and few, if any, free speech protections."

Reception
In 1999, Catharin Dalpino of the Brookings Institution, a former assistant secretary deputy for human rights, called Radio Free Asia "a waste of money" and elaborated that she believed its goals had more to do with domestic political symbolism than with supporting democratic movements in Asia, stating that "Wherever we feel there is an ideological enemy, we're going to have a Radio Free Something." Dalpino said she had reviewed scripts of RFA's broadcasts and viewed the station's reporting as unbalanced due to focus on the testimony of dissidents in exile rather than the events occurring in the countries themselves. Lynne Weil, a director of communications and external affairs for the U.S. Agency for Global Media, has disputed descriptions of government-funded outlets as propaganda, referring to outlets such as BBC as examples of non-propagandist journalism funded by a government entity. In 2001, Richter stated that congressional interference in the organization was minimal, saying that he "wanted to make sure we weren't just getting set up to be a kill-the-Commie organization."

Monroe Price, director of the Center for Global Communication Studies, described RFA as "a modern iteration of Cold War use of the airwaves, emphasizing a turn from the traditional Cold War targets to new ones" and argued that the goals of RFA prove that the "instruments of international broadcasting are a reflection of the priorities and internal politics of the sending nation."

Vietnamese newspapers such as the state-run Nhân Dân have criticized the goals of RFA and broadcasts into the country, with a writer for Nhân Dân accusing the network of attempting to "interfere in other countries' internal affairs."

Chinese citizens calling in to RFA have expressed a wide range of opinions on the network, both positive and negative, many calling from pay phones to hide their identities.

Controversies and disputes
In early November 2012, Ngabo Jigme, director of the Tibetan language department of Radio Free Asia (RFA), was suddenly fired. It is said that the reason why Ngapoi Jigme was fired by RFA was that he allowed the Tibetan language department to express "opposition to the Tibetan government-in-exile" and because Ngapoi Jigme was "disrespectful" to the 14th Dalai Lama. This caused dissatisfaction with the Tibetan government-in-exile; RFA was pressured to fire Ngabo Jigme. Although the Tibetan government-in-exile and RFA denied it, the incident was still questioned by many parties. RFA's long-term consultant Maura Moynihan called it a "scandal" and Tibetan writer An Leye Calling this a "farce", American Tibetologist Elliot Sperling said "there are several assertions that the political conspiracy of exiled government leaders to put pressure on the RFA was the main reason for Ngabo Jigme's dismissal".

On May 10, 2020, RFA published a news article titled "China Border Inspection Strengthens Inspection of Entry and Exit Nationals, International Students Had Their Passports Cut," which contained a screenshot of a Reddit post by a user who said his passport had been clipped by China's border inspections. However, it was later revealed that the user's attached picture was stolen from someone else. The news triggered criticism from mainland Chinese media, saying that the facts stated in the news were inconsistent with the situation.

On 11 May 2021, Fact-checker First Draft News found that Chinese- and Cantonese-language versions of Radio Free Asia (RFA) published anti-vaccine misinformation regarding the Chinese vaccines, particularly the ones manufactured by Sinopharm and Sinovac. The investigation found the RFA articles amplified misleading claims about the vaccine programs, and its stories were reprinted by popular tabloid newspapers to reinforce the anti-vaccine misinformation. The RFA site did not cover suspected adverse events related to Western-made vaccines. Wen-Ying Sylvia Chou, program director at the National Cancer Institute, believed these articles caused vaccine hesitancy and global public health risks. Masato Kajimoto, a misinformation expert and journalism professor at the University of Hong Kong, suggested the articles were biased toward anti-Beijing messages and repeated unsubstantiated claims made by unreliable sources, such as The Epoch Times.

Awards
Radio Free Asia has received several awards for its journalism, including:
 * 2008: Consumer Rights award. Hong Kong Consumer Council, Hong Kong Journalists Association.
 * 2010 and 2020: The International Women's Media Foundation's Courage in Journalism Award.
 * Edward R. Murrow National Award, 2019. Radio-Television News Directors Association.
 * Sigma Delta Chi award, 2014. The Society of Professional Journalists.
 * Annual Human Rights Press Award, 2012, 2008, 2007, 2006, 2005, and 2000. Amnesty International, Hong Kong Journalists Association, Foreign Correspondents' Club, Hong Kong.
 * Edward R. Murrow Regional Award, 2013, 2005, 2003, 2002, and 2001. Radio-Television News Directors Association.
 * Gracie Allen Award, 2013, 2010, and 2008. American Women in Radio and Television.
 * The U.S. Broadcasting Board of Governors' David Burke Distinguished Journalism Award, 2010.
 * Society of Environmental Journalists's First Prize for Outstanding Online Reporting on the Environment for RFA's 2010 multimedia series "The Last Untamed River."
 * BenarNews, a RFA affiliate that reports in Bengali, Thai, Bahasa Malaysia, Bahasa Indonesia and English targeting South and Southeast Asia, won the 2021 Murrow Award for Excellence in Video (Small Digital News Organization) from the Radio Television Digital News Association for a video report showcasing volunteers who helped transport, bury and conduct the last rites for people who died from COVID-19 in Bangladesh.
 * 歪脑 | WHYNOT, a RFA affiliate aiming for younger Mandarin speakers, won the 2021 Online News Association's Journalism Award (Feature, Small Newsroom) for "Preserving the Erased Decade of the Chinese Feminist Movement".

title: Radio Free Asia


text:
Château d'Yquem

Château d'Yquem is a Premier Cru Supérieur (Fr: "Superior First Growth") wine from the Sauternes, Gironde region in the southern part of the Bordeaux vineyards known as Graves. In the Bordeaux Wine Official Classification of 1855, Château d'Yquem was the only Sauternes given this rating, indicating its perceived superiority and higher prices over all other wines of its type. Yquem's success stems largely from the site's susceptibility to attack by "noble rot" (a particular kind of infestation by Botrytis cinerea).

Wines from Château d'Yquem are characterised by their complexity, concentration and sweetness, which is balanced by relatively high acidity. With proper care, a bottle will keep for a century or more, and the fruity overtones will gradually fade and integrate with more complex secondary and tertiary flavours.

Since 1959, Château d'Yquem has also produced a dry white wine called Ygrec (the name of the letter "Y" in French), made predominantly from Sauvignon blanc and a few lots of Sémillon. It was originally produced only in select years; since 2004 it has been produced every year.

History
Chateau d'Yquem was acquired by Jacques de Sauvage in December 1593. De Sauvage acquired the property from the French monarchy by exchanging other lands that he owned for what was then referred to as the 'House of Yquem'. The site has been home to a vineyard since at least 1711 when the estate became fully owned by Léon de Sauvage d'Yquem. In 1785 it passed to the Lur-Saluces family when Françoise-Joséphine de Sauvage d'Yquem married Count Louis-Amédée de Lur-Saluces, a godson of Louis XV and Lady Victoire de France. Monsieur Lur-Saluces died three years later, and his wife subsequently focused her energy on sustaining and improving the estate.

While Minister Plenipotentiary to France, Thomas Jefferson visited the château and later wrote, "Sauterne.[ sic ] This is the best white wine of France and the best of it is made by Monsieur de Lur-Saluces." Jefferson ordered 250 bottles of the 1784 vintage for himself, and additional bottles for George Washington. However, at that time the technique of allowing noble rot to infect grapes had not yet been discovered, so the wine Jefferson was drinking was a different and less sweet wine.

The 1811 Château d'Yquem, a comet vintage, has exhibited what wine experts like Robert Parker have described as exceptional longevity with Parker scoring the wine a perfect 100 points when tasted in 1996.

Since 1968
After the 1968 death of the Marquis Bernard de Lur-Saluces, the château was run by Comte Alexandre de Lur-Saluces, a minority (7%) owner. The Comte inherited a typical annual production of 66,000 bottles a year. After the 1973 oil crisis, demand fell and prices plummeted. The price of a bottle of d'Yquem dropped to 35 francs; prices began to rise only in the 1980s.

Under the Comte's leadership, "tractors replaced horses, collapsing cellars were renovated, and unused acreage was planted", with production in good years reaching 100,000 bottles and sales about $10 million.

Following a bitter family feud and the decision of Eugene de Lur-Saluces (Alexandre's other brother) to sell part of his 47% share of the business, on 28 November 1996, to the French luxury goods giant LVMH Moët Hennessy – Louis Vuitton bought 55% of Château d'Yquem from the family of the Comte Alexandre de Lur-Saluces for about $100 million. The Comte, after first challenging the sale in court for over two years, was kept as the manager of the estate.

On 17 May 2004, the Comte retired and was replaced by the current managing director of Château Cheval Blanc, Pierre Lurton. The Comte had been known for being particularly dedicated towards maintaining quality, going so far as to reject an entire batch of the wine if he did not like the results of a randomised testing.

In 2006, a 135-year vertical (containing every vintage from 1860 to 2003) was sold by The Antique Wine Company in London for $1.5 million, one of the highest prices ever paid for a single lot of wine. Also that year, Dior and Château d'Yquem together created a skin care product made from the sap of the Yquem vines.

In July 2011, an 1811 bottle of Château d'Yquem sold for £75,000 ($117,000) at The Ritz Hotel, London to a private collector, Christian Vannequé, to become the most expensive bottle of white wine ever sold.

Production
The vineyard has 126 ha in the Sauternes appellation, though only 100 ha are in production at any time. Each year, vines from two to three hectares are grubbed up and left fallow for a year. Since grapes from newly planted vines are not worthy of the chateau name for five to seven years, about 20 hectares are held in reserve each year. The vines consist of 80% Sémillon and 20% Sauvignon blanc, though the latter's vigour implies the proportions are more nearly equal in the final wine.

Harvesting is carefully timed, and on average six tries through the vineyard are undertaken each year to ensure that only the botrytized grapes are selected. The yield averages nine hectolitres per hectare (2.5 acres), compared to the usual twelve to twenty hectolitres per hectare in Sauternes. The grapes are pressed three times and transferred to oak barrels for maturation over a period of about three years.

On average, 65,000 bottles are produced each year. In a poor vintage, the entire crop is deemed unworthy of bearing the Château's name and sold anonymously; this happened nine times in the 20th century: 1910, 1915, 1930, 1951, 1952, 1964, 1972, 1974, and 1992 and in the 21st century one time: 2012.

title: Château d'Yquem


text:
User talk:Leeum

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

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

title: User talk:Leeum


text:
ATC code D07

D07AA Corticosteroids, weak (group I)

 * D07AA01 Methylprednisolone
 * D07AA02 Hydrocortisone
 * D07AA03 Prednisolone

D07AB Corticosteroids, moderately potent (group II)

 * D07AB01 Clobetasone
 * D07AB02 Hydrocortisone butyrate
 * D07AB03 Flumetasone
 * D07AB04 Fluocortin
 * D07AB05 Fluperolone
 * D07AB06 Fluorometholone
 * D07AB07 Fluprednidene
 * D07AB08 Desonide
 * D07AB09 Triamcinolone
 * D07AB10 Alclometasone
 * D07AB11 Hydrocortisone buteprate
 * D07AB19 Dexamethasone
 * D07AB21 Clocortolone
 * D07AB30 Combinations of corticosteroids

D07AC Corticosteroids, potent (group III)

 * D07AC01 Betamethasone
 * D07AC02 Fluclorolone
 * D07AC03 Desoximetasone
 * D07AC04 Fluocinolone acetonide
 * D07AC05 Fluocortolone
 * D07AC06 Diflucortolone
 * D07AC07 Fludroxycortide
 * D07AC08 Fluocinonide
 * D07AC09 Budesonide
 * D07AC10 Diflorasone
 * D07AC11 Amcinonide
 * D07AC12 Halometasone
 * D07AC13 Mometasone furoate
 * D07AC14 Methylprednisolone aceponate
 * D07AC15 Beclometasone
 * D07AC16 Hydrocortisone aceponate
 * D07AC17 Fluticasone
 * D07AC18 Prednicarbate
 * D07AC19 Difluprednate
 * D07AC21 Ulobetasol
 * QD07AC90 Resocortol butyrate

D07AD Corticosteroids, very potent (group IV)

 * D07AD01 Clobetasol
 * D07AD02 Halcinonide

D07BA Corticosteroids, weak, combinations with antiseptics

 * D07BA01 Prednisolone and antiseptics
 * D07BA04 Hydrocortisone and antiseptics

D07BB Corticosteroids, moderately potent, combinations with antiseptics

 * D07BB01 Flumetasone and antiseptics
 * D07BB02 Desonide and antiseptics
 * D07BB03 Triamcinolone and antiseptics
 * D07BB04 Hydrocortisone butyrate and antiseptics

D07BC Corticosteroids, potent, combinations with antiseptics

 * D07BC01 Betamethasone and antiseptics
 * D07BC02 Fluocinolone acetonide and antiseptics
 * D07BC03 Fluocortolone and antiseptics
 * D07BC04 Diflucortolone and antiseptics

D07CA Corticosteroids, weak, combinations with antibiotics

 * D07CA01 Hydrocortisone and antibiotics
 * D07CA02 Methylprednisolone and antibiotics
 * D07CA03 Prednisolone and antibiotics

D07CB Corticosteroids, moderately potent, combinations with antibiotics

 * D07CB01 Triamcinolone and antibiotics
 * D07CB02 Fluprednidene and antibiotics
 * D07CB03 Fluorometholone and antibiotics
 * D07CB04 Dexamethasone and antibiotics
 * D07CB05 Flumetasone and antibiotics

D07CC Corticosteroids, potent, combinations with antibiotics

 * D07CC01 Betamethasone and antibiotics
 * D07CC02 Fluocinolone acetonide and antibiotics
 * D07CC03 Fludroxycortide and antibiotics
 * D07CC04 Beclometasone and antibiotics
 * D07CC05 Fluocinonide and antibiotics
 * D07CC06 Fluocortolone and antibiotics

D07CD Corticosteroids, very potent, combinations with antibiotics

 * D07CD01 Clobetasol and antibiotics

D07XA Corticosteroids, weak, other combinations

 * D07XA01 Hydrocortisone
 * D07XA02 Prednisolone

D07XB Corticosteroids, moderately potent, other combinations

 * D07XB01 Flumetasone
 * D07XB02 Triamcinolone
 * D07XB03 Fluprednidene
 * D07XB04 Fluorometholone
 * D07XB05 Dexamethasone
 * D07XB30 Combinations of corticosteroids

D07XC Corticosteroids, potent, other combinations

 * D07XC01 Betamethasone
 * D07XC02 Desoximetasone
 * D07XC03 Mometasone
 * D07XC04 Diflucortolone
 * D07XC05 Fluocortolone

D07XD Corticosteroids, very potent, other combinations

 * Empty group

title: ATC code D07


text:
Hampstead tube station

Hampstead is a London Underground station in Hampstead, North London, England. It is on the Edgware branch of the Northern line, between Golders Green and Belsize Park stations. The branch's northernmost subterranean station, it is on the boundary between Travelcard Zone 2 and Zone 3.

Designed by architect Leslie Green, it was opened on 22 June 1907 by the Charing Cross, Euston & Hampstead Railway. As it is at the junction of Heath Street and Hampstead High Street, the name Heath Street was proposed before opening, and the original tiled signs on the platform walls still read Heath Street. Because Hampstead is on a steep hill, the station's platforms are the deepest on the London Underground network, at 58.5 m below ground level; and it has the deepest lift shaft on the Underground, at 55 m. Its high-speed lifts, originally manufactured by Otis, were modernised by the Wadsworth Lift Company, and again in 2014 by Accord.

To the north, between Hampstead and Golders Green stations, is the uncompleted North End or Bull & Bush station. London Overground's Hampstead Heath station on the North London line is a 10–15 minute walk east on South End Road.

Connections
London Buses routes 46 and 268, schools service 603 and night bus N5 serve the station.

title: Hampstead tube station


text:
Captiva (album)

Captiva is the third studio album from Christian rock band Falling Up, released on October 2, 2007. The band recorded the album with Seattle producer Aaron Sprinkle, who also handled the production duties for the band's debut, Crashings.

As opposed to the band's first two albums, Crashings and Dawn Escapes, Captiva is more alternative and experimental rock driven as a whole, similar to some elements that were present on Dawn Escapes, but much less hard rock-driven, and continues to show a change in the band's musical direction. It also features much less distorted guitar rhythms, and nearly all turntable effects present on previous albums are omitted. It is the final album to feature keyboardist Adam Taylor and only album with guitarist Micah Sannan, who would both depart from the group shortly before the album's release.

"Hotel Aquarium" was the album's first single. "Goodnight Gravity", "How They Made Cameras", "A Guide to Marine Life", and "Maps" have also been posted on the band's PureVolume page. The album reached the Billboard Top Christian albums chart peaking at No. 19 and reached the Top Heatseekers albums chart peaking at No. 7. It has sold just over 20,000 copies worldwide.

Track listing
All tracks by Jessy Ribordy except where noted.

 * 1) "A Guide to Marine Life" - 4:02
 * 2) "Hotel Aquarium" (Ribordy, Aaron Sprinkle) - 2:45
 * 3) "Goodnight Gravity" (Sprinkle) - 3:22
 * 4) "Captiva" - 3:30
 * 5) "Helicopters" - 3:50
 * 6) "Maps" (Ribordy, Chris Stevens, Sprinkle) - 3:26
 * 7) "How They Made Cameras" - 4:07
 * 8) "Good Morning Planetarium" (Ribordy, Sprinkle) - 3:15
 * 9) "Murexa" (Ribordy, Randy Torres) - 2:56
 * 10) "Drago or the Dragons" - 4:23
 * 11) "Arch to Achtilles" - 4:47
 * 12) "The Dark Side of Indoor Track Meets" - 5:39

Personnel
Falling Up
 * Jessy Ribordy – lead vocals, rhythm guitar, keyboards, piano
 * Micah Sannan – lead guitar
 * Adam Taylor – keyboards, [Programming (music)|programming]], backing vocals
 * Jeremy Miller – bass guitar, backing vocals
 * Josh Shroy – drums, percussion

Production
 * Aaron Sprinkle - producer, engineer
 * Randy Torres - engineer
 * Chris Carmichael - string arrangements, performance, and recording
 * Compound Recording, Seattle, Washington – recording location
 * J.R. McNeely – mixing
 * Elm South Studio, Franklin, Tennessee – mixing location
 * Troy Glessner – mastering
 * Spectre Studio – mastering location

Singles

 * "Hotel Aquarium"
 * "Goodnight Gravity"
 * "Good Morning Planetarium"
 * "Maps"

title: Captiva (album)


text:
Talk:M3 Lee

Untitled
The M-3 Lee was also shipped to the Russians. The Russians were not particularly impressed and nicknamed it 'coffin for 7 brothers'.

 * True. Quantity was 1676.

MWAK--84.27.81.59 11:49, 30 Nov 2004 (UTC)

This is something of a post-war myth, there is no reference to this name in any Soviet wartime records; it is the usual ant-american slant to come out of Stalin's Russia post-war. For reference see Steven J Zaloga's work on the M-3 tank for Osprey

Andy Loates — Preceding unsigned comment added by 143.167.140.112 (talk) 11:18, 16 January 2012 (UTC)

Armament
I have a question regarding, what I consider to be, conflicting statements regarding the muzzle velocity of the 75 mm gun. At one point the text states "...main weapon, a large caliber, low-velocity 75 mm gun ..." and later it states "The M3 differed slightly from this pattern by using a 75mm gun with a relatively high muzzle velocity ...". Which is it "low-velocity" or "high-velocity"? ThreeBlindMice 22:24, 11 April 2006 (UTC)

=I agree VNCCC (talk) 22:12, 16 February 2012 (UTC)

 * Well, it depends what gun you compare it to :). According to http://gva.freeweb.hu/weapons/usa_guns5.html, M2 (L/31) has muzzle velocity of 588 m/s and M3 (L/40) of 619 m/s with AP shell. Which makes it relatively high-velocity when compared to mostly-anti-personnel guns like the French SA 35 (75 mm L/17, 470 m/s with AP) of Char B1 and relatively low velocity when compared to more anti-tank-oriented guns like the German KwK 40 (75 mm L/43, 740 with APCBC) of Pz IV F2/G. I guess that in the first statement you cite, the gun was called low-velocity to underline the difference with the secondary 37 mm gun which was pure AT weapon; and in the second it was called high-velocity to underline that it was not pure anti-personnel weapon like the typical "larger gun" of a typical multigun tank of the era such as the aforementioned Char B1. Well... I'll try to change the wording a bit to make it more clear. Bukvoed 09:54, 12 April 2006 (UTC)

 * Thanks for the great explanation (I'm always happy to learn something new) and for rewording that area of the article. ThreeBlindMice 19:15, 12 April 2006 (UTC)

 * IMO the whole section about the M-3´s history needs to be worked on. The the Pz. III –armed with a tiny 37mm doorknocker was the main German battle tanks in 1940, the Pz.IV´s mission was to fire HE at bunkers and AT-guns. Therefore it was armed with a “very low velocity” gun (388 m/s) that was hardly an effective weapon against armour. The performance of the HEAT shell itself was fine, but the curved trajectory of the shell made hitting a moving target very difficult. The US Army did not know this. They thought the Pz.IV had a 75mm gun with a performance like the French M1897, so they insisted on getting something equally powerful- immediately!! So when the M3 entered production in August 41 the US had a tank with a vastly more powerful gun than the Germans. Even a year later German AFV with high velocity 75mm guns were rare, especially the PZ.IV. Markus Becker02 17:12, 16 September 2006 (UTC)

 * Right you are, but in the meantime the Pzkw-III was beginning to be armed with short and long 50mm guns. By 1942 the longer 50mm was becoming the more common gun. So I would hesitate to say the US 75mm M2 gun was "vastly more powerful". DMorpheus 14:28, 18 September 2006 (UTC)

 * The 50mm/L60 gun was most effective with a high velocity APCR(US:HVAP) round, but the round was light and quickly lost velocity, so it was not very useful at distances over 500 meters. I just looked at some after action reports of the Africa Corps that deal with the Grant:

-all 50mm gun are useless at 700 meters -the side armour is penetrated by both guns at 500m, if the shell hits at a 90 degree angle -frontal armour is penetrated at 200 to 300m, but only by the L60 gun

and now to the 75mm gun M2: -it penetrated standard PzIII and IV at distances of up to 1.400 meters, even when the angle of impact was poor. -up-armoured Pz.III(70mm glacis plate) were penetrated at 500 to 600 meters Markus Becker02 21:14, 18 September 2006 (UTC)
 * Isn't this a casemate mount rather than a sponson (a projection from the hull).96.54.53.165 (talk) 21:03, 23 December 2009 (UTC)

Images
Question regarding the images in this article - one is captioned Grant and the other Lee, however, the images they link to both claim to be of Grants. Is the 'Lee' image's filename simply erroneous? Tofof 23:18, 8 June 2006 (UTC)

 * Yes, the Lee image (Image:M3grant.jpg) has erroneous filename. The tank clearly has a "Lee-type" turret. Actually many image file names are not accurate or not informative, image description page is generally better source of information. Bukvoed 06:27, 9 June 2006 (UTC)

 * The variant section lists the M3A5 as being known as the Grant II despite having the Lee turret. GraemeLeggett 08:28, 9 June 2006 (UTC)
 * That said, looking at the original source there is no indication to suggest a A5 rather than any otherGraemeLeggett 10:33, 9 June 2006 (UTC)
 * The Commonwealth used three variants of the Meduium Tank M3. The first was the Grant with the British-designed 37mm turret, the second was Lee, a standard M3A2 rushed over to the Middle east to replace losses incurred by the 8th Army, the third was the Grant II and was the M3A5 with changes to the internal layout, making it unsuitable for service with the US gound forces. The Grant II kept the original US-pattern 37mm turret and was externally identical to the US variant on which it was based. IIRC many of the Grant IIs were sent to the CBI and served with Indian and Australian units with considerable success. —Preceding unsigned comment added by 143.167.167.170 (talk • contribs)
 * Yes, forgot the M3A5. The tank in question has riveted hull, so it can be M3A5. Or M3A4. Or M3, which was by far the most numerous one. Bukvoed 13:06, 9 June 2006 (UTC)
 * The photo was captioned as shot on US soil (Fort Knox) so its an American so even if it were the A5 it wouldn't have strictly been a Grant II. Technically it wasn't a "Lee" either since it wasn't in British service.GraemeLeggett 13:20, 9 June 2006 (UTC)
 * It doesn't matter whether the vehicle in question was in British service or not; equipment designated for delivery under the Lend-Lease acts was designated as such when building NOT when delivered. The photo in question is, technically a Grant II, or in its US designation, M3A5. That it hadn't actually been deliverted to Britain is neither here or there, it was designated as British Lend-Lease material and as such its correct name is whatever the Ministry of Supply decided.

143.167.167.170 (talk) 14:01, 17 March 2010 (UTC)Loates Jnr143.167.167.170 (talk) 14:01, 17 March 2010 (UTC)

 * The M3s supplied to Britain as Grants were bought using Cash and Carry and not supplied under the later Lend-Lease, as were the first 300 Shermans supplied to the 8th Army. By the time Lend-Lease came into effect the M3 was obsolete and had been replaced in British orders by the Sherman, those Grants subsequently being supplied being already on order and in the supply chain. — Preceding unsigned comment added by 86.8.126.91 (talk) 22:04, 3 May 2022 (UTC)

 * By the way, can this possibly be a shot from 1942? It seems eerily clear and well coloured and everything.--SidiLemine 17:28, 6 September 2006 (UTC)
 * It's neat ain't it? Here is a link to the source. It's circa 1942. The pic on wiki is a cropped version of the source image. The original shows the entire negative(converted to a positive w/ a pic editor or perhaps it's an original slide) It has some data printed on the edges.  This photo was apparently shot with a large format view camera, perhaps a Speed Graphic.  I'm guessing it is a 4 inch negative?  It was a big piece of color film stock, that gives us startling detail. The film must have been quite expensive.  It would have been used for Life mag cover photos and the like. Mytwocents 17:58, 6 September 2006 (UTC)
 * Impressive. I didn't even think they had that kind of gear at the time. The negative says "Eastman Kodak". Cheers for the info. --SidiLemine 18:50, 6 September 2006 (UTC)

Heres another picture from 1942. In color. http://www.flickr.com/photos/library_of_congress/2179058999/ Dj245 (talk) 06:02, 5 March 2008 (UTC)

"Australian forces received several hundred, but none was used in combat." I beg to differ on this statement. I came to this page just after watching a History Channel snippet discussing recovery of several M3 tanks lost in fighting on a PNG battlefield. They showed film of the tanks in action moving through coconut plantations. One of the tanks recovered for the Australian War Museum (AWM) had many holes through the armour caused by Japanese anti-tank weapons. The AWM may have more complete information for you. I can't find much to hand on their web site. 59.167.114.222 13:58, 20 January 2007 (UTC)David
 * Those were M3 Stuart Light tanks, not M3 Lee or M3 Grant Medium tanks. Ways 03:53, 25 January 2007 (UTC)

 * Australia was sent most of the 8th Army's Grants and Lees in 1943 after the 8th Army had re-equipped with Shermans. The remainder were sent to Burma and issued to the 3rd Carabiniers. — Preceding unsigned comment added by 95.149.53.180 (talk) 17:11, 28 December 2019 (UTC)

Anything is better than nothing
This tank had many defects:weak in mobilty, protection and firepower.Even so, it was progress, because a bad tank is better than any tank at all.Agre22 (talk) 15:49, 29 September 2008 (UTC)agre22

 * At the time it was fielded it had pretty good protection and firepower. Better than what else was available. Mobility wasn't great but it was very reliable, which is more than you can say for the tanks it was generally replacing. DMorpheus (talk) 16:44, 29 September 2008 (UTC)

Australian tanks were used with great effect at the Buna/Gona campaign. It was one of the few large flat swampy areas in New Guinea that saw action.220.244.74.245 (talk) 10:09, 12 February 2016 (UTC)

But those were not M3s. DMorpheus2 (talk) 13:20, 12 February 2016 (UTC)

Title
shouldn't the title be called M-3 Lee/Grant instead of M3 lee —Preceding unsigned comment added by 210.3.38.33 (talk) 06:35, 28 April 2009 (UTC)

Yes it should. — Preceding unsigned comment added by 76.181.103.83 (talk) 00:50, 4 August 2011 (UTC)

Been wondering, since this article is about a tank and not one of its variants, shouldn't it be called the M3 Medium Tank, and the names of its variants discussed below? 71.178.35.68 (talk) 03:32, 3 February 2013 (UTC)

Lee & Grant
While the article talks about how the Lee & Grant models were different, there's not a true explanation of the differences between the two. The Grant had a different turret...ok, so how was it different? This needs to be cleared up. —Preceding unsigned comment added by 98.21.200.87 (talk) 20:39, 6 February 2011 (UTC) It looks as if this issue has been largely cleared up.VNCCC (talk) 22:15, 16 February 2012 (UTC)

Nomenclature
Please, people, all these WWII U.S. type-numbers were connected with a -, thus: Model-1, or M-3 etc. etc. The modern lazy usage M1 is a computer-age mistake!VNCCC (talk) 22:12, 16 February 2012 (UTC)

 * That does not appear to be the case. For one example "Technical Manual 9-750 Medium Tanks M3, M3A1, And M3A2" dated 9th of May 1942. See here: http://www.scribd.com/doc/71904493/Tm9-750MediumTanksM3M3a1AndM3a2 Ways (talk) 13:34, 20 February 2012 (UTC)

Inside the Chieftain's Hatch
I found some interesting information that I added into the article that I found from Nicholas Moran's series, "Inside the Chieftain's Hatch," where he explores the ins and outs of tanks, explaining their history as well as their features. However, the references I cited were youtube videos (oops!).

I know that the videos are reliable since they are made by Nicholas Moran, a credited tank historian. But I just read that youtube videos can't be used as references.

Can someone help me on what I should do? Thanks!

These are the videos I used: https://www.youtube.com/watch?v=_p7eJr0grTc https://www.youtube.com/watch?v=Pu8NwLls7PY Lil'Latios (talk) 18:59, 23 November 2017 (UTC)

M3 Lee in French Indochina
https://www.flickr.com/photos/135708547@N03/46873647562/in/dateposted/ A 1952 photo of a M3 Lee recovery tank during the French Indochina war. — Preceding unsigned comment added by Man74 (talk • contribs) 23:54, 7 February 2019 (UTC)

Off-road performance
Not poor. On the contrary: In reality faster than comparable contemporary tanks. M3 Lee = 26 km/h (16 mph) Panzer III = 20 km/h (12 mph) Mk IV Churchill = 12 km/h (7.5 mph) Sinfocomar (talk) 21:19, 16 October 2023 (UTC)

 * It was poor. There is more to off-road performance than quoting (but not citing) one speed figure with no context to it. Besides which, the Churchill was an Infantry tank in UK doctrine, thus speed was not a goal. The PzKpfw III was a generation earlier, underpowered and could top 20mph.
 * The problem with the M3 was the first generation of the suspension, which would go through three generations. The idler roller was mounted on top of the bracket, making the bracket and thus the VVSS springs short. The M4 version moved the roller behind, allowing a taller bracket, longer springs and more suspension travel. Andy Dingley (talk) 21:37, 16 October 2023 (UTC)
 * Trying to be factual, you're likely not a retired M3 driver yourself so unless anyone has first hand experience we're all going to be quoting some source. I'm quoting direct figures, taken straight out of Wikipedia from contemporary tanks present in the North Africa theater where it initially served along with those same tanks (others were also present not in same numbers). Not comparing to an M4 or Panther. In my view just saying "and poor off-road performance" in the main article isn't fair. It was a fast tank both on and off-road. Built for speed, highter power to weight than a Pz3. Tracks were carried over from the M2 Medium also built for speed albeit an AFV, not as heavy (42 km/h (26 mph)). You mention suspension, but not how it affected performance. Did it slow down? How much? I would agree both boggie and track arrangement would limit it's mobility or capacity to go over a large enough trench. But it wouldn't be unlike a Pz III. Sinfocomar (talk) 21:27, 17 October 2023 (UTC)
 * Adding a source: the russians, who received and trialed the M3 Medium alongside other tanks. "The average speed on a dirt road was 17 kph, and 25-30 kph on certain flat portions. The fuel expenditure increased to 441 L per 100 km. The average speed off-road was 12 kph, but up to 18-20 kph on some parts. This cost 570 L of fuel per 100 km. The cruising range was 224 km on paved roads, 151 on dirt roads, and 117 km off-road. This was much better than the M3 light achieved in the same conditions. The tank demonstrated high off-road mobility . Even tough mud could be crossed as long as the depth of the mud did not exceed the tank's clearance."
 * source: https://www.tankarchives.ca/2019/08/the-american-highrise.html Sinfocomar (talk) 21:59, 17 October 2023 (UTC)

Lee with no cupola
i notice in the photo of the Commonwealth Lee with the track links "welded to the glacis plate"(how do we know they are welded BTW?) the tank has a Lee turret but what looks like a hatch from an M4 instead of the cupola. I don't see any mention of this variant in the text, only that they removed the cupola when they designed the Grant turret. Idumea47b (talk) 21:46, 13 February 2024 (UTC)

title: Talk:M3 Lee