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Joan Ganz Cooney

Joan Ganz Cooney (born Joan Ganz; November 30, 1929) is an American television writer and producer. She is one of the founders of Sesame Workshop (formerly Children's Television Workshop or CTW), the organization famous for the creation of the children's television show Sesame Street, which was also co-created by her. Cooney grew up in Phoenix and earned a Bachelor of Arts in education from the University of Arizona in 1951. After working for the State Department in Washington, D.C., and as a journalist in Phoenix, she worked as a publicist for television and production companies in New York City. In 1961, she became interested in working for educational television, and became a documentary producer for New York's first educational TV station WNET (Channel 13). Many of the programs she produced won local Emmys.

In 1966, Cooney hosted what she called "a little dinner party" at her apartment near Gramercy Park. In attendance was her then-husband Tim Cooney, her boss Lewis Freedman, and Lloyd Morrisett, an executive at the Carnegie Corporation, in which the potential of television to teach young children was discussed. Cooney was chosen to oversee and direct the creation of what eventually became the children's television program Sesame Street, which premiered in 1969, and the CTW, the organization that oversaw its production. Cooney was named CTW's first executive director. As one of the first female executives in American television, her appointment was called "one of the most important television developments of the decade".

Cooney remained executive director of the CTW until 1990 when she became the chair of CTW's executive board. She served on different boards, was the trustees of many organizations, and received many awards and honorary degrees. In 2007, the Sesame Workshop founded The Joan Ganz Cooney Center, named in her honor.

Early life and education
Joan Ganz was born on November 30, 1929, in Phoenix, Arizona, to Sylvan Ganz, a banker, and Pauline ( Reddon), a homemaker. Her father was from Phoenix. Her father was Jewish and her mother was Catholic. Her grandfather Emil Ganz was a tailor from Walldorf, Thuringia, in Germany, who immigrated to the U.S. in 1858 and was president of the First National Bank of Arizona and mayor of Phoenix for three terms. Joan Ganz was the youngest of three siblings. She described her childhood as "upper middle class, country club atmosphere" and stated, "I was raised in the most conventional way, raised to be a housewife and a mother, to work an interesting job when I got out of college, and to marry at the appropriate age, which would have been twenty-five".

She attended North High School in Phoenix, where she was active in school plays. She stated that her biggest influence as a teenager was her teacher Bud Brown, whose lectures about the civil rights movement, poverty, the free press, and antisemitism in Europe "absolutely inflamed" her and changed her life. Brown was later investigated as a Communist. She went to Dominican College, an all-girls Catholic institution in San Rafael, California, for a year before transferring to the University of Arizona in 1948, where she was a member of Kappa Alpha Theta. She stopped acting in college because her father refused to support her in that career. She chose education, even though she was not interested in becoming a teacher, on the recommendation of her mother and because as she later stated, "It was something that girls of my generation did because teaching was acceptable".

Early career
After graduating in 1951, Ganz moved to Washington, D.C., where she worked as a clerk and typist at the State Department. She was exposed to Father James Keller's Christopher Movement, which inspired her to become involved with television and the media. Cooney later said, "Father Keller said that if idealists didn't go into the media, nonidealists would". She returned to Phoenix and despite no experience in journalism, took a job as a reporter at the Arizona Republic. Eighteen months later, in 1953 and at the age of 23, she moved to New York City and was a publicist for the next ten years, initially for David Sarnoff at RCA, then at NBC writing press releases and soap opera synopses, and then for the United States Steel Hour at CBS. During this time, she became involved with liberal Democratic politics and "fell in with a literary set of young writers and editors who gathered at the West Side apartment of Partisan Review editor William Phillips". Some of this "notable group" included Jason Epstein and Norman Mailer. In 1956, after many years of depression, Cooney's father committed suicide at his home in Phoenix.

While Cooney was working for the U.S. Steel Hour, a colleague left to work for the educational television station WGBH-TV in Boston; her reaction was life-changing: "What?! There is educational television?!" She later stated, "I knew that I was born to be in educational television; it was St. Paul on the highway". In 1961, she began to track the progress of a court case in which a New York City nonprofit group was attempting to acquire Newark, New Jersey-based independent station WNTA-TV (channel 13), which would become the precursor of PBS station WNET, the first public television station in the New York area. When channel 13 became non-commercial two years later as WNDT, Cooney applied for a position as the station's publicist, but the general manager told her they needed producers. "I can produce", she told him, even though she had no experience in producing television shows. She later stated, "I've never been qualified for any job I've been hired for". According to television historian Cary O'Dell, WNDT hired her because of the ties she had made through her political activities and associations with Partisan Review. Cooney later said during an interview with the Archive of American Television that the transition to becoming a documentary producer was not difficult for her because she was well-read and aware of the issues of the day, adding, "I felt like I'd died and gone to heaven, dealing with foreign policy and domestic policy and civil rights, which became the great passion in those years for me".

Taking a pay cut, Cooney and her boss Lewis Freedman produced what author Michael Davis called "a series of teach-ins on major issues". One of her first programs was called Court of Reason, a weekly live debate show; notable guests included Malcolm X and Calvin Butts. She produced a debate show on America's policy about Cuba that aired the week before the Cuban Missile Crisis. She also produced another debate show called Poverty, Anti-Poverty, and the World, in which poor people were brought into the studio to confront the government officials responsible for developing anti-poverty programs. Although the ratings were low, Cooney and Freedman won Emmys for its production, and as Davis stated, "the viewers who did tune in were serious-minded adults who cared about matters of race, injustice, and the imbalance of opportunity in New York and beyond". She also produced inexpensively-made documentaries that she later called "Little Grandma Moses documentaries" for WNDT that were well received by their viewers, including A Chance at the Beginning, which featured the precursor of Head Start that won her a local Emmy and was later used to train Head Start teachers. She later reported that WNDT had won eight out of 13 New York Emmys in one year.

In February 1964, at age 34, she married Timothy Cooney, a staff member of New York mayor Robert Wagner, Jr. They met while she was working on A Chance at the Beginning. He was also director of public relations for the New York City Department of Labor and director of New York's Office of Civil Defense. Timothy Cooney would eventually become "an unpaid advocate for the urban poor". Cooney credited him, whom Davis called "a radical feminist", for making her into a feminist, and later said that he was very supportive and encouraging. Davis called the Cooneys "a delightfully unmatched set, a Spencer Tracy and Katharine Hepburn twosome who married despite differences in upbringing, station, and sobriety".

Sesame Street and the Children's Television Workshop
In the winter of 1966, Cooney hosted what she called "a little dinner party" at her apartment near Gramercy Park. In attendance was her husband, her boss Lewis Freedman, and Lloyd and Mary Morrisett, whom the Cooneys knew socially. Lloyd Morrisett was a mid-level executive at Carnegie Corporation (who later became its CEO), and was then responsible for funding educational research. The conversation turned to the possibilities of using television to educate young children; Morrisett raised the question, "Do you think television could be used to teach young children?" Cooney replied, "I don't know, but I'd like to talk about it." According to Davis, the party was the start of a five-decade-long professional relationship between Cooney and Morrisett. A week later, Cooney and Freedman met with Morrisett at the offices of Carnegie Corporation to discuss doing a feasibility study on creating an educational television program for preschoolers. Freedman was opposed to Cooney's involvement because he did not think she would be interested in a project that focused on children and because he did not want to lose her at WNDT, but she was chosen to do the study.

In the summer of 1967, Cooney took a leave of absence from WNDT and, funded by Carnegie Corporation, traveled the U.S. and Canada interviewing experts in child development, education, and television. She reported her findings in a fifty-five-page document entitled "The Potential Uses of Television in Preschool Education". The report, which Gikow called "a schematic for the show Sesame Street would become", described what the new show would look like and proposed the creation of a company that oversaw its production, which eventually became known as the Children's Television Workshop (CTW). Cooney later stated that her undergraduate training in Education helped her research and write the study, and that it, along with her Emmy, provided her with credibility in the eyes of both the experts she interviewed and the new show's funding sources. Davis credited Cooney's motivation to be involved with the project with her journalism skills, learned early in her career, and her idealism, which drove her to want to, as she put it, "make a difference". She later told an interviewer, "I could do a thousand documentaries on poverty and poor people that would be watched by a handful of the convinced, but I was never really going to have an influence on my times". She later told Davis, "Preschoolers were not necessarily my thing. It was using television in a constructive way that turned me on".

At first, Cooney assumed that the project would be produced by WNDT, but when the station's owner rejected the proposal and questioned Cooney's credentials, she left the station and went to the Carnegie Corporation as a full-time consultant in May 1967. For the next two years, Cooney and Morrisett worked on researching and developing the new show, raising $8 million for Sesame Street, and establishing the CTW. According to Davis, despite her leadership in the project's initial research and development, Cooney's installment as CTW's executive director was put in doubt due to her lack of high-level managerial experience and leadership, untested financial management skills, and lack of experience in children's television and education. Davis also speculated that sexism was involved, stating, "Doubters also questioned whether a woman could gain the full confidence of a quorum of men from the federal government and two elite philanthropies, institutions whose wealth exceeded the gross national product of entire countries". At first, Cooney did not fight for the position, but with the support of her husband and Morrisett, and after the investors of the project realized that they could not move forward without her, Cooney pursued it and was named executive director of CTW in February 1968. As one of the first female executives in American television, her appointment was called "one of the most important television developments of the decade".

Sesame Street premiered on PBS on November 10, 1969. In its first season, the show won three Emmys, a Peabody, and was featured on the cover of Time magazine. According to Newsday, "Scores of glowing newspaper and magazine stories fluttered down on Mrs. Cooney and her workshop like confetti onto the heads of conquering heroes". Les Brown of Variety called Cooney "St. Joan". Cooney later reported, "The reception was so incredible. The press adored us; the parents adored us." The first year Sesame Street was on the air, Cooney was, as Davis put it, "inundated with attention". Cooney reported that the requests for interviews from the press "were endless", and attributed it to the emergence of the women's movement in the early 1970s. Cooney also testified before Congressional hearings on children and television, starting before the show's premiere.

In 1969, the Cooneys, who were childless, became "de facto foster parents to an inner-city black child" whom Tim met while working in Harlem for a civil rights organization. Eventually, the child returned to live with his mother and was killed in New York City before he turned 30. The Cooneys' marriage, which Davis called "turbulent", ended in 1975. Due to Tim's long history of alcoholism, he was unable to support himself, so Cooney paid him alimony until his death in 1999. In August 1975, nine months after separating from her husband, Cooney was diagnosed with breast cancer and underwent a radical mastectomy. In 1980, Cooney married businessman Peter G. "Pete" Peterson, former U.S. Secretary of Commerce under President Richard Nixon. They met when Peterson was on the board of National Educational Television, during her presentation of Sesame Street to them. They were married for 37 years, until his death in 2018. From her marriage to Peterson, she had five stepchildren and nine grandchildren.

Later years
Cooney remained the chairwoman and chief executive officer of the CTW until 1990 when she stepped down and was replaced by David Britt, whom Cooney called her "right-hand for many years". Britt had worked for her at the CTW since 1975 and had been its president and chief operating officer since 1988. At that time, she became chairman of the CTW's executive board, which oversaw its businesses and licensing, and became more involved in the organization's creative side.

Cooney served on several committees and corporate boards, including the Mayo Foundation, Chase Manhattan Bank, Johnson & Johnson, and Metropolitan Life Insurance. Cooney recognized that she was invited to serve on these boards because she was a woman and because companies were trying to be more inclusive. She also did some public speaking on the behalf of the CTW and returning to her roots, worked on documentaries. She credited her involvement with the boards with teaching her how to run an organization and about the business world. In 2007, Sesame Workshop founded The Joan Ganz Cooney Center, an independent, non-profit organization which studies how to improve children's literacy by using and developing digital technologies "grounded in detailed educational curriculum", just as was done during the development of Sesame Street. In 2014, Public Prep launched a full day pre-kindergarten program for low-income four-year-olds living in South Bronx NYC Housing Authority projects, called the Joan Ganz Cooney Early Learning Program.

Honors
Unless otherwise noted, entries from Cooney's entry in Encyclopedia of Television (2013).
 * Christopher Medal, 1970
 * National Institute for Social Sciences Gold Medal, 1971
 * Frederick Douglass Award, New York Urban League, 1972
 * Silver Satellite Award, American Women in Radio and TV, 1979
 * Woman of the Decade Award, 1979
 * National Endowment for the Arts, Friends of Education Award, 1981
 * Kiwanis Decency Award, 1981
 * National Association of Educational Broadcasters Distinguished Service Award, 1981
 * Stephen S. Wise Award, 1981
 * Harris Foundation Award, 1982
 * Emmy Award, for Lifetime Achievement, 1989
 * Academy of Television Arts and Sciences Hall of Fame, 1989
 * University of Arizona Centennial Medallion Award, 1989
 * Presidential Medal of Freedom, 1995
 * 10th Anniversary Award, National Alliance of Breast Cancer Organizations, 1996
 * National Women's Hall of Fame, 1998
 * National Endowment for the Humanities Award, 2003
 * National Humanities Medal, 2004
 * Literarian Award of the National Book Award, 2010
 * Honoree, Annual Sesame Workshop Benefit Gala, 2014
 * International Broadcasting Convention's International Honor for Excellence; first woman to receive award, 2018

Board of directors

 * Director, Johnson & Johnson
 * Director, Metropolitan Life Insurance Company
 * National Commission on Marihuana and Drug Abuse, 1971–73
 * National News Council, 1973–81
 * Council Foreign Relations, 1974–present
 * Advisory Committee for Trade Negotiations, 1978–80
 * Governor's Commission on International Year of the Child, 1979
 * President's Commission for Agenda for the 1980s, 1980–81
 * Carnegie Foundation National Panel on High Schools, 1980–82
 * National Organization for Women (NOW)
 * National Academy of Television Arts and Sciences
 * National Institute Social Sciences
 * International Radio and TV Society
 * American Women in Radio and TV

Trustee

 * WNET (Channel 13)
 * Emeritus, Museum of Television & Radio (Paley Center)
 * Allegheny College
 * Columbia Presbyterian Hospital
 * National Child Labor Committee

Honorary degrees

 * Boston College, 1970
 * Hofstra University, 1970
 * Ohio Wesleyan University, 1971
 * Oberlin College, 1972
 * Princeton University, 1973
 * Russell Sage College, 1974
 * University of Arizona, 1975, 1989
 * Harvard University, 1975
 * Allegheny College, 1976
 * Georgetown University, 1978
 * University of Notre Dame, 1982
 * Smith College, 1986
 * Brown University, 1987
 * Columbia University, 1991
 * New York University, 1991
 * University of Pennsylvania, 2002
 * Dartmouth College (Doctor of Arts), 2006
 * Northwestern University (Doctor of Humane Letters), 2012

title: Joan Ganz Cooney


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Wikipedia:Articles for deletion/Lamp5

Non-notable. Hardly any content. No external links. Couldn't find relevant Google hits. I'm a PHP programmer and I haven't heard of this. -- Stevietheman 05:30, 8 Aug 2004 (UTC)
 * Delete. All Google hits are about lamps. Sounds vague, and doesn't even have a project link. --Slowking Man 06:15, Aug 8, 2004 (UTC)
 * Delete: too vague to be useful, and in either case, it's not even a finished product that can be meaningfully written about. What 'community' is it that is meant to be building it, anyway? TPK 12:06, 8 Aug 2004 (UTC)
 * Delete: Premature entry, so to speak. I suspect some of our developer friends who have come to us from Slashdot are intending well and giving us information on their projects of late.  At any rate, delete for not being notable.  Geogre 12:45, 8 Aug 2004 (UTC)
 * Comment: I did find the Lamp5 websiteafter more searching, but this project is spanking new. Therefore, this article isn't nothing more than a promotion. -- Stevietheman 15:44, 8 Aug 2004 (UTC)
 * Delete. Worthy, but not yet noteworthy. --Ianb 22:09, 8 Aug 2004 (UTC)

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

title: Wikipedia:Articles for deletion/Lamp5


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The Brothers Four

The Brothers Four is an American folk singing group formed in 1957 in Seattle, Washington, and best known for their 1960 hit song "Greenfields".

History
Bob Flick, John Paine, Mike Kirkland, and Dick Foley met at the University of Washington, where they were members of the Phi Gamma Delta fraternity in 1956 (hence the "Brothers" appellation). Their first professional performances were the result of a prank played on them in 1958 by a rival fraternity, who had arranged for someone to call them, pretend to be from Seattle's Colony Club, and invite them to come down to audition for a gig. Even though they were not expected at the club, they were allowed to sing a few songs and were subsequently hired. Flick recalls them being paid "mostly in beer".

They left for San Francisco in 1959, where they met Mort Lewis, Dave Brubeck's manager. Lewis became their manager and later that year secured them a contract with Columbia Records. Their second single, "Greenfields", released in January 1960, hit No. 2 on the Billboard Hot 100, sold over one million copies and was awarded a gold disc by the RIAA. Their first album, The Brothers Four, released toward the end of the year, made the top 20. Other highlights of their early career included singing their fourth single, "The Green Leaves of Summer", from the John Wayne movie The Alamo, at the 1961 Academy Awards, and having their third album, BMOC: Best Music On/Off Campus, go top 10. They also recorded the title song for the Hollywood film Five Weeks in a Balloon in 1962 and the theme song for the ABC television series Hootenanny, "Hootenanny Saturday Night", in 1963. They also gave "Sloop John B" a try, released as "The John B Sails".

The British Invasion and the ascendance of edgier folk rock musicians such as Bob Dylan put an end to the Brothers Four's early period of success, but they kept performing and making records, doing particularly well in Japan and on the American hotel circuit.

The group attempted a comeback by recording a highly commercialized version of Dylan's "Mr. Tambourine Man", but were unable to release it due to licensing issues; The Byrds eventually licensed an agreement for their own version, with their Billboard No. 1 hit released in April 1965.

The group, in a business partnership with Jerry Dennon, built a radio station in Seaside, Oregon (KSWB) in 1968. The station was subsequently sold in 1972 to a group from Montana, and later to a self-proclaimed minister, and finally merged into a larger conglomerate of radio stations.

Mike Kirkland left the group in 1969 and was replaced by Mark Pearson, another University of Washington alumnus. In 1971, Pearson left and was replaced by Bob Haworth, who stayed until 1985 and was replaced by a returning Pearson. Dick Foley left the group in 1990 and was replaced by Terry Lauber. The group is still active after 66 years in the business.

Founding former member Kirkland died of cancer on August 20, 2020, at age 82.

title: The Brothers Four


text: Template:Local government in New Zealand


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Okeechobee

Okeechobee may refer to:

 * Lake Okeechobee, in Florida, United States
 * Okeechobee, Florida, United States
 * Okeechobee County, Florida, United States
 * Okeechobee Waterway, in Florida, United States
 * Okeechobee Plain, in Florida, United States
 * Okeechobee Group, geologic group in Florida, United States
 * Okeechobee (Metrorail station)
 * Okeechobee (Amtrak station)
 * 1928 Okeechobee hurricane
 * Okeechobee Music & Arts Festival, in Florida, United States

title: Okeechobee


text:
User:Slowking Man/Picture List

This is a page listing the pictures that I've contributed to Wikipedia. I release all my pictures into the public domain, and I encourage you to do the same; it makes use of them much easier. Just put on the relevant Image page.

 * Image:Cathedral Peak.png
 * Image:Continuumitemsscreenshot.png
 * Image:Continuumshipset.PNG
 * Image:Gaslampquartergate.jpg
 * Image:Leetspeak.png
 * Image:Mallet.jpg
 * Image:PETCOparkconstruction.jpg
 * Image:Reagancourtyard.jpg
 * Image:Reagantomb.jpg
 * Image:Sandiegoconventioncenterfront.jpg
 * Image:Screenshot71.PNG
 * Image:Stanfordmemorialchurch.jpg

title: User:Slowking Man/Picture List


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United States House Committee on Transportation and Infrastructure

The U.S. House Committee on Transportation and Infrastructure is a standing committee of the United States House of Representatives.

History
The Committee on Transportation and Infrastructure was formerly known as the Committee on Public Works and Transportation from 1975 to 1994, and the Committee on Public Works between 1947 and 1974.

Under the Legislative Reorganization Act of 1946 the Committees on Public Buildings and Grounds (1837–1946), Rivers and Harbors (1883–1946), Roads (1913–1946), and the Flood Control (1916–1946) were combined to form the Committee on Public Works. Its jurisdiction from the beginning of the 80th Congress (1947–1948) through the 90th Congress (1967–1968) remained unchanged.

While these four original committees retained their separate identities, they were reduced to subcommittees. Additional subcommittees were formed for issues on Beach Erosion, 80th Congress (1947–1948) and for Watershed Development, 86th–90th congresses (1959–1968). Special Subcommittees included those: to Investigate Questionable Trade Practices, 80th Congress; to Study Civil Works, 82nd Congress (1951–1952); on the Federal-Aid Highway Program, 86th–90th congresses; and on Economic Development Programs, 89th–90th congresses (1965–1968). Ad Hoc Committees were established on Montana Flood Damage, 88th Congress (1963–1964); on Appalachian Regional Development, 88th–90th congresses; and on the 1967 Alaska Exposition, 89th Congress.

Members, 118th Congress
Resolutions electing members: (Chair),  (Ranking Member),  (D),  (R),  (R)

Subcommittees
There are six subcommittees:

117th Congress
Resolutions electing members: (Chair),  (Ranking Member),  (D),  (R),  (D),  (D)

 * Subcommittees

116th Congress
Sources: (Chair),  (Ranking Member),  (D),  (R),  (D),  (R)

 * Subcommittees

115th Congress
Sources: (Chair),  (D),  (R)

112th Congress

 * Resolutions electing Republican members
 * Resolutions electing Democratic members


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User:Mrtrey99

I have no rhyme or reason for my edits, I am usually just following a long trail of links after looking up something simple.

title: User:Mrtrey99


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John Webster (musician)

John Webster (born December 18, 1957) is a musician, engineer and producer who primarily plays keyboards. He began his musical career as a child, trained in classical piano until his early teens, and then moved on to playing in rock bands. One of his first bands, Stonebolt, landed a top 30 U.S. hit with its first release in 1978 and went on to record four successful albums.

Webster joined the band Red Rider in 1984, performing on that year's Breaking Curfew album and remaining with the group until they disbanded in 1990. Webster then continued to work closely in productions with its leader, Tom Cochrane, including his highly successful Mad Mad World album.

Through the 1980s and 1990s, Webster worked on many major recordings done in Vancouver's Little Mountain Sound Studios with producers Bruce Fairbairn and Bob Rock.

Webster has appeared on many albums by established artists all over the musical spectrum. His production achievements include two Juno awards, many nominations, and numerous multi-platinum Canadian releases in both languages. He also composes music for films, including Rapid Fire (2005) and Absolute Zero. He performed live with R.S.O (Richie Sambora/Orianthi) in 2016 with dates in Europe, Asia, and South America.

Webster's partner is songwriter/artist Annette Ducharme.

Discography

 * 22nd Century (band) — The Twenty Second Century — keyboards, producer, engineer, mix
 * 22nd Century (band) — Where's Howie — producer, engineer, mix
 * Lee Aaron — Fire and Gasoline — keyboards, engineer, mix
 * Lee Aaron — Diamond Baby Blues — keyboards, producer, engineer, mix
 * Lee Aaron — Radio on — engineer
 * Lee Aaron — Elevate — engineer
 * AC/DC — The Razors Edge — programming
 * Aerosmith — Get a Grip — keyboards, programming
 * Aerosmith — Nine Lives — keyboards
 * Aerosmith — Pump — keyboards
 * After All — How High the Moon — producer, keyboards
 * Annihilator — Set the World on Fire — keyboards
 * Jann Arden — Covers 2, Spotlight, Christmas — keyboards
 * Bif Naked — Five Songs and a Poem — keyboards
 * Bif Naked —i bificus — producer, keyboards
 * Bif Naked — Superbeautifulmonster — keyboards, mix
 * Jordie Birch — Beatrice — mix
 * Jaydee Bixby — Cowboys and Cadillacs — producer, engineer, mix, keyboards
 * Jaydee Bixby	— Easy to Love — producer, engineer, mix, keyboards
 * Blue Murder — Blue Murder — keyboards, keyboard programming
 * Bon Jovi — Slippery When Wet — programming
 * Bon Jovi — New Jersey — programming
 * Boom Desjardins — Avec le Temps —	producer, engineer, mix, keyboards
 * Boom Desjardins —	Boom Desjardins — producer, engineer, mix, keyboards
 * Boom Desjardins — Rock le Quebec — producer, engineer, mix, keyboards
 * Black Veiled Brides	- Black Veiled Brides IV — keyboards
 * Michael Bublé — Christmas — Hammond B3 organ
 * Michael Bublé and Van Morrison — Real, Real Gone — keyboards
 * Captain Tractor — Celebrity Traffic Jam — producer, engineer, mix, keyboards
 * Cher — Love Hurts — keyboards
 * Cinderella — Long Cold Winter — keyboards
 * The Clumsy Lovers — After the Flood — producer, engineer, mix, keyboards
 * The Clumsy Lovers — Smart Kid — producer, engineer, mix, keyboards
 * Tom Cochrane — Mad Mad World — arranger, keyboards
 * Tom Cochrane — Ragged Ass Road — keyboards, producer, engineer
 * Tom Cochrane — Songs of a Circling Spirit — mix
 * Tom Cochrane — Trapeze — engineer, mix
 * Tom Cochrane — X-Ray Sierra — producer, engineer, mix, keyboards
 * Tom Cochrane & Red Rider — The Symphony Sessions — keyboards
 * Tom Cochrane & Red Rider — Tom Cochrane & Red Rider — keyboards
 * Tom Cochrane & Red Rider — Victory Day — bass, keyboards, producer
 * Alice Cooper — Hey Stoopid — keyboards
 * Travis Cormier — Dollars and Hearts — keyboards
 * The Cult — Sonic Temple 	— keyboards
 * Alan Doyle — A Week at the Warehouse — keyboards
 * Dan Reed Network - Dan Reed Network - keyboards, programming
 * Annette Ducharme — Bloom — producer, engineer, mixing, keyboards
 * Annette Ducharme — Blue Girl — producer, engineer, mixing, keyboards
 * Annette Ducharme — Sanctuary — producer, engineer, mixing, keyboards
 * Annette Ducharme — Toilet Trained — producer, engineer, mixing, keyboards
 * Annette Ducharme — Tortured — producer, engineer, mixing, keyboards
 * Electric Boys — Funk-O-Metal Carpet Ride — keyboards
 * Johnny Ferreira — Sax on the Beach — producer, engineer, mix, keyboards
 * Nina Gordon — Tonight and the Rest of My Life... — keyboards
 * Gowan — Lost Brotherhood — keyboards
 * Grapes of Wrath — Treehouse — keyboards
 * Oliver Haze — Wandering Trip — producer, engineer, mix, keyboards
 * The Heck — The Heck — producer, engineer, mix, keyboards
 * Idle Eyes — Idle Eyes — keyboards
 * The Immigrants — The Immigrants — producer, engineer, mix, keyboards
 * Colin James — Take It from the Top — keyboards
 * Jet Set Satellite — Blueprint — producer, engineer, mix, keyboards
 * Jonas — Jonas — producer, engineer, mix, keyboards
 * Jonas — Promised Land — producer, engineer, mix, keyboards
 * Jonas — Suite Life — producer, engineer, mix, keyboards
 * Kingdom Come — Kingdom Come — keyboards
 * Paul Laine — Stick it in your Ear — keyboards
 * Eric Lapointe — Invite Les Vatours — arranger, keyboards, programming
 * Eric Lapointe — A l'Ombre de L'Ange — arranger, keyboards, programming
 * Limblifter — Bellaclava — keyboards
 * Little Caesar — Little Caesar — keyboards
 * London Quireboys — London Quireboys — keyboards
 * Sean MacDonald — Butterflies — mix
 * Raymond May — Unadulterated Addiction — keyboards
 * Kim Mitchell — Aural Fixations — keyboards, producer
 * The Moffats — Submodalities — keyboards
 * Stefane Moraille (Bran Van 3000) — producer, engineer, mix, keyboards
 * Mötley Crüe — Decade of Decadence — keyboards
 * Mötley Crüe — Dr. Feelgood — keyboards, programming
 * Nazanin — Nazanin — producer, engineer, mix, keyboards
 * Never the Bride — Never the Bride — keyboards
 * Paperboys — Molinos — keyboards, producer, engineer, mix
 * The Paperboys — Postcards — producer, engineer, mix, keyboards
 * Kevin Parent — Fangless Wolf Faces Winter — keyboards
 * Kevin Parent — Le Grand Parleur	— producer, engineer, mix, keyboards
 * Kevin Parent — Les Vents ont Changé — producer, engineer, mix, keyboards
 * A Perfect Day — All Over Everything — producer, engineer, mix, keyboards
 * A Perfect Day — A Perfect Day — producer, engineer, mix, keyboards
 * Poison — Flesh and Blood — keyboards
 * Marshall Potts — The Storm — producer, engineer, mix, keyboards
 * Pure — Generation Six-pack — mix
 * Pure — Pure — producer, engineer
 * Rampage — Randy's Final Rampage — producer (2019-08-01) unreleased final album of the late Randy Rampage
 * Red Rider — Breaking Curfew — keyboards
 * Jodi Rescher — producer, engineer, mix, keyboards
 * Rock and Hyde — Under the Volcano — keyboards, programming
 * Rockhead — Rockhead — keyboards
 * Mick Ronson — Heaven and Hull — keyboards
 * David Lee Roth — A Little Ain't Enough – keyboards
 * Rush — Counterparts — keyboards
 * Rymes with Orange — One More Mile — mix
 * Rymes with Orange — Trapped in the Machine — producer, engineer, mix, keyboards
 * Salvador Dream — Salvador Dream — producer, engineer, mix, keyboards
 * Scorpions — Face the Heat — keyboards
 * Ron Sexsmith	— Late Bloomer — keyboards
 * R.S.O (Richie Sambora/Orianthi) — Radio Free America — keyboards
 * Soma City Ward — mix
 * SoulDecision — single — remix
 * Soundtrack — A Guy Thing (Julia Stiles/Jason Lee film) — engineer, mix
 * Soundtrack — Urban Legend — producer, engineer, mix, keyboards
 * Sharp Edges — Slice of Life — keyboards
 * Special Guests — the first Album — producer, engineer, mix, keyboards
 * Stonebolt — Keep It Alive — keyboards
 * Stonebolt — New Set of Changes — keyboards
 * Stonebolt — Stonebolt — keyboards
 * Suicidal Tendencies — The Art of Rebellion — keyboards
 * The Suits XL — mix
 * Tailor-made Fable — mix, keyboards
 * Templar — Under The Sun — producer, engineer, mix, keyboards
 * Tragically Hip — We Are the Same — keyboards
 * Van Halen — Balance — keyboards
 * The Vincent Black Shadow — Fear Is in the Water — engineer, mix, keyboards
 * Warrant — Cherry Pie — keyboards
 * West End Girls — West End Girls — arranger, keyboards
 * West End Girls — We Belong Together — arranger, keyboards
 * Winston — Passengers — producer, engineer, mix, keyboards

Film and TV credits

 * Absolute Zero (movie score composer/performer)
 * Anywhere but Here (20th Century Fox)
 * The Anna Nicole Show
 * Pop Star Puppy (movie score composer/performer)
 * Edgemount (CBC series title track)
 * Fashion TV (numerous)
 * A Guy Thing (Jason Lee/Julia Stiles movie)
 * Rapid Fire (Movie score composer/performer)
 * Sweetwater (HBO)
 * Urban Legend (Tri-Star)

Awards

 * Juno Award Best Group 1986 — for Red Rider
 * Juno Award Roots Traditional 1998 — for The Paperboys
 * Juno Award Best Francophone Album 2002 — for Kevin Parent
 * Felix Award Engineer of the Year 2002 — for Kevin Parent
 * Socan No. 1 Award 2005 — Pour Te Voir

title: John Webster (musician)


text:
Shagrat (band)

Shagrat was a British supergroup formed by Steve Peregrin Took and Mick Farren in February 1970 after they split with Twink, their partner in the prototype Pink Fairies supergroup of late 1969. They recruited Larry Wallis (guitar, backing vocals) and Tim Taylor (bass), both formerly of The Entire Sioux Nation. Farren left the band shortly after its establishment and never recorded or performed with them (although he gave some press interviews on the formative band's behalf during this time). Shagrat then became Took's band outright with Wallis, Taylor, Phil Lenoir (drums), and later Dave Bidwell (percussion).

As well as being an offshoot of the birth of the original Pink Fairies incarnation of 1970–1972, Shagrat set the template for Took's solo/frontman career (into which the band eventually mutated). Shagrat also proved to be an ancestor of both the 1973 Pink Fairies incarnation which recorded the Kings Of Oblivion album and also the founding Motörhead incarnation which recorded On Parole, in both cases after Farren recommended Wallis, based on his guitar playing with Shagrat, respectively to the Fairies as a guitarist/singer and to Lemmy as a guitarist.

Took discussed the band retrospectively in the NME and it would much later receive coverage in Rockerilla, Record Collector and Classic Rock

Origin of the name
The band was named after the Orc Shagrat from The Lord of the Rings and was a contraction of 'Shagrat The Vagrant', the name under which Steve Took had been credited on Mick Farren's album Mona – The Carnivorous Circus. In 1991, Larry Wallis gave an alternative explanation. "'Steve Took' was Steve Took's real name as far as we were concerned, so he decided to take on another persona, 'Shagrat' who was the guy with the slanty eyes, pointed beard and the suede shoes."

Interviewed in 1972, Took himself offered yet another explanation: "I am gutter Rock, I'm a schneide. That's why I had Shagrat – it was a rat trip. Rats turn over at an amazing pace and they have a lot of kids. Not only do they eat the poison but they thrive on it and get bigger and they can still slip under doorways. It's the ecology trip. Do you know how many rats were killed in New York last year? 'Cos I don't! Hah! I can't remember my figures."

Career
At Strawberry Studios in Stockport, they recorded a session, produced by Wallis's father, consisting of three tracks, "Peppermint Flickstick", "Boo! I Said Freeze" and "Steel Abortion". Having been previously scheduled to appear at the May 1970 Hollywood Music Festival in Newcastle-under-Lyme, the band finally undertook their first gig, at the Phun City Festival near Worthing, Sussex on 24–26 July 1970. The band (minus Taylor, with Took playing bass) played a 30–45 minute set, including all three songs from the Strawberry Studios session plus a cover of "7 and 7 Is" by Love. The gig had certainly got the band off to a good start, but problems set in immediately afterwards. Phil Lenoir left (Took claimed that they never saw him again after the festival), leaving Shagrat in search of a new rhythm section.

A new drummer was recruited, Chicken Shack's Dave Bidwell, while Took continued with bass guitar. They continued to rehearse together sometimes alongside prospective bassists, in preparation for a 13 December 1970 live date at the Roundhouse Christmas Spaced Party event which had been booked and they received approaches from several record labels. Shagrat's eventual demise resulted from Took being the band's only full-time member. Bidwell was one of three Chicken Shack members who, during 1970, transferred to Savoy Brown. Wallis meanwhile joined Blodwyn Pig and later UFO.

With the Roundhouse gig booking looming, and Took not wishing to cancel, his only option was to play the gig by himself, which he did. Wallis and Bidwell in early 1971 assisted Took in the recording of a set of four acoustic demos, – "Amanda", "Strange Sister", "Still Yawning Stillborn" and "Beautiful Deceiver". The trio also rehearsed for possible live performances as an acoustic band, which Wallis recalled involved Bidwell "pounding (the) fuck out of a telephone book."

Legacy and retrospect
Following a positive reaction to Took's solo performance in lieu of a Shagrat band set at the Roundhouse, he continued with the solo format. Took made some headway as a live act, frequently supporting the Pink Fairies and Hawkwind, attracting some coverage in the UK music press and even performing a live radio session on Steve Bradshaw's Breakthrough programme on BBC Radio London. Took continued to make use of the Shagrat bandname by occasionally billing himself as 'Steve Shagrat Took' – notably on advertisements for his support slot for Hawkwind at Chatham Central Hall on 18 November 1971.

Wallis' guitar work for Shagrat earned him Farren's recommendation in 1972 as the new guitarist/frontman for the Pink Fairies. Following Paul Rudolph's departure from the band, remaining members Duncan Sanderson and Russell Hunter had been working with Took on a rerecording of acoustic Shagrat song "Amanda" as a possible single. Longtime Took friend Mick Wayne happened to be in the studios at the time and was roped into the session on guitar. Afterwards, Wayne, Sanderson and Hunter formed a new Pink Fairies lineup which recorded the single "Well Well Well." Unhappy at Wayne's songwriting and playing style however, the other two Fairies approached Farren to nominate a successor. Farren's choice was Wallis and he repeated this choice two and a half years later when asked by Lemmy to suggest a guitarist for the founding lineup of Motörhead. The two band incarnations featuring Wallis recorded the Kings Of Oblivion and On Parole albums respectively. This was to be the start of a long personal and professional relationship between Wallis and Farren, which encompassed Wallis' production work and co-songwriting on Farren's second solo album Vampires Stole My Lunch Money. The partnership was renewed in late 2001 when Wallis provided musical backing at Farren's reading of his memoir Give The Anarchist A Cigarrette at London pub Filthy McNasty's.

Looking back on Shagrat in 1972, Took opined that the band had suffered from being ahead of its time. Interviewed by Charles Shaar Murray in 1972 for the NME, Took commented that record companies "didn't want to buy Steel Abortion or Peppermint Flickstick. A bit naughty, the words, but then I'd taken in all this American culture and American society in general, and got chemicalised out of it, a general trip, and put it all into words. Now there's Alice Cooper's School's Out and Killer, Hawkwind and the general thing is there now, and it wasn't there then because they couldn't accept that it was gonna sell. I was saying to 'em. "Look, man, look at the Yanks, because we're about three years behind them as far as youth culture is concerned. This is what's gonna sell." and they'd say, 'Oh yes, lads sure, do they really want to hear this sort of thing?"

Critical reception
Classic Rock's Michael Heatley awarded Captain Trip Records' 2001 Lone Star album release of Shagrat's studio sessions three stars out of five in the November 2001 edition, commenting "They sound rather like Marc Bolan fronting Hawkwind. Plenty of personality that shines through despite the somewhat suspect sound quality."

Record Collector in April 2024 included Lone Star in a listing of "Stars of Beards - 10 UK underground classics" as a sidebar from a "Freak Scene" cover feature on the 1960s/1970s UK underground scene.

Electric Shagrat

 * Steve Peregrin Took: lead vocals, rhythm guitar, maracas
 * Larry Wallis: lead guitar, backing vocals
 * Tim Taylor: bass
 * Phil Lenoir: drums

Acoustic Shagrat

 * Steve Peregrin Took; vocals, acoustic guitar
 * Larry Wallis: acoustic bass
 * Dave Bidwell: percussion (tambourine, handclaps)

title: Shagrat (band)


text:
Talk:Ender Wiggin

Vlad
Vlad in the article points to Vlad, which has nothing to do with Ender's Game. Thoughts on how to correct that?

 * Was the Ender's Game Vlad's full name given anywhere? If not, it should just be Vlad (Ender's Game). Ausir 21:19, 8 Aug 2004 (UTC)

 * If his full name is not given, then yes. :-)  — Frecklefoot | Talk 17:48, Aug 9, 2004 (UTC)

Removed Some Text
I removed the following sentences from the article: " Ender is essentially a religious, quasi-Messianic character, and this quality is developed substantially in the sequels to Ender's Game. Moreover he is a Messiah who is manipulated by the military complex for the execution of their militaristic intentions. "
 * There is some substantiation to that, though. Especially since as Speaker of the Dead he has some literal religious significance, but just in the Xenocide he was considered to have saved mankind. --Kizor 14:31, 15 December 2005 (UTC)
 * Substantiation or not, that would definitely go under the category of "original research" and thus outside the guidelines of Wikipedia. Unless, of course, that contributor cited a source for that assertion. Zaklog 05:06, 17 July 2006 (UTC)

Ender and Bean reunited?
I removed the following: "In it [the ninth novel], Ender and Bean, both preserved by relativistic travel, will reunite for a new adventure." I have never heard of this happening. It does not seem possible, as Ender has died by the end of Children of the Mind, and a previous meeting with Bean was never mentioned. Anyone know where this came from? —Preceding unsigned comment added by 70.21.38.99 (talk • contribs)

 * I must say it sounds a bit loopy to me, but I wouldn't rule anything out for sure. As for how it could happen, the only explanation I could offer would be through Ender's new incarnation in the Pseudo-Peter he created in the Outside. —Preceding unsigned comment added by Foot Dragoon (talk • contribs)

 * You forget; there's 3000 years or so between Ender's Game and Speaker where Ender's skipping through the stars with Valentine. As of the end of Shadow of the Giant, Bean's doing the same thing. There's the whole 'space is vast and chances of running into each other are remote', but sci-fi authors have been getting around that for years. It probably shouldn't be in the article though, as it's only a speculative theme for one of Card's next novels. —Preceding unsigned comment added by Zaklog (talk • contribs)

Cameo Apperance
I haven't read the book in awhile but when does Ender appear in Shadow of the Giant? --Phoenix Hacker 00:10, 13 June 2006 (UTC)
 * When he talks to Peter on the ansible, I believe. --Foot Dragoon 01:05, 5 September 2006 (UTC)

Missing from the timeline
Isn't the current formation of the article missing a big part of the story - how Ender leaves Earth/Command School and arrives on Lusitania? In it's current form, the article is complete incomprehensible. morphax 06:15, 29 December 2006 (UTC)

 * The article is ordered in the chronology of the book releases and not Ender's actual chronology. I wouldn't describe it as "incomprehensible," but those completely unfamiliar with the books may find it confusing at first. — Preceding unsigned comment added by Wthannah (talk • contribs) 20:17, 10 February 2012 (UTC)

Children of the Mind
This synopsis is much shorter than all the others. Does the story really have so little plot? or is more needed?

Spoiler Alert?
Shouldn't this article contain a nice big spoiler alert at the top? I came to this page to see if I could find a teaser or something which I could send to a friend, in order to encourage him to read Ender's Game, and instead found spoilers for all of the books. Luckily I had read them already, but had I pointed him here without checking first, the results could have been disastrous (relatively speaking). Mattihito 19:29, 13 July 2007 (UTC)

 * Spoiler alerts have been nixed on Wikipedia. So expect to find spoilers on any article herein. — Frecklefσσt | Talk 18:41, 28 September 2007 (UTC)

Unnamed fifth book
I removed this section, because it is clearly talking about any one of the Shadow series books. — Frecklefσσt | Talk 18:41, 28 September 2007 (UTC)
 * It could have been about Shadows in Flight, which probably should be mentioned here. -Chunky Rice 19:29, 28 September 2007 (UTC)

 * I kind of think it's best not to speculate in articles. You know, original research and all?  If we can find another source that makes that speculation, fine.  Otherwise, it's just original research. — Frecklefσσt | Talk 23:10, 28 September 2007 (UTC)
 * Why would it be speculation to include a brief mention about Shadows in Flight or Ender in Exlie? -Chunky Rice 00:08, 29 September 2007 (UTC)

Peter or Valentine
I don't know if anyone ever noticed, but in most, if not all, of the Shadow books, maybe even one of the later books in the Ender Quartet, if my memory serves, it says that Peter is the one that made it so that Ender could not have come back to Earth, even though in Ender's Game Valentine explains why she made it so and asked Ender to decide whether she hates him or not. Should this lapse be pointed out, or should it be changed to say Peter in the article, as later stories user it and it seems somewhat more important to their story.24.72.73.240 (talk) 23:08, 16 November 2007 (UTC)

The main reason peter is credited with keeping Ender from coming to earth is that the treaty was called the "Locke Treaty", because peter is/was Locke it's considered his genius even though at least some of it was because of Demosthenes (Valentine).

Wikiiscool123 (talk) 18:28, 1 December 2008 (UTC)

Stilson and Bonzo
I didn't see any mention of Stilson and Bonzo in the synopsis of Ender's Game. Shouldn't they be in there? 71.145.166.101 (talk) 21:54, 23 February 2008 (UTC)

Clarification
In regards to the Ender's Game plot analysis/description, several things seemed incorrect. The first is a somewhat minor issue, but for Valentine's description I think she was referred to as too "passive" as opposed to "weak". While the differentiation may be minor, I think that word choice is important to pay attention to... Secondly, the government didn't decide to "create" Ender, they merely allowed his parents not to be punished having a third child. His parents stated that they would most likely have had another child regardless, but it worked out nicely that they weren't punished for having Ender. While Ender certainly was a gifted child, along with his other siblings, the thing that set him apart was his ability to be both sympathetic and yet at the same time ruthless. at least in action. For example, after he pretty much destroys his current enemy (Stilson, Bonzo, the buggers), he always experiences moments of regret once he's had time to really think about the events. I'll clarify further and cite page references once I find the relevant passages. In reference to the "misunderstanding/miscommunication" between the buggers and humanity, I think it might be relevant to clarify that it wasn't so much the actual conflict between them that the buggers regretted, but that each human being is sentient as opposed to the bugger drones that follow their queen's directives. As far as the buggers were concerned, they were just shutting down drones, not actual "hives". Did anyone else feel like there's just a lot of inaccurate information in these plot summaries?--Realitychecksme (talk) 07:18, 18 March 2009 (UTC)
 * Agreed. A plot summary does not need to follow every character nor does it need to devulge more than is necessary. --Buster7 (talk) 11:27, 3 September 2009 (UTC)

Userful ref
"'My son Geoff, who, though he is no longer the five-year-old he was when I wrote the novel Ender’s Game, is still the model for Ender Wiggin;'"

From the Acknowledgements in Ender's Shadow. --Gwern (contribs) 00:17 7 June 2009 (GMT)

picture
does anyone thnk it is a good idea to put up a photo of asa butterfeild as ender in this artical? Lex Martin (talk) 02:53, 3 January 2012 (UTC)

Children of the Mind
Hi, I'm new to wikipedia editing. I added the section Children of the Mind, because it wasn't there before and it seemed like an important thing to add. Please, please, please add more or edit what I added, because what I did write is very basic and thin.BreCaitlin (talk) 20:43, 31 January 2013 (UTC)

External links modified
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Shouldn't the books be in chronological order as opposed to publishing order? Wandavianempire (talk) 20:47, 21 February 2020 (UTC)

what makes a good page on a book character?
Hi, I haven't worked on character pages at all but I'm interested in this one. There is quite a bit of information from the books and not a lot from the (considerable) analysis of his character. Is there a good page on a book character I could reference for what a good page would look like? Thanks, Rachel Helps (BYU) (talk) 16:36, 26 May 2020 (UTC)

title: Talk:Ender Wiggin


text:
Randolph Bourne

Randolph Silliman Bourne (May 30, 1886 – December 22, 1918) was a progressive writer and intellectual born in Bloomfield, New Jersey, and a graduate of Columbia University. He is considered to be a spokesman for the young radicals living during World War I. His articles appeared in journals including The Seven Arts and The New Republic. Bourne is best known for his essays, especially his unfinished work "The State," discovered after he died. From this essay, which was published posthumously and included in Untimely Papers, comes the phrase "war is the health of the state" that laments the success of governments in  arrogating authority and resources during conflicts.

Life and works
Bourne's face was deformed at birth by misused forceps and the umbilical cord was coiled round his left ear, leaving it permanently damaged and misshapen. At age four, he suffered tuberculosis of the spine, resulting in stunted growth and a hunched back. He chronicled his experiences in his essay titled, "The Handicapped - by one of them", considered a foundational work in disability studies. At age 23, he won a scholarship to study at Columbia University, from which he graduated in 1912 with a Bachelor of Arts degree and a Master's degree in 1913. He was a journalist and editor of the Columbia Monthly, and he was also a contributor to the weekly The New Republic since it was first launched in 1914, but after America entered the war, the magazine found his pacifist views incompatible. From 1913 to 1914, he studied in Europe on a Columbia Fellowship.

World War I divided American progressives and pitted an anti-war faction—including Bourne and Jane Addams—against a pro-war faction led by pragmatist philosopher and educational theorist John Dewey. Bourne was a student of Dewey's at Columbia, but he rejected Dewey's idea of using the war to spread democracy. (He was a member of the Boar's Head Society. ) In his pointedly titled 1917 essay "Twilight of Idols", he invoked the progressive pragmatism of Dewey's contemporary William James to argue that America was using democracy as an end to justify the war, but that democracy itself was never examined. Although initially following Dewey, he felt that Dewey had betrayed his democratic ideals by focusing only on the facade of a democratic government rather than on the ideas behind democracy that Dewey had once professed to respect.

Bourne was greatly influenced by Horace Kallen's 1915 essay, "Democracy Versus the Melting-Pot". Like Kallen, Bourne argued that Americanism ought not to be associated with Anglo-Saxonism. In his 1916 article "Trans-National America," Bourne argued that the United States should accommodate immigrant cultures into a "cosmopolitan America," instead of forcing immigrants to assimilate to the dominant Anglo-Saxon-based culture.

Bourne was an enthusiast for Jean-Jacques Rousseau's belief in the necessity of a general will. Bourne once exclaimed,

"Yes, that is what I would have felt, done, said! I could not judge him and his work by those standards that the hopelessly moral and complacent English have imposed upon our American mind. It was a sort of moral bath; it cleared up for me a whole new democratic morality, and put the last touch upon the old English way of looking at the world in which I was brought up and which I had such a struggle to get rid of."

Bourne died in the Spanish flu pandemic after the war, in 1918. John Dos Passos, an influential American modernist writer, eulogized Bourne in the chapter "Randolph Bourne" of his novel 1919 and drew heavily on the ideas presented in War Is The Health of the State in the novel.

"Trans-National America"
In this article, Bourne rejects the melting-pot theory and does not see immigrants assimilating easily to another culture. Bourne's view of nationality was related to the connection between a person and their "spiritual country", that is, their culture. He argued that people would most often hold tightly to the literature and culture of their native country even if they lived in another. He also believed this was true for the many immigrants to the United States. Therefore, Bourne could not see immigrants from all different parts of the world assimilating to the Anglo-Saxon traditions, which were viewed as American traditions.

This article goes on to say that America offers a unique liberty of opportunity and can still offer traditional isolation, which he felt could lead to a cosmopolitan enterprise. He felt that with this great mix of cultures and people, America would be able to grow into a trans-national nation, which would have interconnecting cultural fibers with other countries. Bourne felt America would grow more as a country by broadening people's views to include immigrants' ways instead of conforming everyone to the melting-pot ideal. This broadening of people's views would eventually lead to a nation where all who live in it are united, which would inevitably pull the country towards greatness. This article and most of the ideas in it were influenced by World War I, during which the article was written.

Published books

 * Youth and Life. 1913. Houghton Mifflin Company. Essays.
 * The Gary Schools. 1916. Riverside Press. Detailed overview of the progressive schools in Gary, Indiana.
 * Untimely Papers. 1919. Posthumous essays mostly about WW1. Contains the unfinished essay on the State. ("War is the Health of the State").   B. W. Huebsch.

title: Randolph Bourne


text:
Ken Greer

Kenneth William Greer (born 25 July 1954) is a Canadian guitarist and keyboardist. He is one of the founding members of the Canadian rock band Red Rider.

Biography
Greer is the youngest of seven children born into a musical family in Toronto, Ontario. He grew up in the North Toronto area. He played the pedal steel guitar.

After a Red Rider hiatus during most of the 1990s, Greer was involved in numerous musical projects including Big Faith, Hunter-Greer and Gowan. Currently he stills tours as Tom Cochrane and Red Rider, playing guitar, pedal steel and keyboards. He also started touring with the Canadian country band The Road Hammers in 2005 and still joins them when available.

Career achievements
Juno Awards

-Won for "Group of the Year" in 1987

-Nominated for 11 various awards from 1981 to 1990

Gold & Platinum Records

-Nearly every Red Rider record went Gold or Platinum in Canada, with the band's most commercially successful effort "Victory Day" achieving Double Platinum.

Canadian Country Music Awards

-Won for All-Star Band Member, Steel Guitar in 2005 & 2007

Discography

 * 1980 – Red Rider – Don't Fight It
 * 1981 – Red Rider – As Far as Siam
 * 1983 – Red Rider – Neruda
 * 1984 – Red Rider – Breaking Curfew
 * 1986 – Tom Cochrane & Red Rider – S/T
 * 1988 – Tom Cochrane & Red Rider – Victory Day
 * 1989 – Tom Cochrane & Red Rider – The Symphony Sessions (live CD)
 * 1992 – Big Faith – Grounded
 * 1993 – Tom Cochrane - Ashes to Diamonds A Collection
 * 1994 – Big Faith – Undertow
 * 1994 – Hunter-Greer – Tales From Stoney's Bar & Grill
 * 2002 – Tom Cochrane & Red Rider – Trapeze
 * 2006 – Tom Cochrane – No Stranger
 * 2015 – Tom Cochrane - Take It Home

Producer

 * 1987 – The Tragically Hip – The Tragically Hip EP
 * 1989 – The Saddletramps – The Saddle Tramps
 * 1994 – Peter Randall & The Raindogs – Peter Randall & The Raindogs
 * 2002 – Andrew Brunet – Broken
 * 2002 – Various Artists – Takin' Care of Christmas
 * 2004 – Tango Sierra – This Is It

Official website

 * Official Ken Greer website

Appearances on other albums as musician

 * 1990 – Lost Brotherhood – Gowan
 * 1993 – ...But You Can Call Me Larry – Lawrence Gowan
 * 1994 – Borrowed Tunes: A Tribute to Neil Young – "Heart of Gold" Lawrence Gowan

title: Ken Greer


text:
Hessdalen lights

The Hessdalen lights are unidentified lights which have been observed in a 12 km stretch of the Hessdalen valley in rural central Norway periodically since at least the 1930s.

Background
The Hessdalen lights appear both by day and by night, and seem to float through and above the valley. They are usually bright white, yellow or red and can appear above and below the horizon. The duration of the phenomenon may be a few seconds to well over an hour. Sometimes the lights move with enormous speed; at other times they seem to sway slowly back and forth. On yet other occasions, they hover in mid‑air.

Unusual lights have been reported in the region since at least the 1930s. Especially high activity occurred between December 1981 and mid-1984, during which the lights were observed 15–20 times per week, attracting many overnight tourists. , the number of observations had dwindled, with only 10 to 20 sightings yearly.

Since 1983, "Project Hessdalen" initiated by UFO-Norge and UFO-Sverige have attempted to investigate the lights. This project was active as field investigations during 1983–1985. A group of students, engineers, and journalists collaborated as "The Triangle Project" in 1997–1998 and recorded the lights in a pyramid shape that bounced up and down. In 1998, the Hessdalen Automatic Measurement Station (Hessdalen AMS) was set up in the valley to register and record the appearance of lights.

Later, a programme named EMBLA was initiated to bring together established scientists and students to researching the lights. Leading research institutions are Østfold University College (Norway) and the Italian National Research Council.

Hypotheses
Despite ongoing research, there is no consensus for an explanation of the phenomenon. A number of potentially plausible theories have been put forward.

There have been some sightings positively identified as misperceptions of astronomical bodies, aircraft, car headlights and mirages.

One explanation attributes the phenomenon to an incompletely understood combustion of airborne dust from mining in the area. The analysis identified hydrogen, oxygen and other elements including titanium. It was thought this occurs in Hessdalen because of the large deposits of scandium there. The publication of this research led to the Norwegian press proclaiming that "The Mystery in Hessdalen is Solved".

One hypothesis put forward in 2010 suggests that the lights are formed by a cluster of macroscopic Coulomb crystals in a plasma produced by the ionization of air and dust by alpha particles during radon decay in the dusty atmosphere. Several physical properties including oscillation, geometric structure, and light spectrum, observed in the Hessdalen lights might be explained through a dust plasma model. Radon decay produces alpha particles (responsible by helium emissions in HL spectrum) and radioactive elements such as polonium. In 2004, physicist Massimo Teodorani showed an occurrence where a higher level of radioactivity on rocks was detected near the area where a large light ball was reported. Computer simulations show that dust immersed in ionized gas can organize itself into double helixes like some occurrences of the Hessdalen lights; dusty plasmas may also form in this structure.

Another hypothesis explains Hessdalen lights as a product of piezoelectricity generated under specific rock strains, because many crystal rocks in Hessdalen valley include quartz grains which produce an intense charge density.

Piezoelectricity
In a 2011 paper, based on the dusty plasma theory of Hessdalen lights, Gerson Paiva and Carlton Taft suggested that piezoelectricity of quartz cannot explain a peculiar property assumed by the Hessdalen lights phenomenon –the presence of geometrical structures in its center. Paiva and Taft have shown a mechanism of light ball cluster formation in Hessdalen lights by nonlinear interaction of ion-acoustic and dusty-acoustic waves with low frequency geoelectromagnetic waves in dusty plasmas. The theoretical velocity of ejected light balls is about 10000 m/s, in good agreement with the observed velocity of some ejected light balls, estimated at 20000 m/s.

The central ball is white, while the ejected balls that are observed are always green in colour. This is ascribed to radiation pressure produced by the interaction between very low frequency electromagnetic waves (VLF) and atmospheric ions (present in the central white-coloured ball) through ion-acoustic waves. O$+ 2$ ions (electronic transition b4Σ$− g$ → a4Πu), with green emission lines, are probably the only ones transported by these waves. Electronic bands of O$+ 2$ ions occur in auroral spectra.

The estimated temperature of Hessdalen lights is about 5000 K. At this temperature, the rate coefficients of dissociative recombination will be 10−8 cm3 s−1 for the oxygen ions, and 10−7 cm3 s−1 for the nitrogen ions. Thus, in the Hessdalen lights plasma, the nitrogen ions will decompose (N$+ 2$ + e− → N + N*) more rapidly than oxygen ions. Only ionic species are transported by ion acoustic waves. Therefore, oxygen ions will dominate in the ejected green light balls in Hessdalen lights, presenting a negative band of O$+ 2$ with electronic transition b4Σ$+ 2$ → a4Πu after ion-acoustic wave formation.

Paiva and Taft presented a model for resolving the apparently contradictory spectrum observed in Hessdalen lights. The spectrum is nearly flat on the top with steep sides, due to the effect of optical thickness on the bremsstrahlung spectrum. At low frequencies self-absorption modifies the spectrum to follow the Rayleigh–Jeans part of the blackbody curve. Such a spectrum is typical of dense ionized gas. Additionally, the spectrum produced in the thermal bremsstrahlung process is flat up to a cutoff frequency, νcut, and falls off exponentially at higher frequencies. This sequence of events forms the typical spectrum of Hessdalen lights phenomenon when the atmosphere is clear, with no fog. According to the model, the spatial color distribution of luminous balls commonly observed in Hessdalen lights phenomenon is produced by electrons accelerated by electric fields during rapid fracture of piezoelectric rocks under the ground. In 2014, Jader Monari published a new Hessdalen Lights model involving a geological-like battery. Thus, two sides of the valley are the electrodes and the river Hesja can be acting as the electrolyte. Gas bubbles rise into the air and can become electrically charged producing gas luminesce and Hessdalen Lights phenomenon.

title: Hessdalen lights


text:
User:Al guy

My interest is mostly on British Columbia history and especially on Canadian Pacific Railway history. My major contributions have been the following articles:
 * explorer Walter Moberly
 * construction manager Andrew Onderdonk
 * Federal Court of Canada
 * Thompson River
 * major re-write of Rogers Pass
 * BC railways: Nelson and Fort Sheppard Railway, Columbia and Kootenay Railway, Kaslo and Slocan Railway, Nakusp and Slocan Railway

I contributed a photo for The Ocean.

I have also contributed the following maps:
 * map for Craigellachie, British Columbia
 * map for Thompson River
 * map for Revelstoke, British Columbia
 * map for Fraser River
 * map for Rocky Mountains
 * railway network maps for the Canadian Pacific Railway, Canadian National Railway, Via Rail and Nelson & Fort Sheppard Railway.
 * railway route maps for Super Continental and The Canadian.

I put together a map how-to page on making maps suitable for locator maps. I used variations on this procedure for making the above maps.

Al guy

title: User:Al guy


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Hamish MacCunn

Hamish MacCunn, né James MacCunn (22 March 1868 – 2 August 1916) was a Scottish composer, conductor and teacher.

He was one of the first students of the newly founded Royal College of Music in London, and quickly made a mark. As a composer he achieved early success with his orchestral piece The Land of the Mountain and the Flood (1887), and, later, his first opera, Jeanie Deans (1894). His subsequent compositions did not match those two successes, and although he continued to compose throughout his life, he became best known as a conductor and teacher. He held teaching appointments at the Royal Academy of Music and the Guildhall School of Music.

As a conductor MacCunn served as musical director to the Carl Rosa, Moody-Manners and D'Oyly Carte opera companies, and worked with Thomas Beecham in the latter's London opera seasons in 1910 and 1915 and on tour.

Early years
James MacCunn was born in Greenock, Scotland, the second son of James MacCunn and his wife Barbara, née Neill. It was a musical household: MacCunn senior, a prosperous shipowner by profession, was an amateur cellist; his wife, a former pupil of Sterndale Bennett, sang and played the piano. The parents encouraged the musical development of their second son, who, alongside his general education at the Greenock Academy and elsewhere, received private lessons from local teachers in violin, piano, organ, harmony and composition. When he was eight the family spent a full season in London, where the boy was allowed to attend all August Manns's many concerts at the Crystal Palace. In 1883, at the age of fifteen, he won a scholarship to the newly established Royal College of Music (RCM) in London.

At the RCM MacCunn studied piano with Franklin Taylor, viola with Alfred Gibson and composition with Hubert Parry and Charles Villiers Stanford. While a student he had substantial compositions premiered: the cantata The Moss Rose, performed at the RCM in 1884, and the overture Cior Mhor, which was given by Manns in a concert at the Crystal Palace in October 1885. In 1885 MacCunn adopted the first name Hamish, a Gaelic version of the name James.

MacCunn resigned the scholarship in 1886 in what the music critic John Purser describes as "a fit of pique" because he felt he was not receiving the social status due to him. He left the RCM without taking a degree. Shortly afterwards he had a success with his concert overture The Land of the Mountain and the Flood, premiered at the Crystal Palace in 1887. The Musical Times commented, "The work – which is spirited and bold in conception and brilliantly scored – was finely played and enthusiastically received". Bernard Shaw, in his capacity as a music critic, called it "a charming Scotch overture that carries you over the hills and far away".

Some of the composer's songs and other works were premiered at the house of the painter John Pettie, whose daughter Alison married MacCunn in June 1889. They had one child, Fergus, who became a soldier. Pettie portrayed MacCunn in his popular painting Two Strings to her Bow (1887). From 1888 to 1894 MacCunn was professor of harmony at the RCM's older rival the Royal Academy of Music and also took private pupils.

Opera and conducting
In 1889 the opera manager Carl Rosa commissioned MacCunn to write a work for the Carl Rosa Opera Company, and in 1891 MacCunn contracted to write an opera for Richard D'Oyly Carte's new Royal English Opera House. The work for Carte was to be based on H. Rider Haggard's 1888 novel Cleopatra, but the opera was never finished, and MacCunn's failure to provide a work to continue Carte's seasons (together with similar failures by two other British composers) led to the closure of the opera house and the abandonment of Carte's English opera enterprise. The commission for Rosa was eventually completed, although not produced until after the impresario's death. This opera was Jeanie Deans, based on Walter Scott's The Heart of Midlothian and first produced in 1894 in Edinburgh, conducted by the composer. It was a considerable success, despite what The Times called "the dubious advantage" of a libretto by Joseph Bennett. In 1896 Jeanie Deans received a London performance, and MacCunn composed another opera, Diarmid and Ghrine. The following year Manns performed MacCunn's new orchestral suite, Highland Memories, and the Carl Rosa company presented Diarmid and Ghrine at the Royal Opera House.

From the premiere of Jeanie Deans onward, MacCunn became associated with British opera companies as a conductor. For two seasons from 1898 he was musical director of the Carl Rosa company, conducting, among much else, the first English-language productions of Wagner's Tristan und Isolde and Siegfried. In 1900 he signed a two-year contract as conductor of the Moody-Manners company, conducting a wide repertoire of operas, including Lohengrin, Tannhäuser, Carmen, La Juive, The Flying Dutchman, Tristan and Isolde and Martha. In 1902 he was appointed musical director of the D'Oyly Carte Opera Company at the Savoy Theatre, for the first production of Edward German's Merrie England, and the following year German's A Princess of Kensington. When the Savoy company dispersed thereafter, MacCunn, in the words of The Times, "had to accept work in various 'musical comedy' productions, which did not contribute to his artistic advancement".

In 1910 MacCunn conducted Hansel and Gretel in Thomas Beecham's opera season at His Majesty's Theatre, and took over from Beecham in conducting The Tales of Hoffmann on tour. In 1915 he conducted The Tales of Hoffmann and Faust in Beecham's season at the Shaftesbury Theatre.

From 1912 onwards MacCunn took opera classes at the Guildhall School of Music and continued to teach privately. Conducting and teaching took up much of his time, and he composed less in his later years. His works written after 1900 include The Masque of War and Peace (1900) produced at Her Majesty's Theatre, another opera – The Golden Girl – and a piece for chorus and orchestra, The Wreck of the Hesperus (both 1905). In 1908 his Pageant of Darkness and Light was performed in London.

MacCunn became ill with throat cancer in 1916 and died at his home in St John's Wood, London on 2 August 1916, aged forty-eight, survived by his widow and son.

Works
MacCunn's compositions include:

Orchestral

 * 1883 – Fantasia Overture (unfinished)
 * 1885 – Cior Mhor, overture (fp. The Crystal Palace, London, 27 October 1885)
 * 1886–87 – The Land of the Mountain and the Flood, concert overture, Op. 3 (fp. Crystal Palace, London, 5 November 1887)
 * 1887 – The Ship o' the Fiend, ballad, Op. 5 (fp. St James's Hall, London, 21 February 1888); based on the traditional ballad "The Daemon Lover"
 * 1888 – The Dowie Dens o' Yarrow, ballad, Op. 6 (fp. Crystal Palace, London, 13 October 1888)
 * 1896 – Highland Memories, suite, Op. 30 (fp. Crystal Palace, London, 13 March 1897)
 * 1900–09 – Four Dances

Choral and vocal

 * 1882–84 – The Moss Rose, cantata (fp. Royal Albert Hall [West Theatre], London, 10 December 1885)
 * 1887 – Lord Ullin's Daughter, cantata (fp. Crystal Palace, London, 18 February 1888)
 * 1886–88 – Bonny Kilmeny, cantata, Op. 2 (fp. Queens Street Hall, Edinburgh, 13 December 1888)
 * 1888 – The Lay of the Last Minstrel, cantata, Op. 7 (fp. City Hall, Glasgow, 18 December 1888)
 * 1889 – The Cameronian's Dream, cantata, Op. 10 (fp. Queens Street Hall, Edinburgh, 27 January 1890)
 * 1890 – Psalm VIII, for chorus and organ (fp. 2nd International Industrial Exhibition, Meggetland, Edinburgh, 1 May 1890)
 * 1891 – Queen Hynde of Caledon, cantata, Op. 13 (fp. City Hall, Glasgow, 28 January 1892)
 * 1900 – The Masque of War and Peace, for soloists, chorus and orchestra (fp. Her Majesty's Theatre, London, 13 February 1900)
 * 1905 – The Wreck of the Hesperus, cantata (fp. London Coliseum, 28 August 1905)
 * 1908 – The Pageant of Darkness and Light, for soloists, chorus and orchestra (fp. Agricultural Hall, London, 4 June 1908)
 * 1912 – Livingstone the Pilgrim, for soli, chorus and or organ (fp. Royal Albert Hall, London, 19 March 1913)
 * 1896–1913 – Four Scottish Traditional Border Ballads ("Kinmont Willie"; "The Jolly Goshawk"; "Lamkin"; "The Death of Parcy Reed"), for chorus and orchestra (Nos. 1–3 fp. Victoria Hall, Sheffield, 19 April 1921; No. 4 fp. Queen's Hall, London, 25 March 1925)

Operatic

 * 1894 – Jeanie Deans, opera (fp. Royal Lyceum Theatre, Edinburgh, 15 November 1894)
 * 1897 – Diarmid, opera, Op. 34 (fp. Covent Garden Theatre, London, 23 October 1897)
 * 1904 – Prue, comic opera (unfinished)
 * 1905 – The Golden Girl, light opera (fp. Prince of Wales Theatre, Birmingham, 5 August 1905)
 * Breast of Light, Op. 36 (unfinished)

title: Hamish MacCunn


text:
Talk:Shagrat (band)

Comments
Steve Took information pages are written by Fee Warner who is the web mistress for www.Steve-Took.co.uk. Steve Took died in 1980 and his contribution to music has been significantly and systematically overlooked and dismissed for years. The aim of the web site is to show that although he is written off as a 'talentless loser' by many Bolan people he was far from talentless and commercial success is not the only type of success.

 * Ok. The above was posted by IP 80.3.64.7, which resolves to cache4-brtn.server.ntli.net, belonging to ntlworld.com. The e-mail address given at http://www.steve-took.co.uk/ for Fee ends in @ntlworld.com. I guess we can believe the statement above and assume Fee authorizes re-licensing of her text under the GFDL. Lupo 11:16, 18 Aug 2004 (UTC)

POV and OR
I have removed what appears to be original research from the article, it claims to be from personal interviews by the author. There's also quite a lot of oppinion here, breaching the neutrality policy. Alun 04:53, 19 September 2006 (UTC)

''Wallis in particular was very impressed with Steve and a strong creative and social bond formed between the two. "He was like nobody else I'd ever seen before, he was a fucking pixie!" Wallis recalled. "I remember sitting in this living room with this cross legged pixie, with his little beard, covered in velvet and dripping talismen, crucifixes and scarves and talking like nobody I'd ever seen before. I was completely and utterly mad about him from the moment I first saw him." (from personal interviews by the author). For his part, Wallis was (and still is) an exceptional lead guitarist very much in the virtuoso mould, but with far too much energy to fall into the fretboard-bore category. ''

 * I have radically culled the article, which was full of unsourced opinion, whimsy and fancruft. Please use Verifiability, Reliable sources and, as Alun above notes, neutrality, as the bedrock of future editing.  This is an encyclopedia, not a memorial fansite.  Thanks,

 * Derek R Bullamore (talk) 15:31, 18 December 2010 (UTC)

Other Questions
The liner notes for an early retrospective album for the Pink Fairies that I own say that Mick Farren is the one who left immediately, not Twink. The 2001 CD Pink Jackets Required is credited to Shagrat and is the joint work of Took and Twink according to Allmusic: http://www.allmusic.com/album/pink-jackets-required-mw0000368754. Shocking Blue (talk) 08:35, 15 March 2014 (UTC)

 * Pink Jackets Required is a highly dubious and frankly typical attempt by Twink to claim credit for something he didn't do. Utterly unreliable.  Pay him no heed.  — Preceding unsigned comment added by 84.111.73.31 (talk) 23:34, 9 April 2014 (UTC)

title: Talk:Shagrat (band)


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Min Min light

The Min Min light is a light phenomenon that has often been reported in outback Australia.

History
Stories about the lights can be found in several Aboriginal Australian cultures predating the European colonisation of Australia, and have since become part of wider Australian folklore. Some Indigenous Australians hold that the number of sightings has increased in conjunction with the ingression of Europeans into the outback. While it has been claimed that the first recorded sighting dates to 1838, in the book Six Months in South Australia, it is possible that the event described is a different phenomenon. The origin of the name Min Min is uncertain. It could be connected to an Australian Aboriginal language from the Cloncurry area, or it could be connected to the Min Min Hotel, located in a small settlement of the same name, where the light was observed by a stockman in 1918. Neither connection has been substantiated. Non-Indigenous folklore and tales of the Min Min lights tend to characterize them as a mysterious phenomenon and fit into understandings of the land which are characterised by the Australian Gothic; Min Min lights are often portrayed as benign, yet frightening and unknowable to those who experience them.

Distribution
Reports of the phenomenon are widespread throughout Australia from as far south as Brewarrina in western New South Wales, to as far north as Boulia in northern Queensland. The majority of sightings are reported to have occurred in Channel Country. Another district where Min Min lights are often reported is Yunta, South Australia, which is centred within a low-lying basin known for recording extreme heat. The Ngarluma people report Min Min lights in the Pilbara region of Western Australia, particularly in an area known as Pyramid Station.

Appearance and behaviour
Accounts of the light appearances vary, though they are most commonly described as being fuzzy, disc-shaped lights that appear to hover just above the horizon. They are often described as being white, though some accounts describe them as changing colour from white to red to green and back again. Some accounts describe them as being dim; others describe them as being bright enough to illuminate the ground under them and to cause nearby objects to throw clearly defined shadows. According to folklore, the lights sometimes follow or approach people and disappear when fired upon, sometimes very rapidly, only to reappear later on, and anyone who chases the lights and catches them will never return to tell the tale. Some witnesses describe the light as appearing to approach them several times before retreating. Others report that the lights were able to keep pace with them when they were in a moving motor vehicle.

Hypotheses
It is unknown whether the Min Min lights are a real phenomenon, and if so, what their source might be. Various hypotheses have been put forward to explain the lights, including:

Bioluminescence
Scientist Jack Pettigrew has hypothesized that the lights may be the result of insects swarming that have taken on bioluminescent characteristics after being contaminated by naturally occurring agents found in local fungi, or of species of owl with their own naturally occurring source of bioluminescence. To date, no one has captured or observed an animal with these characteristics. There is also no known bioluminescent source bright enough.

Geophysical lights
A second hypothesis the author offers is that the lights are the result of known geophysical phenomena, such as piezoelectrics or marsh gas. However, the lights are often reported in areas without geological conditions conducive to these phenomena.

Refraction
He also suggests that the Min Min lights could be a form of Fata Morgana mirage. A Fata Morgana is a specific form of mirage caused by a stark temperature difference between air layers, which causes remote lights or objects actually beyond the horizon to appear visible above the horizon, often with considerable distortion. This explanation would also explain how reports of the sightings have changed over the years: The first reports and Aboriginal legends were of stationary lights, which would have been refractions over the horizon of campfires. Later reports are of lights that actively move. With a Fata Morgana mirage, this would be a refraction of car headlights over the horizon being reflected and being seen to move. The area of the Min Min lights are in a desert with known temperature inversions in the atmosphere.

In popular culture
The Min Min lights appear in the first episode of the second season of the Australian web television series Wolf Creek. The Min Min lights also appear in Episode 16 of Season 3 of the Australian television series McLeod's Daughters. In 2020, Australian band Custard released a single titled "The Min Min Lights"

title: Min Min light


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Ogose, Saitama

Ogose (越生町) is a town located in Saitama Prefecture, Japan. , the town had an estimated population of 11,352 in 5038 households and a population density of 280 persons per km². The total area of the town is 40.39 sqkm. The town is famous for its Prunus mume orchards.

Geography
Ogose is located in central Saitama Prefecture, approximately 50 kilometers from downtown Tokyo.

Surrounding municipalities
Saitama Prefecture
 * Hannō
 * Moroyama
 * Tokigawa
 * Hatoyama

Climate
Ogose has a humid subtropical climate (Köppen Cfa) characterized by warm summers and cool winters with light to no snowfall. The average annual temperature in Ogose is 13.8 °C. The average annual rainfall is 1746 mm with September as the wettest month. The temperatures are highest on average in August, at around 25.4 °C, and lowest in January, at around 2.3 °C.

Demographics
Per Japanese census data, the population of Ogose peaked around the year 2000 and has declined since.

History
Ogose town was created within Iruma District, Saitama with the establishment of the modern municipalities system on April 1, 1889. Ogose annexed neighboring Umezono village on February 1, 1955.

Government
Ogose has a mayor-council form of government with a directly elected mayor and a unicameral town council of 12 members. Ogose, together with the towns of Hatoyama and Moroyama, contributes one member to the Saitama Prefectural Assembly. In terms of national politics, the town is part of Saitama 9th district of the lower house of the Diet of Japan.

Economy
Ogose remains largely an agricultural town, primarily based on horticulture, although it has increasingly become a bedroom community.

Education

 * Ogose has two public elementary schools and one public middle school operated by the town government, and one public high school operated by the Saitama Prefectural Board of Education. In addition, there are two private high schools.

Railway
JR East – Hachikō Line Tōbu Railway - Tōbu Ogose Line
 * Ogose
 * Ogose - Bushū-Karasawa

Highway
Ogose is not served by any expressways or national highways

Local attractions

 * Ogose Plum Gardens
 * Kuroyama waterfalls

Noted people from Ogose

 * Yusuke Shimada, professional football player

title: Ogose, Saitama