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Twelfth Dynasty of Egypt

The Twelfth Dynasty of ancient Egypt (Dynasty XII) is a series of rulers reigning from 1991–1802 BC (190 years), at what is often considered to be the apex of the Middle Kingdom (Dynasties XI–XIV). The dynasty periodically expanded its territory from the Nile delta and valley South beyond the second cataract and East into Canaan.

The Twelfth Dynasty was marked by relative stability and development. It has a notably well recorded history for the period. Its first pharaoh was Amenemhat I and its final was Sobekneferu.

History
The chronology of the Twelfth Dynasty is the most stable of any period before the New Kingdom. The Turin Royal Canon gives 213 years (1991–1778 BC). Manetho stated that it was based in Thebes, but from contemporary records it is clear that the first king of this dynasty, Amenemhat I, moved its capital to a new city named "Amenemhat-itj-tawy" ("Amenemhat the Seizer of the Two Lands"), more simply called, Itjtawy. The location of Itjtawy has not been discovered yet, but it is thought to be near the Fayyum, probably near the royal graveyards at el-Lisht.

The order of its rulers of the Twelfth Dynasty is well known from several sources: two lists recorded at temples in Abydos and one at Saqqara, as well as lists derived from Manetho's work. A recorded date during the reign of Senusret III can be correlated to the Sothic cycle, consequently, many events during this dynasty frequently can be assigned to a specific year. However, scholars now have expressed skepticism in the usefulness of the referred date, due to the fact that location affects observation of the Sothic cycle.

Egypt underwent various developments under the Twelfth Dynasty, including the reorganization of the kingdoms administration and agricultural developments in the Fayyum. The Twelfth Dynasty was also responsible for significant expansion of Egyptian borders, with campaigns pushing into Nubia and the Levant.

The Twelfth Dynasty is often considered the apex of Egypt's Middle Kingdom. The Middle Kingdom spans the Eleventh, Thirteenth, and Fourteenth dynasties, but some scholars only consider the 11th and 12th dynasties to be part of the Middle Kingdom.

Rulers
Known rulers of the Twelfth Dynasty are as follows:

Amenemhat I
This dynasty was founded by Amenemhat I, who may have been vizier to the last king of Dynasty XI, Mentuhotep IV. His armies campaigned south as far as the Second Cataract of the Nile and into southern Canaan. As a part of his militaristic expansion of Egypt, Amenemhat I ordered the construction of multiple military forts in Nubia. He also reestablished diplomatic relations with the Canaanite state of Byblos and Hellenic rulers in the Aegean Sea. He was the father of Senusret I.

Senusret I
For the first ten years of his reign, Senusret I ruled as a coregent alongside his father, Amenemhat I. He continued his fathers campaigns into Nubia, expanding Egyptian control to the Third Cataract of the Nile. In addition to pursuing militaristic expansion, Senusret I was also responsible for internal growth within Egypt. As king, he initiated a considerable amount of building projects across Egypt, including pyramids in Lisht, a temple at Karnak and oversaw the renovation of the kingdoms major temples.

Amenemhat II
Unlike his predecessors, Amenemhat II was king during a time of peace. Under his reign, trade boomed with other states in Asia, the Mediterranean, and Africa. He built his mortuary complex near Memphis at Dahshur.

Senusret II
Senusret II also reigned during a time of peace. He was the first king to develop the Fayyum Basin for agricultural production. This development was complex, requiring the digging of several canals and the draining of a lake in order to maximize the Fayyum’s agricultural output. The Middle Kingdom development of the Fayyum later became the basis for the Ptolemaic and Roman efforts that turned the region into the bread basket of the Mediterranean.

Senusret III
Finding Nubia had grown restive under the previous rulers, Senusret sent punitive expeditions into that land. As a part of his effort to suubdue Nubia, he ordered the construction of several new fortresses as well as the expansion of existing ones along the border with Nubia. He also sent an expedition into the Levant. Senusret III's military career contributed to his prestige during the New Kingdom, as he was regarded as a warrior king and even revered as a god in Nubia. One of Senusret III’s significant internal developments was the centralization of administrative power in the kingdom, which replaced the nome system with three large administrative districts that encompassed all of Egypt.

Amenemhat III
Senusret's successor Amenemhat III reaffirmed his predecessor's foreign policy. However, after Amenemhat, the energies of this dynasty were largely spent, and the growing troubles of government were left to the dynasty's last ruler, Sobekneferu, to resolve. Amenemhat was remembered for the mortuary temple at Hawara that he built.

Amenemhat IV
Amenemhat IV succeeded his father, Amenemhat III, and ruled for approximately nine years. At the time of his death, Amenemhat IV had no apparent heir, leading to Sobekneferu’s ascension to the throne.

Sobekneferu
Sobekneferu, a daughter of Amenemhat III, was the first known woman to become king of Egypt. She was left with the unresolved governmental issues that are noted as arising during her father's reign when she succeeded Amenemhat IV, thought to be her brother, half brother, or step brother. Upon his death, she became the heir to the throne because her older sister, Neferuptah, who would have been the next in line to rule, died at an early age. Sobekneferu was the last king of the twelfth dynasty. There is no record of her having an heir. She also had a relatively short nearly four year reign and the next dynasty began with a shift in succession, possibly to unrelated heirs of Amenemhat IV.

Ancient Egyptian literature refined
Several famous works of Egyptian literature originated from the 12th Dynasty. Perhaps the best known work from this period is The Story of Sinuhe, of which papyrus copies dating as late as the New Kingdom have been recovered.

Some of the existing literature pertaining to the 12th Dynasty are propagandistic in nature. The Prophecy of Neferti establishes a revisionist account of history that legitimizes Amenemhat I’s rule. Written during the reign of Amenemhat I, described a sage’s prophecy given to the 4th Dynasty King Snefru that predicted a destructive civil war. It writes that the sage, Neferti, prophesied that a great king named Ameny (Amenemhat I) would lead a united Egypt out of this tumultuous period. The work also mentions Amenemhat I's mother being from the Elephantine Egyptian nome Ta-Seti. Many scholars in recent years have argued that Amenemhat I's mother was of Nubian origin.

Other known works attributed to the 12th Dynasty include:

 * Dispute Between a Man and his Ba
 * Complaints of Khakheperre-sonb
 * Instructions of Amenemhat
 * The Eloquent Peasant

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

title: Twelfth Dynasty of Egypt


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The Anniversary

The Anniversary is an American band formed in Lawrence, Kansas, in 1997 by Josh Berwanger, James David, Christian Jankowski, Adrianne Verhoeven and Justin Roelofs. The Anniversary was the solidification of a line-up that had been in flux for a year. After two years of playing shows across with the Midwest with bands that included The Get Up Kids, Braid and Superchunk, The Anniversary signed to Vagrant Records.

Originally perceived as a poppy, keyboard-driven emo band with the release of their debut album Designing a Nervous Breakdown in 2000, they developed a stronger, classic rock-influenced sound with the release of a split CD with Superdrag in 2001 and their second full length, 2002’s Your Majesty. After touring heavily throughout 2002 and 2003, The Anniversary began demoing tracks for what would be their third full length. But four years of constant touring and personal strains within the group led to the band’s demise in early 2004.

Four and a half years after their breakup, Devil on Our Side — a compilation of b-sides and unreleased tracks — was released by Vagrant Records.

Formation (1997–1999)
In 1997 Anniversary formed as a five-piece band in Lawrence, Kansas. Josh Berwanger, Justin Roelofs and Adrianne Verhoeven began playing together in 1996 as The Broadcast. In January 1997, the band recorded a few songs including "Crazy Makes Us Sane". After struggling to keep a permanent rhythm section, Chris "Janko" Jankowski and Jim David solidified the line-up later that year as the band changed their name to The Anniversary, partly because a British group already had the rights to the name The Broadcast.

Featuring Justin and Josh on guitar and vocals, Adrianne on keyboard and vocals, Jim on bass and Janko on drums, The Anniversary developed and refined their signature sound – sentimental guy/girl vocals, complemented by dueling guitar lines, with synth pop overlays and catchy choruses – with heavy touring throughout the Midwestern United States in 1997–1999. In January 1998 six songs were recorded at Kingsize Studios in Chicago. In October of that year six more songs were recorded for a debut EP on Kansas City-based Urinine Records. The Get Up Kids approached them in the spring of 1999 with a deal to record a full-length album on their new Heroes & Villains imprint on Vagrant Records which they accepted.

Designing a Nervous Breakdown (1999–2001)
During ten days in July 1999 The Anniversary returned to Kingsize to record their debut full length, Designing a Nervous Breakdown. Later that July, at Red House Studios in Eudora, Kansas two more songs were recorded, one of which appeared in November 1999 on a split 7-inch with The Get Up Kids entitled Central Standard Time/Vasil + Bluey to precede the debut and help to build a national fan base.

Designing a Nervous Breakdown was released on January 20, 2000, and The Anniversary soon after departed on their first national tour with fellow band The Get Up Kids on January 26, currently popular for their album Something to Write Home About Touring relentlessly throughout 2000 and 2001, the band still found time to break away and record new songs. In March 2000 The Anniversary returned to Red House Studios to record a song later released on a split 7” with Hot Rod Circuit. In August three more songs were recorded at Red House – one released on the Another Year on the Streets Vagrant sampler, and two that were featured in the January 2001 Sub Pop Singles Club.

Your Majesty (2001–2003)
As they continued to tour and write new songs they gradually developed a more mature, classic rock influenced sound. In June 2001 The Anniversary recorded their second full-length album, Your Majesty, at Sonora Records in Los Feliz, California. Your Majesty marked a departure for the band, leaving the poppy, catchy melodies behind in favor of a more polished riff-driven classic rock sound.

Originally slated for a September 2001 release, the album was delayed because of a legal matter between Vagrant Records and their distributor. During this time, The Anniversary recorded three new songs in September 2001 for a split CD with Superdrag, the first in a series of split releases from Vagrant bands. The Superdrag split was released on November 13, 2001, to coincide with a national tour together, and Your Majesty followed shortly thereafter on January 22, 2002.

In between tours, a few tracks were demoed in Rob Pope’s basement in the fall of 2002. However, rather than re-signing a new contract, Vagrant Records dropped The Anniversary in early 2003 because of personal tensions with the label and other bands on the roster. But picking up right where they left off, through extensive touring with the likes of Cheap Trick and Guided by Voices, The Anniversary continued to develop their live sound as shows incorporated new songs and re-visited and re-worked past crowd favorites, transforming them into a psychedelic jam loaded with classic rock riffs and gutter rock swagger.

Breakup (2003–2004)
During the spring and summer of 2003 the band began producing demos for songs intended for their third full-length album. Around this time, they had signed to new management and received an offer from DreamWorks Records. The Anniversary continued to explore their songwriting prowess as they incorporated elements of reggae, blues, and even country. Before embarking on an October–November tour, they headed to Hideaway Studios in Sedalia, Colorado to record two tracks for the album. However, tensions within the band had been growing for some time, and The Anniversary played what would become their final show in San Antonio, Texas on November 23, 2003.

The band officially broke up in January 2004, and posted the following message on their website on February 6:

Hello everyone. Due to a number of reasons, The Anniversary has broken up. This may take some of you by surprise, but it was a long time coming. We'll be selling stuff online a little longer so buy it up now because their [sic] collector's items. Thank you all for your support in our efforts to make the music world a better place. We just weren't prepared for it. Please feel free to check out this website www.theholyghosts.com. It's another project that Josh, Jim, myself, Casey from Hot Rod Circuit, and T.K. Webb are working on. Justin is working on some solo stuff right now. Here's a link to some of his new songs, click. Those of you on the e-mail list will receive updates from The Holy Ghosts from now on. Take care all and pleasant thoughts. Questions or comments may be addressed to theanniversary@hotmail.com. Peace out, Janko

Solo projects (2004-2007)
Justin Roelofs formed a solo project called White Flight and released his debut album on Range Life Records on March 6, 2007.

Adrianne Verhoeven played in Fourth Of July and Art In Manila before recording (as "Dri") a solo record called "Smoke Rings", which came out on Range Life Records on November 6, 2007.

Josh Berwanger formed a band called The Only Children, which released "Change Of Living" in 2004 and "Keeper of Youth" in 2007.

Devil on Our Side and possible reformation (2008–present)
Nearly four years after the farewell messages were sent, a new blog was posted on The Anniversary's MySpace page on January 1, 2008, the first official communication from the band since the breakup. The band announced Devil on Our Side, a double disc compilation of unreleased songs, B-sides and rarities, released by Vagrant Records on June 24, 2008.

In 2008, Justin Roelofs recorded a sophomore White Flight record called "White Ark", which was never officially released. The "White Ark" singles "Panther" and "Children of the Light" were released in 2010, digitally on Range Life Records and as a 7-inch in the UK on Make Mine., In 2014 Justin and co-producer E*vax of Ratatat released a single as ABUELA on the label Canvasback.

In 2009 Adrianne and husband/producer Alex deLanda, formed a band based out of San Francisco called Extra Classic. Extra Classic has released two albums: 2011's Your Light Like White Lightning, Your Light Like A Laser Beam, released by Manimal Vinyl and Burger Records and 2014's "Showcase", released on their own imprint, Nopal Records.

Berwanger released the album "Strange Stains" (as Josh Berwanger) in 2013 on Good Land Records and the EP "Demonios" (as Berwanger) in 2015 on High Dive Records.

On March 22, 2016, the band created separate Facebook, Twitter, and Instagram accounts each with a profile picture that simply showed the band's logo and the year 2016, apparently teasing something on the horizon.

On March 28, 2016, it was announced that The Anniversary would join headliners Dashboard Confessional and Taking Back Sunday at the Taste of Chaos Festival on July 16, 2016, in San Bernardino, CA.

On September 8, 2016, the band kicked off its reunion tour in Boston, Massachusetts, at The Brighton Music Hall.

Band members

 * Josh Berwanger - vocals, guitar
 * Justin Roelofs - vocals, guitar
 * Adrianne Verhoeven - keyboards, vocals
 * James David - bass guitar
 * Christian Jankowski - drums
 * Ricky Salthouse - guitar (replaced Justin on 2016 and later reunion tours)

title: The Anniversary


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Talk:List of Britpop musicians

Consensus
This page really needs to line up (especially the categorization) with the main Britpop article (probably both this page and the Britpop page need to be edited and brought to a meeting point. --Akrabbim 01:58, 7 April 2006 (UTC)

The Real Britpop
The 1st BritPop bands were The Las and The Satyrs from whence the term Britpop came. These bands had folded by 1993. It must be noted that many of the listed bands on this page supported these two bands during this early period, however many are unrecognisable as BritPop. Journalists seem to have become aware of the phenmenon only after Creation Records became involved with Oasis and have also tried to tie BritPop with the Manchester scene. The Music Press regularly dubbed The Las and The Satyrs as regressive, though few, if any, witnessed the genuine public enthusiam for these groups. It is ironic that the two most accomplished writers, Lee Mavers of The Las and Stuart E of The Satyrs, have been overlooked for lesser talents. —Preceding unsigned comment added by 81.153.110.24 (talk) 23:18, 9 May 2011 (UTC) Theres a difference between Britpop music (as in bubblegum, poppy sounding) and popular British bands (mainstream, chart topping groups). Placebo, Stereolab, Portishead and Radiohead are not Britpop. Stereolab is French, I don't think Placebo is British, and the last two are not "pop" music, they are experimental. Milk 04:15, 5 Aug 2004 (UTC)

This is going to meet with absolute denial i'm sure, but in my world no Britpop list is complete without the Beatles...they transcend time and were an integral part of that cultural movement in the early-mid 90s, despite the fact that they had finished by 1970...and much of Oasis's music derived from them or referenced them. The Beatles are in fact the very best Britpop band, in my view. They fit right in. Let's make the gesture and put them on the list as a transcendent towering influence without whom Britpop as we know it would not have been possible. Plus the fact that we were waiting for the 60s to happen again and Britpop delivered, and the Beatles were what was missing; Oasis just tried to fill in that gap. 124.197.24.63 (talk) 19:14, 21 July 2008 (UTC)user: cleartonal  22 July 2008

 * Stereolab aren't French, they have one French member, used to have a second and also featured an Australian, but are basically a British group and are based in Britain. Bonalaw 14:55, 19 Aug 2004 (UTC)

 * This doesn't mean they are "Britpop" though. They really aren't, but neither is the majority of the stuff on this list. --Sachabrunel 19:34, 20 December 2005 (UTC)

 * I wouldn't call Britpop "bubblegum, poppy sounding". It's hard to describe in a nutshell but that certainly isn't right. Consider Oasis, the epitome of Britpop - are they "bubblegum"? no way. However there are a lot of contentious inclusions on this list, that's for sure. David Gray???? I mean come on - I think we ought to make sure we know what we mean by Britpop before just throwing artistes willy-nilly into the list because they are British, and perform pop. To my mind Britpop is a particular style of guitar-based band music which was quite prominent in the 1990s, i.e. Blur, Oasis - so before anyone feesl like extending this list please check out the Britpop article and make sure you know what you're talking about! Graham 05:12, 5 Aug 2004 (UTC)

Graham - I'd agree with you, and I've been working on the list of Britpop bands and the Britpop page to this end. I've tried to add lots of the early (These Animal Men, S*M*A*S*H) and lesser (Marion, My Life Story) Britpop bands. I've deleted lots of non-Britpop bands (my favourite was Marillion!) and have been using 2000 as a cut-off date (so Graham Coxon's later solo albums got deleted) Any comments on the list as it stands?

'A' definitely don't belong there. Not only are they not Britpop, the album linked to is from 2002.

Can I offer up Garbage and Skunk Anansie as Britpop bands or at least bands strongly associated with Britpop at the time. Also what about including some of the one hit wonders. White town etc. El Daniel.

These days everyone likes to say that bands like Radiohead and PJ Harvey weren't Britpop, but there are arguments for why they could be included. For example, there's a BBC tv special from 1995 called Britpop Now, and it's hosted by Blur's Damon Albarn, and it includes a performance by PJ Harvey. The famed DJ Steve Lamacq has done some history of Britpop radio specials on BBC radio, and he includes Radiohead as well as Placebo, who were often doing gigs with their Britpop brethren. Radiohead shared bills with Britpop bands, and their tunes were played side-by-side on the same radio stations, and these acts were featured in music magazines devoted to Britpop. So yes, at the time, in the '90s, both Radiohead and PJ Harvey were included. Now let's look at some electronic artists of the day. Fatboy Slim's remix of Cornershop's Brimful of Asha is Britpop classic; Oasis' Noel Gallagher sang on two Chemical Brothers tracks (Setting Sun, Let Forever Be); Underworld's Born Slippy was a highlight on the Trainspotting soundtrack (featuring largely Britpop acts) and is a Britpop classic; The Prodigy's Firestarter and Breathe are tunes you would absolutely hear on Britpop radio back in the day; and let's not forget Leftfield's Open Up, sung by Sex Pistols' John Lydon. The best Britpop documentary, Live Forever: The Rise and Fall of Brit Pop, features Massive Attack pretty prominently, so there's that as well. Blur's Damon Albarn has appeared on albums by Massive Attack and Fatboy Slim, and the Verve's Richard Ashcroft has as well. The Madchester scene, with its raves and dance remixes, is what kicked off Britpop - bands like the Happy Mondays, the Stone Roses, and of course Primal Scream. (And how about Aphex? Or is that going too far?) And then there's Spiritualized, whom I think should be included as well. And if Irish acts like Ash and the Divine Comedy are included (which they usually are), then why stop there, why wouldn't we include the Cranberries too, with their monster his Linger and Zombie, which shared the charts at the same time as Oasis, Blur, Pulp, and Suede? Then there's the Super Furry Animals, and Teenage Fanclub. Personally, I'm more for this broader, more inclusive vision of Britpop, one that captures the spirit of the age in that corner of the world. And I've love to think about Britpop in the 21st century; I'd include acts like the Libertines, the Arctic Monkeys, the Last Shadow Puppets, Kasabian, Stereophonics, Temples, the 1975 (at least some of their tunes), Wolf Alice, Declan McKenna, and of course Albarn's Gorillaz. And what about bands inspired by Britpop, in places like the US (Cotton Mather), Australia (Tame Impala, DMA's), and Canada (The New Pornographers; Destroyer, a Suede fan, and whose earlier albums were pure Bowie/Suede)? They're part of the story as well. - MD

Other names
What about...

The Audience (when Sophie Ellis Bextor was an unknown singer...) The Bluetones Catatonia Geneva Kinky Machine The Lightning Seeds (like Saint Etienne, more electronic than the others but take a look at «lucky you» or «what if») Me Me Me (Blur's Alex's other band) Primal Scream (the «screamadelica» phase) Rialto Space Saladd ?

Please do add theses names to the list. I'm a big Britpop fan and would certainly like that information on this magic musical moment would be available with quality, on the internet. Next year, we should be celebrating 10 years since the greatest Britpop year, mythical 1995.

Carlos, from Portugal.

Ok, in answer:

The Audience = from 1998, too late to be really Britpop. The Bluetones = Fair enough. Catatonia = Were around in 1995, so fair enough. Geneva = Not sure, just about within the timeframe but different sound. Kinky Machine = Not sure who they are, sorry. The Lightning Seeds = Been around since 80s making similar music so not sure on this again. Me Me Me = Absolutely. Primal Scream (screamadelica) = Not at all, way too early. Rialto = A little late, but yes on balance. Space = Also a little late, but yes on balance. Salad = Absolutely. This is the kind of band that should be here. --Sachabrunel 19:39, 20 December 2005 (UTC)

A List Divided
While I don't agree with the claims that Britpop is dead I think it's important to mention artists that are heavily influenced by Britpop. So maybe there should be a division of 1st generation and 2nd generation artists. Thoughts? Tastywheat 18:28, Jun 15, 2005 (UTC)

Per above
Britpop does not equal "british pop," it was a pretty short-lived genre of the mid 90s only. About 65% of these bands shouldn't be in the main list at all. Breaking it up may work. --Sachabrunel 19:33, 20 December 2005 (UTC)

Manic Street Preachers can't possibly be classified as Britpop, not that it isn't British and not that it isn't pop, but it simply doesn't fit in with the kind of music Blur and Pulp and Suede make. --165.21.154.113 15:57, 6 January 2006 (UTC)

But Everything Must Go and Design for life were massive Britpop albums and songs respectively. SouthEastLad 09:22, 16 February 2006 (UTC)

I've just weeded out a lot of bands which I consider to be "not Britpop". In most cases I've given a detailed explanation. I've also, in the interests of sanity, narrowed the criteria down to genuine Britpop bands - which means they must be British. Britpop influenced bands from other countries can go elsewhere, otherwise the list just becomes jumbled nonsense.

That said, I still fear that the list isn't worth the trouble, and that it's serving as a link farm for people's favourite bands. There's also the problem that Britpop might mean something different to me (a Brit who was there) than it does to you (in, say, America). With that in mind, I have listed it for deletion. So far it's a 50/50 (which would mean the list would be kept) but if you want to have your say, either way, please follow the link provided at the top of the article. --kingboyk 02:27, 2 February 2006 (UTC)

Proposed cuts

I think this list looks like surviving the vote so here's what I think should be in here, and these only:

 * 60 Foot Dolls
 * Ash
 * The Boo Radleys
 * The Bluetones
 * Blur
 * Cast
 * The Divine Comedy
 * Dodgy (band)
 * Echobelly
 * Elastica
 * Gene
 * The Gyres
 * Heavy Stereo
 * The Longpigs
 * Lush
 * Marion
 * Menswe@r
 * Northern Uproar
 * Oasis
 * Ocean Colour Scene
 * Powder
 * Pulp
 * The Real People
 * Salad
 * Shed Seven
 * Sleeper
 * Suede
 * Supergrass
 * These Animal Men
 * Thurman

We need to get away from the use of 'Britpop' to mean 'Indie' or even 'Britpop-like' - it wasn't so much a musical genre as a cultural movement. Nothing from after 1998 should be in here at all. Ditto before 1993. --Sachabrunel 17:16, 4 February 2006 (UTC)

 * In terms of inclusions, can't argue too much with that. There's a couple I would question but not enough to go ahead and remove them. I haven't checked what you've excluded. --kingboyk 18:55, 4 February 2006 (UTC)

 * Ash and The Divine Comedy are from Northern Ireland, which is part of the United Kingdom, NOT Britain, so shouldn't really be included.

 * Not entirely true. Britain and Great Britain are not synonymous. See British Isles (terminology) Malcolm Starkey 18:07, 24 February 2007 (UTC)

New version
I've categorised everything, and put back a couple - Laxton's Superb and Thurman. I remember these getting a fair amount of press at the time and often on tour supporting the more established acts. As for Robbie, Britop-related is fair enough I'd say. Anyone have any comments please feel free to discuss here. --Sachabrunel 19:57, 7 February 2006 (UTC)
 * Just checked by to see how this article was doing after it survived AFD. "A lot better" is the happy answer! Good work. --kingboyk 17:56, 18 March 2006 (UTC)

I don't see how this list of Britpop musicians could not constitute original research...
Since as a music genre, there's no standard accepted definition of what Britpop is, I can't see how this unreferenced article could not constitute a completely unverifiable piece of original research. Maybe if it could be referenced that each of these artists had been called 'Britpop' it'd be better, but who's gonna bother to do that?--h i s  s p a c e   r e s e a r c h 21:36, 15 February 2007 (UTC)

 * This may be the case, however if you read the above discussion this page is a compromise created by a failed VFD. Also you could say the same of any music genre. Sachabrunel 09:20, 21 March 2007 (UTC)
 * Agree, but it was kept at AfD (wrongly, but it was kept). Take my word for it though that the list is at least now relatively sane... --kingboyk (talk) 00:09, 2 January 2008 (UTC)

How on earth do you consider that this would constitute "original research"? There are some pop groups such as Blur or Oasis who have long been regarded as "britpop". ACEOREVIVED (talk) 18:26, 15 August 2012 (UTC)

Note
This page will, I suspect, never conform to the stricter definitions of what is verifiable. On the other hand it is fairly useful, and for this reason survived a VFD, which I expect it would again. The problem is that everyone keeps adding their favourite bands to the list. I haven't got time to check out the claim in each case, so have deleted a few entries that have no information to back them up. With this in mind, please note the following points before you add to this page-

1. Britpop was a scene that existed in the UK, particularly Camden, from around 1994-97. Most British bands of the time were not involved in it. Reef are not Britpop, nor are Simply Red. The list we have in the first section is pretty much comprehensive already - if you want to add to it then please explain yourself. 2. Act that are connected to Britpop - this doesn't mean 'guitar bands who were in the UK in the nineties' - it means what it says. 3. Acts with a "Britpop sound" - I don't like this section, but I suppose it should stay for reasons of diplomacy. 4. As for sources, ideally this will happen if and when the NME, Select, Melody Maker, etc put their 1995 issues online in some form. The word has been bandied about so much of late that it's beginning to lose all meaning - for this reason I can't tink of any post-2000 sources that would cut it. Bienfuxia (talk) 13:58, 9 August 2008 (UTC)

 * Ah, someone's deleted the 'Britpop sound' section. Can't say I mind. Bienfuxia (talk) 14:02, 9 August 2008 (UTC)

Proposed re-shuffle of bands
1. The whole first wave, second wave is by nature very arbitary. What sources define the second wave as bands who released an album in late 1996? John Harris has a broader definition of Britpop (he suggests Suede's first album as the start and Pulp's This Is Hardcore as its finish) other sources suggest 1993-97 (e.g. AMG http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2681 ),

2. i) There are some bands which I think there can be some general concensus that they were Britpop bands. First tier -- Blur, Oasis, Pulp, Ash, Supergrass, Elastica. Second tier -- Gene, Echobelly, Menswear,Longpigs, Marion, Sleeper. Third tier -- Powder, Northern Uproar, These Animal Men etc. I don't believe Thurman are notable (neither album or singles made top 40. Their whole entry smacks of a fanpage) or The Real People belong (no albums charted, they were more an influence on the scene).

ii) Powder could be a borderline case. They only released three singles and no proper album yet they gained infamy and column inches largely thanks to their singer Pearl Lowe.

3. I would suggest a possible test of inclusion could be whether the artist released an alternative pop/rock album in the 1993-97 period which made the UK top 40 or have been identified (Live Forever, The Last Party, AMG) as impacting significiently to the genre.

a) If Divine Comedy (whose orchestral pop sound deviates from the guitar pop/rock sound of the others in this list) is included in the initial list then so should My Life Story (first album released in 1995. Top 40 second album in 1997. Several Top 40 singles, very British centric lyrics).

4. I created a timeline User:Paperjunk for possible inclusion in this section (based on the bands included here).--paperjunk (talk) 13:18, 9 July 2009 (UTC)

 * 1. Granted, yes. The reason it was organised like this was to include borderline cases who came along slightly after the event - 96 and onwards. Remember that this whole page is a compromise.

 * It's a hard one. I would've thought though that including bands which released an album at any time during 1996 would be a bit more logical than first half of 1996. It's easier to verify via copyright/album covers years opposed to half years.
 * 2. The distinction here really is that these bands toured with the big britpop names and are therefore linked to them. Thurman are largely forgotten now, but were promoted side by side with Oasis as the two next big things at the time. Powder are, far from being a borderline case, perhaps the epitome of a britpop band. They appeared on the Britpop Now tv special, they were on Parkaway records, Pearl was the girlfriend of Danny Goffey from Supergrass, they toured with Pulp, Sleeper and Blur, they wore Blur-style sportswear and they only released singles in 1995.... how more Britpop can you get than that? The point here isn't "are they notable" (which they have to be to be on Wikipedia in the first place) it's "were they part of the Britpop scene?" - how obscure they are is of no relevance at all. I'm not particularly aware of The Real People, but they seem to have a reasonable case for inclusion.

 * Inclined to agree about Powder. They and Menswear are pretty much the definition of Britpop. I really don't know Thurman but will keep an eye out in my research.
 * 3. John Harris might have appointed himself as the official historian of Britpop, but lots of people don't agree with his analysis at all. Live Forever is a bit of an oddity too - while it contains some good interviews the film-makers don't seem to have any more that a vague knowledge of the subject. Sorry, personal bugbears and the like there. The best sources would be the NME and Select magazine from 94-96, unfortunately not available online, it seems. As for MLS, you have a case there. As I said before, the whole list is a slightly messy compromise which has to be constantly pruned of people's favourite bands. I'd like it to be simply the first section myself, or perhaps even have the whole article deleted, but unfortunately neither of those seem possible.

 * I'd like to see more references too, for this and the main Britpop article as Harris is the main source there, it would be good to get some of his sources. I'm doing some research and will be going through magazines of the time and will try and get references from the era. Live Forever was a brief summary of the whole scene (blink and you'll miss it for most bands).
 * 4. Brilliant. Love it. Put it in! Bienfuxia (talk) 14:59, 9 July 2009 (UTC)

 * Thanks, will do --paperjunk (talk) 15:31, 9 July 2009 (UTC)

Related bands: Muse?.
In which possible and imaginable way are Muse related to Britpop?. 190.71.45.32 (talk) 21:30, 8 September 2009 (UTC)

 * They aren't. It's been removed. Anyone else want to help out with the endless task of removing clutter? Bienfuxia (talk) 18:58, 2 October 2009 (UTC)

Related bands: David Devant & His Spirit Wife?.
Don't know why they keep getting removed - their sound (Example "Lie Detector") is as Britpop as Menswear. Just because they did a bit of performance art doesn't mean they can't be included.

Also if Suede and Gene are on the list, why not Strangelove? THE VERVE??????????????????????????? 195.234.243.2 (talk) 09:17, 24 July 2010 (UTC) Mark

What about The Verve?
Should The Verve be classified here? I did not see them mentioned in any of the lists here, but I had always taken them to be a group who were often considered to be a Britpop group. ACEOREVIVED (talk) 23:31, 14 August 2012 (UTC)

As no one seemed to take any notice of that question, I have put them in myself now. ACEOREVIVED (talk) 15:13, 11 September 2012 (UTC)

Non-Britpop Bands
What would be the UK bands during the Britpop era that would not be considered Britpop? Please list as many as you can. Dean12065 (talk) 22:05, 17 February 2019 (UTC)

Quality of list
Too many bands listed here are unsourced and the genre on their respective articles remains unsourced. This diminishes the quality of any list or article (for the new-comers). Let's only keep reliably sourced entries please.  Rob van  vee  06:52, 26 February 2019 (UTC)

Catatonia
These links should make you change your mind that Catatonia are post-Britpop and not Britpop.

S. Hill, Blerwytirhwng?: the Place of Welsh Pop Music (Aldershot: Ashgate, 2007), ISBN 0-7546-5898-8, p. 190. http://www.bbc.co.uk/wales/music/sites/catatonia/pages/greatest_hits.shtml https://pastdaily.com/2016/03/31/catatonia-live-reading-96-past-daily-soundbooth/
 * It says they were post britpop. It does not say they were not britpop however. Bands can fall under more than one genre. We have sources saying they are both. What's your point. Unless you have a source explicitly stating they were not, the sources that say they were remain acceptable.  Rob van  vee  14:05, 8 March 2019 (UTC)
 * Actually one of your sources also says they they were BP.  Rob van  vee  14:21, 8 March 2019 (UTC)
 * Exactly! Catatonia started releasing singles (that reached the charts) around '95 and their first album in '96, when Britpop was in full bloom (that same year, Longpigs and Kula Shaker released their first album and Suede released their third,'Coming Up', for instance.) Back then, they were considered a Britpop act because their music totally matched the codes and the era was this of the cultural movement known as 'Britpop'. Whether they evolved to become a post-Britpop band (like many of the Britpop artists whose careers survived the movement) doesn't change the fact that they started out as a Britpop band, as substantiated by many sources already. A band has many lives throughout its career: Pulp was post-punk when they started in the 80's, Blur's first album is considered to be some kind of shoegazing by many critics, Lush started out as a shoegazing/dream pop band, etc. but they still were Britpop bands at some point. I mean, should we consider that because David Bowie dealt heavily with electronica from the mid-90's till the end of his life and career, that he was not a folk or glam icon earlier in his career? Case in point, Catatonia IS a Britpop act that ALSO belongs in the post-Britpop list. CouchJarvis (talk) 16:43, 8 March 2019 (UTC)

theaudience
The band theaudience is considered by its own Wikipedia article to be a Britpop band, and the only album they did is also considered a Britpop album. I looked them up on Google and found evidence that they are considered Britpop by various resources, one I reference in the article itself. I don't know if I should name them Theaudience, TheAudience or theaudience though, by stylistically speaking they usually go without the capitalizations, so when I put the band in the article I referred them as simply theaudience. — Preceding unsigned comment added by 2603:6000:A804:5D40:FCB7:A8D:9D5F:DF79 (talk) 01:44, 26 October 2022 (UTC)

List of amount of success chart
What happened to the list of amount of success chart (the chart that displayed Britpop bands' amount of success with the colors red, green and grey going across it, with red being major success, green being moderate success and grey being minor success)? I found it pretty helpful to know about various Britpop acts that had various levels of success of the years' between 1993 to 1997. I would definitely like someone to bring it back. 2601:407:4100:87A0:197E:EAC2:9E07:B624 (talk) 16:46, 2 January 2023 (UTC)
 * I almost forgot. For an example of what I mean by red for major success, green for moderate success and grey for minor success, for red, I would say Oasis, Blur, the Verve and Ash, for green, I would say Cast, the Bluetones, Echobelly and Menswear, and for grey, I would say My Life Story, These Animal Men, the Supernaturals and Marion. I hope this helps. — Preceding unsigned comment added by 2601:407:4100:87A0:802:89F:5ABD:1381 (talk) 20:13, 19 February 2023 (UTC)
 * I'm so sorry, but I feel the need to give a better example of how the amount of success chart should be like. For the highly successful Britpop bands (red), I would say Oasis, Blur, the Verve, Ocean Colour Scene, Ash and Elastica, for the moderately successful Britpop bands (green), I would say Cast, the Bluetones, Shed Seven, the Boo Radleys, Sleeper and Echobelly, and for the Britpop bands that gained only minor success (grey), I would say 60 Ft. Dolls, Northern Uproar, Marion, My Life Story, the Supernaturals, Kenickie, These Animal Men and Silver Sun. These are the best examples I can give, so I hope this helps even more.2601:407:4181:4260:449C:2D0A:37D5:2F5C (talk) 01:12, 6 March 2023 (UTC)

Radiohead
Would Radiohead qualify being on this list? Their second album The Bends is often seen as Radiohead doing Britpop, but I don't know that if it is enough to be put onto the list. I hope that people will see this section on the talk page rather than ignoring it, because I really want to know. 2601:407:4100:87A0:403E:8365:FD62:780D (talk) 02:35, 1 February 2023 (UTC)

title: Talk:List of Britpop musicians


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title: Template:Scales of temperature


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title: Category:Canadian swimmers


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List of rulers of Gã (Nkran)

This is a list of Kings of Accra, rulers of the Gã State in southern Ghana.

title: List of rulers of Gã (Nkran)


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McNeil Island

McNeil Island is an island in the northwest United States in south Puget Sound, located southwest of Tacoma, Washington. With a land area of 6.63 sqmi, it lies in an area of many small, inhabited islands including Anderson Island to the south across Balch Passage; Fox Island to the north, across Carr Inlet, and to the west, separated from Key Peninsula by Pitt Passage. The Washington mainland lies to the east, across the south basin of Puget Sound.

The island has been owned by the government for many years; it was the location of a federal penitentiary for over a century, from 1875 to 1981. It was turned over to the Washington State Department of Corrections and became the McNeil Island Corrections Center, until it closed in 2011. It was the last remaining island prison in the country to be accessible only by air and sea.

In November 2010, the state announced closure plans for 2011, saving $14 million. A detention center for violent sexual offenders remains on the island.

The McNeil Island Historical Society was chartered in 2010 shortly after the closing of the prison for the purpose of educating the public about, and preserving, the rich history of McNeil Island.

History
The island was part of the territory of the Steilacoom people, a Coast Salish tribe.

It was named in 1841 by Charles Wilkes in honor of Captain William Henry McNeill of the Hudson's Bay Company, who greeted Wilkes upon the arrival of the United States Exploring Expedition at Fort Nisqually in southern Puget Sound. Wilkes’ misspelling was never corrected.

The Robert A. Inskip expedition of 1846 named the island Duntze, after Captain John A. Duntze of the Royal Navy. In 1847, during the British map reorganization project, Henry Kellett restored the earlier name McNeil.

The U.S. government bought land on McNeil Island in 1870 and opened a federal penitentiary there in 1875. The federal government accumulated parcels of land adjacent to the penitentiary, and by 1937, it had purchased all the land on the island and compelled its last residents to leave.

The federal penitentiary's most famous inmates were probably Robert Stroud, the "Birdman of Alcatraz", who was held there from 1909 to 1912; Charles Manson, who before inspiring Helter Skelter in killing Sharon Tate and others in 1969, was an inmate from 1961 to 1966 for trying to cash a forged government check; and Alvin Karpis, who was transferred to McNeil Island in 1962, from Alcatraz as a result of its impending closure, to complete his sentence. Karpis, who was labeled the FBI's Public Enemy #1 at the time of his capture in 1936, was the point man for the Barker–Karpis gang that committed kidnappings and numerous bank robberies while operating throughout the Midwest in the early 1930s. Northwest bootlegger Roy Olmstead was also an inmate for four years until his release on May 12, 1931.

During World War II, eighty-five Japanese Americans who had resisted the draft to protest their wartime confinement, including civil rights activist Gordon Hirabayashi, were sentenced to prison terms at McNeil; all were pardoned by President Harry S. Truman in 1947.

The state of Washington acquired the penitentiary from the federal government in 1981. It was called McNeil Island Corrections Center (MICC) until 2011, when it became the Special Commitment Center for violent sexual criminals.

A post office called Bee was established in 1895 and remained in operation until 1919. Local beekeeping operations caused the name to be selected.

A post office called Gertrude was established on the island in 1900 and remained in operation until 1936. The community takes its name from nearby Gertrude Island.

A video posted to YouTube channel Vagrant Holiday in 2020 shows him exploring the island along with commentary.

McNeil Island Cemetery and Prison
Land for the McNeil Island Cemetery was donated by island pioneers, Eric Nyberg and his wife Martha. The first of many burials was in October 1905. When the island's residents were forced to leave in 1936, the cemetery was closed; all remains were exhumed and reburied in cemeteries on the mainland.

At the time of its closing, McNeil was the only prison left in North America that was accessible only by boat or air. It remains the site of the state's primary Special Commitment Center (SCC), where sexually violent predators are indefinitely committed for treatment after completing their standard prison sentences. In addition to the main building that held the majority of inmates, an annex on the opposite side of the island housed low-risk inmates, and those who were scheduled for release. During the 1800s, it was once a military encampment as well as a military prison for a short time. At one point, the prison was almost self-sustaining in terms of agricultural products, including its dairy farm; all these elements were manned and operated by the inmates.

McNeil was long threatened with closing due to the high cost of operating the prison; an announcement in late 2010 said the prison would close in 2011. The prison's remaining 500 low-risk inmates were integrated into other state prisons. The prison officially closed on April 1, 2011.

Population
the population was 214, all civilly committed former prison inmates.

While the prison was operational, the island had a population well over a thousand residents (1,516 as of the 2000 census) The majority of which were incarcerated in MICC prison. There were about 100 non-prisoners living on the island composing about 40 families, each with at least one family member employed at MICC. The homes were subsidized by the DOC at a greatly reduced rent.

Transportation
A small passenger-only ferry was for registered visitors, departing Steilacoom Dock every two hours. The state also supplies emergency speed-boat services for the civilly committed.

In 1934, McNeil Island was linked by ferry service with Steilacoom, Anderson Island and Longbranch, Washington. Separate federal or state-owned ferries under the prison administration connected McNeil Island with Steilacoom. The Washington State Department of Corrections continues to operate passenger ferry and barge service to McNeil Island to service DSHS's Special Commitment Center.

In popular culture

 * In Tom Robbins' 1980 novel Still Life With Woodpecker, the perspective character Bernard Mickey Wrangle was sentenced to the penitentiary on McNeil Island for blowing up the chemistry department of a university in Madison, Wisconsin.
 * In the 1995 Michael Mann movie Heat, Robert De Niro's character is revealed to have spent time as a prisoner at McNeil Island.
 * In the movie Three Fugitives, Nick Nolte's character (Lucas) is released from McNeil Island prison at the beginning of the film.
 * In the ninth episode of the first season of the podcast Tanis, the editor talks about Charles Manson's trip to the prison.

title: McNeil Island


text:
Talk:IRC takeover

This is all already treated at IRC. Marnanel 04:28, 5 Aug 2004 (UTC)

Rewrite
I've rewritten the article to simplify much of the explanation and make it flow slightly better. æle ✆ 2006-05-24t23:42z

some wrong info
An IRC channel takeover is an acquisition of IRC channel operator status by someone other than the channel's owner. It has largely been eliminated due to the increased use of services on IRC networks. ^ in article ^ There ARE other ops usually in a channel. There ARE takeovers with services, like the one shown below on the page. Just getting opped does NOT equal a takeover.

References needed
Too lazy to go digging right now but isn't there some official RFC's we can cite as a reference for this article? -- OlEnglish (Talk) 02:35, 27 May 2009 (UTC)

Requested move 21 June 2017

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Moved. No opposition, and seems reasonable. For future reference, when proposing multiple related RMs, it's better to do it as a multi-move, per WP:RM. — Amakuru (talk) 11:22, 29 June 2017 (UTC)

Internet Relay Chat takeover → IRC takeover – Unnecessary expansion of "IRC". See ex. TCP congestion control, IRC Bot. 104.228.101.152 (talk) 10:52, 21 June 2017 (UTC)

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

Necessary article?
IMO this article could be merged into Internet Relay Chat. 104.228.101.152 (talk) 10:52, 21 June 2017 (UTC)

title: Talk:IRC takeover


text: User talk:66.91.216.186

title: User talk:66.91.216.186


text:
List of rulers of the Fante Confederation

Rulers and Signatories of the Fante Confederation

(Dates in italics indicate de facto continuation of office)


text:
Heaphy Track

 { "type": "ExternalData", "service": "page", "title": "NZHeaphyTrack.map" } The Heaphy Track is a popular tramping and mountain biking track in the north west of the South Island of New Zealand. It is located within the Kahurangi National Park and classified as one of New Zealand's ten Great Walks by the Department of Conservation. Named after Charles Heaphy, the track is 78.4 km long and is usually walked in four or five days. The track is open for shared use with mountain bikers in the winter season from 1 May to 30 September each year. The southern end of the track is at Kōhaihai, north of Karamea on the northern West Coast, and the northern end is in the upper valley of the Aorere River, Golden Bay.

Floods in February 2022 caused major damage to three bridges on the West Coast end of the track, leading to the closure of the section between James Mackay Hut and Heaphy Hut, and preventing walkers and cyclists from completing the full distance. The damaged section of track re-opened in October 2023, after the replacement of bridges and restoration of tracks damaged in the 2022 floods.

History
Māori tribes are known to have settled along the lower course of the Heaphy River as early as the 14th century. There is a significant archaeological site near the existing Heaphy Hut that has been the subject of significant investigations. The evidence from these investigations suggests that at least some of the area crossed by today's Heaphy Track had been explored and settled by Māori in pre-European times. No evidence has yet been found of middens in the Gouland Downs area, however middens have been found at all the main river-mouths south of the Heaphy River. This suggests that the route along the coast had been used regularly by Māori.

The first visit to the area by European persons whose names were recorded took place in 1846, when Charles Heaphy, Thomas Brunner and their Māori guide Kehu (Ngāti Apa ki te Rā Tō, Ngāti Tūmatakōkiri), supported by another guide Tau, explored the coastal sector of the track.

In October 1856, James Mackay and a colleague John Clark explored the headwaters of the Aorere River, in search of a large grassy plan that had been reported by Māori to lie between the Aorere and the West Coast. They found a large scrub-covered area that was later named the Gouland Downs, but did not travel across it or mark out a route to the West Coast at that time.

The first recorded crossing approximately along today's route was by a European gold miner named Aldrige in 1859. Another crossing by James Mackay took place in 1860. At the time, Mackay was returning from leading the Crown purchase from Māori of all the land on the West Coast within the Nelson province. His party turned inland at the Heaphy River, and then travelled up the Lewis River to the saddle. From there they crossed the Gouland Downs and descended via the Aorere River back to Collingwood.

The discovery of gold at Karamea in 1861 led to increased interest in the route between Nelson and the West Coast. In December 1861, Mackay, along with John and Arthur Knyvett, created a rough track between the upper Aorere River and the Heaphy River mouth. The Nelson Provincial Council allocated funding for work on the track in 1866 and 1867, but there is no record of further work on the track until 1885, when the Public Works Department asked the Collingwood County Council to initiate a survey. The Council engaged James Saxon a surveyor from Nelson, and he laid out a route suitable for horse carts from the Brown river to the Gouland Downs, with a grade of 1 in 16. His plans were approved by the Public Works Department in 1886.

During and after the West Coast Gold Rush of the 1860s the area was extensively visited for gold and the track was definitely laid out by various prospectors and surveyors, among them John Saxon in 1888. No gold was found in the area and, after thirty years, prospecting came to an end. By 1900, the track was virtually forgotten and had become overgrown and seldom used except by an occasional hunter.

The creation of the North-west Nelson Forest Park in 1965, which became Kahurangi National Park in 1996, led to the rediscovery and improvement of the track.

The track is now tramped by thousands of people every year.

Partial track closure in 2022
In early February 2022, heavy rain in the Buller District caused severe flooding and damage to the track and to three bridges on the final section of the track between James Mackay and Heaphy Huts. The suspension bridge over the Gunner River was damaged and the Pitt Creek bridge was swept away. The 148.8 m suspension bridge over the Heaphy River was destroyed. The bridge across the Heaphy was the longest suspended deck bridge in the country when it was built in 2013. Although the bridge deck was 6.5 m above normal river level, the bridge was damaged beyond repair in the floods. In addition to the damage to bridges, the severe weather also caused slips and windfall on the track from James Mackay Hut down to the river valley. The section of the track between James Mackay and Heaphy Huts was closed because of the extensive damage, although the rest of the track and huts were re-opened during February for return trips from the two road ends. The rest of the track and all the huts remained open, and the track could be accessed for return trips from either road-end. A helicopter shuttle service was established as an option to take walkers between Lewis Shelter and Heaphy Hut.

The track re-opened in October 2023, after the replacement of bridges and restoration of tracks damaged in the 2022 floods. Prior to the re-opening, 12,000 people had booked accommodation on the track over the next eight months.

Road access
From the south, the road from Karamea to the Kōhaihai River is unsealed for the last 4 km,.

From the north, the road from Collingwood to Brown Hut is sealed as far as Bainham, then unsealed for the final 15 km. The road access was originally via three fords, but after ongoing concern about drivers taking risks in crossing the fords to get to the track, and some becoming stranded in swollen streams, DOC took the unusual step of providing funding to Tasman District Council for three bridges to be built; these were finished in 2014.

The road ends of the Heaphy Track are, hence travel logistics are challenging. Various companies provide travel options, one of which is car transfer from one end to the other. Derry Kingston provided car transfer services until his retirement in 2018, driving a vehicle from one end to the other and then walking back. He probably holds the record of having walked the track the most time, with over 400 crossings.

Route
The track can be travelled in either direction but the route from Golden Bay to Karamea is described here.

Brown Hut to Perry Saddle Hut
Brown Hut is located only five minutes walk from the carpark at the end of Aorere Valley road. There is a campsite located close to the hut. The track from Brown Hut crosses Brown River and a grassy flat before climbing through regenerating forest. The 17 km route to Perry Saddle is almost entirely uphill, and has a consistent gradient. The zigzag path follows the route of a bridle track surveyed and built in 1886 by John Saxon. The track climbs steadily through mature beech forest, mostly red beech (Nothofagus fusca) and hard beech (Nothofagus truncata) trees, but there are also podocarps including rimu and miro, southern rata and other species such as kamahi. Birds that may be seen in the forest on the climb to Perry Saddle Hut include tomtits, robins and bellbird. Kākā may also be seen or heard near the top. There is a side branch of the track reached after about 90 minutes climbing. This leads down to Shakespeare Flat on the Aorere River. After 3–4 hours climb, the Aorere shelter and campsite at about 800 m elevation provides a place to rest. The highest point on the Heaphy Track, at 915 m, is reached after another hour. There is a lookout point nearby. From here, it is another 30 minutes walk to Perry Saddle Hut. The hut has 28 bunks.

Perry Saddle Hut to Gouland Downs Hut
From the Perry Saddle Hut, the track passes over the saddle and follows the true left of the Perry Creek. There is a side-trip route up to the peak of Mount Perry, at 1238 m elevation that in suitable conditions provides panoramic views over the Aorere Valley and Golden Bay towards the North Island, and inland over the Gouland Downs and the rest of the Kahurangi National Park. The main track re-enters forest for about an hour until reaching the edge of the Gouland Downs. The route then descends gradually to the Cave Brook and then reaches the historic Gouland Downs Hut. The existing hut was built by the Collingwood County Council in 1936. There are many limestone arches, caves and small waterfalls that can be accessed near the hut.

Geology of the Gouland Downs
This area is a peneplain, a low-relief plain formed from prolonged erosion. Beneath the tussock in the Gouland Downs are sandstone and mudstone sedimentary rocks that were formed in the Lower Palaeozoic era around 400 to 500 million years ago. They are some of the oldest rocks in New Zealand. These rocks were worn down by erosion to form the peneplain around 100 million years ago. They were then submerged beneath a shallow sea, and limestone was deposited on top of the older sedimentary rocks. The land was subsequently uplifted, and erosion removed most of the limestone, leaving isolated outcrops that now appear like tree-covered islands in the tussock landscape. The remaining areas of the Gouland Downs have shallow and infertile soil where the only plants that thrive are tussocks and rushes.

Introduction of takahē
In 2018, the Department of Conservation translocated 30 endangered takahē to the Gouland Downs, from the breeding facility at Burwood Takahē Centre in Southland. This release is part of a programme to ensure the survival of the species. The Gouland Downs area was chosen for the release partly because the Kahurangi National Park has had intensive pest control over many years, and along with natural barriers, this has kept down the population of predators such as cats and ferrets. Takahē can now be regularly seen near Gouland Downs Hut.

Gouland Downs Hut to Saxon Hut
The track from Gouland Downs Hut continues across the northern part of the Gouland Downs, crossing Shiner Brook, Big River and Weka Creek over swing bridges before descending into the headwaters of the Saxon River and reaching Saxon Hut. The hut is named after John Saxon who surveyed the track in 1886. The endangered blue duck (or whio) may be seen in this section of the route. Great spotted kiwi can often be heard calling in the area around Saxon Hut, and are occasionally seen at night.

Saxon Hut to James Mackay Hut
The route descends gently through forest to the Saxon River, and then over a flat to Blue Duck Creek. It then climbs through forest in a long sidle around the slopes of Mt Teddy before reaching the Mackay Downs. The James Mackay Hut is on the edge of the downs, and is situated on a terrace above the track. It has views of the Heaphy River mouth and the Tasman Sea to the south-west.

James Mackay Hut to Heaphy Hut
The track descends through forest along a spur between Deception Creek to the south and the Lewis River to the north. The type of vegetation changes markedly as the track descends towards the Heaphy River. Stunted manuka and beech trees seen at the top become taller, and the sub-canopy and ground vegetation becomes more dense. At the bottom of the descent, there is typical West Coast rainforest, and the first nīkau palms can be seen. There is a shelter near the junction of the Lewis and Heaphy Rivers.

The route then crosses the Heaphy River and the track then follows a large bend in the river under limestone bluffs. The track follows the true left of the Heaphy River and crosses the Gunner River near its junction with the Heaphy. The vegetation along this part of the route is lowland podcarp forest, with an increasing number of nīkau palms closer to Heaphy Hut, where they dominate the forest. The Heaphy Hut and campsite is around 500 m back from the beach, overlooking the Heaphy River mouth, with a view of surf and the Tasman Sea.

Heaphy Hut to Kōhaihai River mouth
This final section of the track is all close to the coastline, with the route partly in forest and partly on the beach or beach margins. There are several stream crossings along the route. The Katipo Creek shelter is located at the mid-point of this section of the track. The landscape of the coastline with its pounding surf and the coastal forest with groves of nīkau palms is described by some as the highlight of the track. Towards the end of this section of the track there is a climb from Scotts Beach to around 160 m over a saddle set back from Kōhaihai Bluff. The track the descends to a crossing of the Kōhaihai River and the end of the track at the car park.

Mountain biking
Prior to the establishment of Kahurangi National Park in 1996, mountainbiking was a popular activity on the Heaphy Track. In the final 12 months before the North West Nelson Forest Park became a National Park, around 2000 mountain bikers completed the route. At the time, the National Parks Act 1980 did not permit mountain biking in National Parks, other than on formed roads. Lobbying activities to allow the return of mountain biking on the Heaphy track continued through until 2011, when a three-year trial began. The trial permitted mountain biking during the winter season from 1 May to 30 September.

The mountain bike trial period ended in 2016 and mountain biking became a permanent option over the colder part of the year. Mountain biking is now allowed each year from 1 May to 30 November for groups not exceeding six riders.

Incidents
The route of the Heaphy Track is subject to high rainfall, and is prone to flooding. Until the 1970s there were significant streams across the track that were not bridged, leading to the risk of trampers becoming stranded, or being swept away while trying to cross a flooded stream.

There was a fatality of a track worker at Kohaihai Bluff in 1919, but there are no recorded deaths from then until the 1960s.

In October 1965, a school teacher from Rockville in the Aorere Valley went missing on the Heaphy Track while attempting to travel on his horse from Karamea back to Rockville. Despite several searches, his body was never found. In March 1972, a visitor from the United States, went missing on the climb up from Brown Hut in poor weather when she became separated from her tramping companion. Despite extensive searches, no trace of her was found. In April 1973, a member of a party from the University of Canterbury Tramping Club was swept away while attempting to cross the flooded Cave Creek. His body was never found. In the report from the subsequent Coroner's enquiry, the Coroner said: "Only fit and well-equipped people should attempt to walk the Heaphy Track".

Controversies in the 1970s about the proposal for a road through Heaphy Track led to increased interest in the track and a large increase in the number of trampers. On one night, there were 82 staying overnight at the Gouland Downs Hut. Around the same time, four people had to be rescued from the track over a period of only two days: one girl with asthma, another girl with glandular fever, a young girl with exposure and a boy with a broken bone in his foot. There had been continual rain for three days with around 4 in in one 24 hour period, and the huts had become overcrowded.

In March 1976, a tramper was swept away while attempting to cross the flooded Weka Creek on the Gouland Downs. Her body was never found.

An unusual incident with a happy ending began on 19 January 1980, when a tramper from Palmerston North became disoriented on the descent from Perry Saddle Hut to the end of the track in poor weather and went missing for almost 30 days. His abandoned campsite at Shakespeare Flat on the upper Aorere River was discovered by searchers but he was not found until 18 February – the final day of planned searches. He had travelled 15 km upstream when searchers had been expecting he would have moved downstream. He was flown to hospital, and made a good recovery, being discharged in five days. Only a few weeks later, on 17 March 1980 three young trampers from Auckland died when they were swept off rocks at Crayfish Point, just 5 km from the end of the track at Kōhaihai.

In March 1982, a solo tramper from Canterbury went missing on the track. He had wandered off the path and become lost after leaving Perry Saddle Hut on the way south. He was eventually found by search parties after he had spent nine days lost in the bush. There was another large search in April 1988 for a nurse from Auckland who had started on the track on her own from the Karamea end in mid March, and was last seen at Heaphy Hut. She was reported missing when she did not arrive home after the end of her holiday. The route was in poor condition at the time after a period of heavy rain, and rivers were swollen. A large search failed to find any sign of the missing woman.

Through-road controversy
As early as the 1880s, there was demand for a road to connect Karamea with the Nelson area. In October 1931, the government indicated a willingness to proceed with a road through the route of the Heaphy Track. However, in 1934 government declined to fund further work. In October 1936, Bob Semple, the Minister for Public Works, questioned whether the proposed road was economically viable.

Proposals to build a road became the subject of public controversy in March 1973. The local West Coast and Collingwood population and councils largely supported the road, believing that a complete "tourist circuit" of the South Island would increase the access and popularity of their area. A lobby group called “The Organisation to Preserve the Heaphy”, was formed in April 1973. Other groups opposed to a road through the Heaphy Track included the Royal Forest and Bird Protection Society, Federated Mountain Clubs and the Nature Conservation Council.

The Ministry of Works investigated routes for a road between Karamea and Collingwood. Three options were outlined to government in September 1973:

 * 1) Along the route of the Heaphy Track from Karamea to Bainham
 * 2) Along the route of the Heaphy Track to the Mackay Downs and then north west to the coast at the mouth of the Big River and then along the coast to join the existing road at Turimawiwi
 * 3) From Karamea to Tadmor, over the route of the Wangapeka Track

The first option was ruled out because of the impact on the North-west Nelson Forest Park and the effects on the Heaphy Track. The third option was rejected because of the difficulty and cost of building a road through steep and unstable earthquake-shattered terrain. The second “coastal” route was endorsed in principle, but was not an immediate priority. Opposition groups criticised the plan for the destruction of up to 14 mi of the Heaphy Track, including the unique sub-tropical coastal section. Lobbying from those supporting and opposing the road continued into 1975. In 1976, the Government announced that work on the environmental impact report for the proposed road would not proceed.

In December 1995, just prior to the formal establishment of Kahurangi National Park, the Minister of Lands, Denis Marshall, withdrew the designations of unformed legal road that had been put in place to enable a road between Karamea and Collingwood. In response to further lobbying in 1996 by Buller Mayor Garry Howard, a commentator described the Karamea to Collingwood road as an “idea whose time has gone”.

title: Heaphy Track


text:
Warrant of Fitness

A Warrant of Fitness (WoF) is an official New Zealand document certifying that a light motor vehicle has passed a compulsory periodic inspection of safety and roadworthiness. Most vehicles with a gross mass under 3500 kg that are used on public roads are required to undergo a WoF test, with the frequency depending on the age of the vehicle. Since 1 January 2014, vehicles first registered on or after 1 January 2000 must undergo a WoF test annually; older vehicles must undergo a WoF test every six months. From 1 July 2014, vehicles first registered on or after 1 January 2000 must undergo a WoF test at first registration, at three years, and then annually after that; older vehicles must undergo a WoF test every six months.

Vehicles over 3500 kg, passenger service vehicles (taxis, buses, shuttles, etc.), and rental vehicles do not have a Warrant of Fitness. Instead, these vehicles must possess a Certificate of Fitness (CoF). The CoF test is similar to the WoF test, but must be undergone every six months regardless of the age of the vehicle.

A WoF test checks tyre condition, brake condition, structural condition, lights, glazing, windscreen wipers and washers, doors, seat belts, airbags (if fitted), speedometer, steering and suspension, exhaust, and fuel system. A vehicle must meet certain criteria in each category to pass the Warrant of Fitness. Many local car repair garages throughout New Zealand are authorised to perform testing and to issue Warrants of Fitness.

Each vehicle used on public roads must display a Warrant of Fitness sticker in the top right corner of its windscreen (as viewed from inside the vehicle). The sticker indicates that the vehicle passed its last WoF inspection, and shows when the next inspection is due. The current stickers display on the outside 2 holes punched, one through a number on the side indicating the month due (e.g. a hole through the number 4 indicates the next test is due in April) and one punched though the number on the bottom indicating the year due (e.g. a hole through the numbers 18 indicates the next test is due in 2018). On the inside, the sticker shows the full date of when the next inspection is due, the vehicle registration number, and the issuing agent stamp.

A vehicle with a current WoF can still be inspected by a police officer and ordered unroadworthy. If a vehicle lacks a WOF sticker, or its WOF is expired, the driver is liable for a NZ$200 fine. If a vehicle is found parked on a public road without a valid WoF sticker, the fine may be also issued by a parking warden.

title: Warrant of Fitness


text:
Sesame Place Philadelphia

Sesame Place Philadelphia is a children's theme park and water park based on the children's educational television program Sesame Street. It is one of the twelve Sesame Place theme parks owned and operated by United Parks & Resorts under an exclusive license from Sesame Workshop, the non-profit owner of Sesame Street. Located outside of Philadelphia in Middletown Township, Bucks County, Pennsylvania (with a Langhorne mailing address), it is the oldest of the two Sesame Street theme parks in the United States (the other being Sesame Place San Diego). Sesame Place Philadelphia includes a variety of rides, shows and water attractions suited for young children, and is the first theme park in the world to become a certified autism center.

History
Sesame Place first opened in 1980 near the Oxford Valley Mall and initiated the expansion of the commercial complex in the vicinity. It was designed by Eric McMillan, a Canadian designer, Sandra Hanna of Lambertville, New Jersey and several other designers.

The park is open from early May through Halloween for The Count's Halloween "Spooktacular", and mid-November through December for "A Very Furry Christmas". The original park was 3 acre and featured play areas and large computer labs where kids could color their favorite Sesame Street characters. Since then, it has expanded to 14 acre with rides and water attractions. The expansions included the construction of Cookie's Monster Land in 2014 - the park's largest renovation to date.

The theme park is described as having implemented features to make it accessible to children with autism, and on World Autism Awareness Day in 2018 was announced to be the first theme park that is a Certified Autism Center. Certified Autism Centers "[help] businesses better serve guests and clients with cognitive disorders, including autism".

In 2007, it became the first theme park in Pennsylvania to become completely smoke-free.

Beginning in January 2021, the park began its year-round operation. The park's previous operating season ran from April through early January; however, 2021 was the first time the park has ever been open during the winter months. Each weekend was a limited capacity event that featured rides, dance parties, and a parade. In 2023, Sesame Place did not continue year-round operation but only closed between mid-January to mid-February.

Alleged snubbing case
In July 2022, the park faced criticism after a family claimed in an Instagram post that the character Rosita snubbed their two young black children by ignoring them as they waved to her. The video went viral as other users posted similar incidents of costumed characters and black children, with those on social media calling for a boycott of the park. The park released a statement that the costume had made it difficult for the performer to see the girls. They later followed with another statement that the performer had not intentionally snubbed the girls, but instead rejected a request "from someone in the crowd who asked Rosita to hold their child for a photo, which is not permitted." On July 19, Sesame Place Philadelphia formally apologized to the family and invited the family back for a personal meet-and-greet with the characters. They also announced that their employees will undergo racial bias training to ensure park guests have an "inclusive, equitable and entertaining" experience.

Attractions
Sesame Place features dry rides and water rides. Dry rides are open during Elmo's Springtacular, the summer season, The Count's Halloween Spooktacular and A Very Furry Christmas. Water rides are open only in the summer season (Memorial Day-Labor Day). Other rides are only operated during Elmo's Springtacular, The Count's Halloween Spooktacular, or A Very Furry Christmas.

Sesame Plaza
The front entrance.

Sesame City
An area themed to mass transit and a big city.

Big Bird's Beach
Formerly known as "Twiddlebug Land" from 1993 until 2023.

Sesame Island
An area featuring water-based attractions.

Sesame Neighborhood
A full-scale replica of Sesame Street. Opened in 1988.

The Count's Court
Themed after Count von Count and features water rides. The special Count-themed dry attractions only operate during special events and are listed below.

Elmo's World
Themed after Elmo, more specifically the Elmo's World segment.

Cookie's Monster Land
Named after Cookie Monster. Opened in 2014.

Special Event Rides
These rides only operate during specific seasonal events.

Entertainment

 * Sesame Street Party Parade  - A parade with all costume characters and has dance stops throughout the parade route. (2011–present, anniversary: 2015, 2020)
 * Elmo the Musical! - Magic, mayhem, and music add up in Elmo the Musical - Live at Sesame Place! Join Elmo as it's time to raise the curtain and light the lights, when this brand-new show takes over the Sesame Studio at Sesame Place. (2014–present)
 * The Magic of Art - Abby Cadabby is getting ready for the art show on Sesame Street. Abby isn't sure what to create. Abby asks for help from Elmo, Cookie Monster, Grover and Telly. She then learns art comes in all shapes and sized, with paintings and sculptures. They inspire Abby to use imagination and create your own masterpiece. (2016-present)
 * Our Street is Sesame Street - Elmo, Abby Cadabby and Big Bird! Sing, dance, and clap along as you watch the show at the Sesame Street Neighborhood. (2019-present)
 * Welcome to the Party - Elmo, Abby, Grover, Rosita and Cookie Monster want to put on a show to welcome their new friends to Sesame Street but can’t decide what kind it should be. From a dance show to a magic show to a cookie show, everyone has a different idea! With the help of some new friends, like Elmo’s adorable puppy Tango, our Sesame Street pals realize that by working together, they can put on the biggest, most spectacular welcome show of all! (2023-present)

Holiday shows and parades
The Count's Halloween Spooktacular Shows/Parades: A Very Furry Christmas Shows/Parades: Mardi Gras Shows/Parades:
 * The Not Too Spooky Howl-Ween Radio Show! - A show starring the "Sesame Street" characters that they performed at the WSME theater and our Halloween broadcast. Located in "Abby's Paradise Theater". (2010–present)
 * Who Said Boo?! - A show at Sesame Place where Sesame Street characters went to the Count's Halloween Party but they hear an eerie BOO! Shows in the "Sesame Street Neighborhood Theater" (formerly "Monster Rock Theater"). (2014–present)
 * Elmo the Musical- A Halloween Adventure! - Magic, mayhem and music add up in Elmo the Musical - Live at Sesame Place! Join Elmo as it's time to raise the curtain and light the lights, when this brand-new show takes over the Sesame Studio at Sesame Place. (2014–present)
 * Sesame Street Halloween Parade (2013-present)
 * Our Street on Halloween (2022-present)
 * A Very Merry Sesame Street Sing Along - Visitors can join their Sesame Street friends to listen to various holiday songs sung by Elmo and friends. (2020-present)
 * Sesame Street Christmas Parade (2013-present)
 * Elmo's Christmas Wish (2011-present)
 * 1-2-3 Christmas Tree (2019-present)
 * Sesame Street Mardi Gras Parade (2022-present)

Costume characters
Families can dine with some characters at Dine with Elmo and friends (or one of its seasonal variations). This is not included in the regular admission price and takes place at varying times depending on season. The characters at the dine change seasonally. Many of the Sesame Place characters strut down "Sesame Street" in the "Neighborhood Street Party" parade (or one of its seasonal variations). This features 15 Sesame Place characters, large floats, dancers and music. The park also features character meet and greets that vary through the year. During the holiday season, characters from Rudolph the Red-Nosed Reindeer appear in the park, thanks to a licensing agreement between SeaWorld Parks and Entertainment, and Character Arts LLC. The characters that feature in the park include:

Sesame Street

 * Abby Cadabby (regular, parade)
 * Baby Bear (random)
 * Barkley (parade only)
 * Bert (regular, parade)
 * Big Bird (regular, parade)
 * Cookie Monster (regular, parade)
 * Count von Count (regular, parade)
 * Elmo (regular, parade)
 * Ernie (regular, parade)
 * Grover / Super Grover (regular, parade)
 * Gonger (random)
 * A Honker and a Dinger (random)
 * Julia (regular)
 * Lightning the Reindeer (seasonal)
 * Murray Monster (random, parade)
 * Oscar the Grouch (regular, parade)
 * Prairie Dawn (random, parade)
 * Rosita (regular, parade)
 * Snuffleupagus (regular)
 * Tango (regular)
 * Telly Monster (random, parade)
 * Zoe (regular, parade)

Other

 * Chocolate Chip Cookie (seasonal)
 * Santa Claus (seasonal)
 * Rudolph the Red-Nosed Reindeer (seasonal)
 * Clarice (seasonal)
 * The Bumble (seasonal)

Former characters

 * Hoots the Owl (removed in 2009)
 * Jackman Wolf (removed in 2010)

title: Sesame Place Philadelphia


text:
User talk:Jarsyl

Welcome to the Wikipedia
Here are some links I thought useful:

 * Tutorial
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Feel free to ask me anything the links and talk pages don't answer. You can sign your name by typing 4 tildes, like this: ~.

Be Bold!

Sam [Spade] 04:36, 5 Aug 2004 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:49, 23 November 2015 (UTC)

title: User talk:Jarsyl


text:
United States Lighthouse Service

The United States Lighthouse Service, also known as the Bureau of Lighthouses, was the agency of the United States Government and the general lighthouse authority for the United States from the time of its creation in 1910 as the successor of the United States Lighthouse Board until 1939 when it was merged into the United States Coast Guard. It was responsible for the upkeep and maintenance of all lighthouses and lightvessels in the United States.

1789–1910
In 1789, the United States Lighthouse Establishment (USLHE) was created and operated under the Department of the Treasury. All U.S. lighthouse ownership was transferred to the government which became the general lighthouse authority (GLA). In 1792, the Cape Henry Lighthouse was the first lighthouse built by the USLHE. In 1822, French physicist, Augustin Fresnel designed the Fresnel lens. In 1841 the Fresnel lens was first used in the United States and installed on the Navesink Lighthouse. In 1852 the Lighthouse Board was created. In 1871, the Duxbury Pier Light became the first caisson lighthouse built in the United States. In 1877, kerosene became the primary fuel for lighthouses, replacing various fuels such as sperm oil, Colza oil, rapeseed oil, and lard oil. In 1884, uniforms came into use by all members of the Lighthouse Board. In 1886, the Statue of Liberty was the first lighthouse to use electricity. In 1898, all coastal lighthouses were extinguished, for the first time in U.S. history, as a precaution during the Spanish–American War. In 1904, the Lightship Nantucket became first U.S. vessel to have radio communication. In 1910, the Bureau of Lighthouses was created and operated as the United States Lighthouse Service (USLHS).

1910–1917
In 1910, 11,713 aids to navigation of all types were around the country. Congress abolished the U.S. Light-House Board and created the Bureau of Lighthouses under the Department of Commerce.

The Board had hired a number of civilians and many of these experienced people took over the roles that the military officers had been playing. Though initially called inspectors, the civilian heads of the districts changed their titles to superintendent. Also at this time, the placement of aids to navigation along rivers had become the responsibility of the Lighthouse Service, and many of these aids were tended on a part-time basis by local citizens called lamp lighters and lamp attendants.

President William Taft selected George R. Putnam to head the new bureau and he gained the title "Commissioner of Lighthouses." For 25 years, Putnam headed the bureau and during his administration, navigational aids saw a substantial increase. New technology was incorporated into the bureau's work, particularly in the area of electric aids and some automation using electricity. Though the number of aids to navigation increased substantially during Putnam's reign from 11,713 to 24,000, mostly buoys and small lights, arguably two of his most significant achievements were the passage of the Retirement Act for lighthouse personnel in 1918 and the introduction in 1921 of the radiobeacon as an aid to navigation. This new technology permitted a reduction of over 800 employees during Putnam's 25 years as head of the bureau.

World War I
During World War I and the period following, several technological advances contributed to the automation of lighthouses, rendering human occupancy unnecessary. A device for automatically replacing burned-out electric lamps in lighthouses was developed and placed in several light stations in 1916. A bell alarm warning keepers of fluctuations in the burning efficiency of oil-vapor lamps was developed in 1917. In the same year, the first experimental radiobeacon was installed in a lighthouse. The only lightvessel of the service sunk by enemy action was the LV-71 on August 6, 1918. After the sinking of the SS Merak by the GS U-104 (1940) near Diamond Shoals, North Carolina LV-71 rescued the survivors but was sunk as well shortly thereafter. Nobody was hurt in the action because the German commander allowed the Americans to evacuate the ship before firing.

1919–1939
The first automatic radiobeacon in the United States began service in 1928. Radiobeacons are still in use today, although most have recently been decommissioned as improved electronic navigational aids have become available. An automatic time clock for operating electric range lights came into use in 1926, and by 1933, a photo electric-controlled alarm device had been developed to check the operation of the unwatched electric light. A lightship staffed by remote control was equipped by the Lighthouse Bureau in 1934. It included a light, fog signal, and radiobeacon, all controlled by radio signals. A battery-powered buoy which gradually replaced the older acetylene buoys, was introduced in 1935. Because of the technological improvements mentioned above, and in particular the radio beacon direction finder, the United States rose from sixth in shipping safety in 1920 to second in 1935, with only the Netherlands holding a better safety record.

Improvements in the road and highway systems provided better and more rapid means of transportation during the 1920s and 1930s. As a result of the improved roadways, the Bureau was able to better maintain aids to navigation, benefiting the service economically. The extension of electric lines into remote sections of the country provided a reliable power source for operating aids to navigation. By the 1920s and 1930s, the majority of light stations had electric service, reducing the number of staff necessary to operate the station. As ancillary buildings at many stations, especially shore stations, were rendered useless, the makeup of the light station began to change.

In 1935, Putnam was followed in the Commissioner's position by a career Lighthouse Service employee, H. D. King, a former district superintendent.

On 1 July 1939, the Service merged with the United States Coast Guard, which has since taken over the maintenance and operation of all U.S. lighthouses and lightships.

World War II
On March 15, 1942 the U.S. Lighthouse Service/U.S. Coast Guard tender Acacia was sunk by the German submarine GS U-161 (1941).

Flags
All of the Lighthouse Service's lightships and lighthouse tenders flew the United States Lighthouse Service flag, a triangular flag with a red border featuring a blue lighthouse on a white background. Any Lighthouse Service ship upon which the Superintendent of Lighthouses was embarked also flew the Superintendent of Lighthouses flag, a rectangular flag with a blue border featuring the same blue lighthouse on a white background.

Rank insignia
Rank insignia of officers were as follows in 1918:

title: United States Lighthouse Service