text:
Talk:History of Russian animation

Untitled
The names are transliterated here according to Gosstandart Rossii ST SEV 1362 of 1978, as I have come to believe it the best suited one for international use. However, transliteration is always a subject of discussion - feel free to comment. timo 09:48, 30 Oct 2004 (UTC)
 * I've changed the names to conform to the WP:RUS policy - I hope I didn't break any links by doing so. Esn 13:49, 21 April 2006 (UTC)

Wow
Has anyone seen THIS? Pilot Studio emptying its history, apparently. I will just say that this is one of the more depressing photography series I've seen - the screenshots there are from some of my favourite films. I would've been glad to pay for some of those and hang them up on a wall.

Also, a usefull link if you read Russian: - interview with Yuriy Norshteyn about the history of the Russian animation community from the mid-1980s to today.

Also, forum thread which talks about some Russian features being made today: Esn 05:22, 19 October 2006 (UTC)

Starevich
It looks like he was even more revolutionary than I'd previously thought, apparently beating Willis O'Brien by 12 years (in combining stop motion with live action). Take a look at this Russian page. Esn 11:39, 19 December 2006 (UTC)
 * Or this English page. ;) Esn 22:25, 7 January 2007 (UTC)

Fair use rationale for Image:Oldmansea petrov.jpg
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Fair use rationale for Image:Nu pogodi by vjacheslav kotenochkin.jpg
Image:Nu pogodi by vjacheslav kotenochkin.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 15:15, 8 March 2008 (UTC)

Some words about the non-Russian Soviet animation?
I think it might be appropriate to add some words about non-Russian Soviet animation... or perhaps it would be better to create a new article? This current article is quite Moscow-centric. Of course, that is where most of the action was for most of the time... but still, maybe it should be mentioned that the first Kazakh animated film was released in 1967, for example. Esn (talk) 09:12, 17 July 2008 (UTC)

Worker and Parasite
Nothing interesting to say, just that I always thought that Worker and Parasite was more inspired by "Surogoat" (Academy Award winner in 1961) and mostly the Zagreb school. —Preceding unsigned comment added by 76.69.181.34 (talk) 05:01, 15 August 2008 (UTC)

Image copyright problem with Image:Knyazvladimir2.jpg
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Avant-garde period
The article states that "The starting point for this was Fyodor Khitruk's film History of a Crime? (1962)." It is not true. "Знакомые картинки" (1957) by Evgeny Migunov and "Большие неприятности" (1961) by Brumberg sisters were made earlier.

As for rotoscoping, its role is overestimated. I've seen 107 soviet animated films from 1950's, and only few of them seem rotoscoped. Huge percent of the films are tales about animals with, of course, no rotoscoping. Alone Coder (talk) 03:05, 23 September 2008 (UTC)

Help IDing old Soviet animation
I'm sorry to ask this here, but I go no usable help anywhere else and I think that the animation I'm thinking of was mentioned in this Wikipedia entry at some point (or else I don't recognize the title).

Does anyone happen to know of an older (maybe 50s or earlier?) piece of Soviet animation (I believe a short, but not positive about the length, and I believe it was in black and white) about a boy in school who commits some wrongdoing or crime? I remember he either does not admit to this wrongdoing, or blames/frames it on someone else. I also recall stained hands in the animation...Like the boy was caught for having charcoal stained hands or something like this. Sound familiar to anyone? —Preceding unsigned comment added by 208.103.36.95 (talk) 22:14, 1 May 2009 (UTC)

NPOV
Words like "unfortunately" and "masterpiece" do not maintain an impartial tone and should not appear in an article like this. The information presented seems fine, but the language needs a little cleanup. — Preceding unsigned comment added by Lobotomy42 (talk • contribs) 19:29, 29 July 2012 (UTC)

several points of criticism, correction, suggestion and elaboration
Small issue, but the name spelling of several names isn't consequent. Khodateyev next to Khodataev, Tsekhanovskiy next to Tsekhanovsky. My suggestion for names is to always follow the animator.ru spelling: It's the best database on russian animations.

The role of the women in russian animation bigger then the article suggests by not naming them. Although the Brumberg sisters are named. Olga Khodataeva, Alexandra Snezko-Blotskaya, Galina Barinova, Marianne Novgrudskaya, Rasa Strautmane,Ideya Garanina, Nina Shorina, Natalia Orlova, Rosalya Zelma, Maria Mouat, Galina Beda, Oksana Cherkassova, Elena Petkevich, Elena Chernova, Natasha Malgina, Sophia kratsova, Julia Aronova, Nina Bisharina, Zoya Kireyeva, Ekaterina Sokolova But there were also numerous art-directors, Like Grazhina Brashishkite, and an abundance of animators many of whom were/are pretty defining for the industry, and maybe even dominating today.

The article states that Soyuzmultfilm after it was founded for 20 years limitied itself to folk tales and communist myths. Soyuzmultfilm was set up to make animations for children. From the beginnen there were always animations that involved education about toothbrushing ( a sweet tooth 1942) trafic rules Zai & chick (1952) cleanlines moidodir (1927,1939,1954) and such general issues. Many fairytale stories also had firm moralistic statements A fire burns in the rawhide tent (1956), and it has been like that all through the soviet period ( Naida 1984)and numerous films about pioneers that learn a lesson A third element was social/political education/awarenes (Masha's concert 1948), (uncle stiopa the militia man 1964), aurore (1973) If i were my father (1987/88)

Social realism wasn't much of an issue in animation untill after the war. You could say that the fact that Ducks in Russian animation always are inclined to and/or have the ability to swim in contrast to certain American Ducks, is an infuence of social realism, but in the second half of the thirties, and actually a long time after that too,(Petr Nossov animations for instance)comical animal stories, with animals that walked on two feet, with clothes on, lived in houses and could speak & reason were very common. The infuence of Disney was in the late thirties a lot more then just copying the studio system. After worldwar 2 until about 1956/7 lot's of animations depicted minorty people very naturalistic ( song of joy 1946) taiga tale(1950) Brave Puk (1953) and  in general had the goal to show the ethnic diversity of the USSR and/or Russia. Untill this very day (mountain of gems serie) that is one of the political stimulated targets of russian animation. In the late 40's & early 50's there came out many nature education animation (an orange throat 1954), animations playing in a idolized russian history ( The dead princess and the 7 bogatir(1950)Sister ayanushka and her brother ivanushka (1953)and/or filmed classic literature ( Kashtanka 1951) The night before Christmas (1951) The disappeared diploma(1945) most animals in animation lost their "disney" clothes and lived in their natural habitat. From '57 onward there is a gradual proces going on of step by step gaining more artistic freedom. Although the story of a crime is certainly a milestone, there were many smaller steps made to reach that milestone: leaving the social realisic depiction of people (once upon a time,well known pictures, both 1957), contemporary times (the key, 1961), mild social critism (a sober sparrow 1960) But if you want to pinpoint Social realism to a timeline you can say it was invented in 1943 by the brumberg sister with "THE TALE ABOUT TSAR SALTAN" and it was ended in 1961 by the same brumberg sisters with "Great Troubles", a deliberate style breach in the (core)field of cel-animation, into something new. The story of a crime 1962 then combined new style, playing in contemporary times and social criticism into 1 animation

Defining directors for soyuzmultfilm were in the early years the brumberg sisters, Olga khodataeva, Ivan Ivanov vano, Pantaleimon Sazonov, Alber Ivanov, Vladimir Suteyev, Dmitry Babichenko & Leonid Amalrik. Artistically the leningrad animators Mikhael Tsekhanovsky & Mstislav pashchenko, that joined soyuzmultfilm in the wartime when Lenfilm, was dismantelled/bombed out of business, gave Soyuzmulfilm an enormous boost resulting in for instance: the song of joy (1946), with it's fantastic use of light and shadow, and The flower with 7 colours with it's mixture of contemporary elements and fairytale elements. In 1949/50 the Armenian Lev atamanov also joined soyuzmultfilm, with his powerfull dynamics (The yellow stork 1950) In this setting a couple of soyuzmult (before the war) "juniors" could devellop further. Alexandra Snezko-Blotskaya, Ivan Aksenchuk, Boris Dezhkin, Vladimir Degtyarev, Roman Davidov. others could devellop their talens by stepping over, in the later 50's, to the newly formed puppet & stopmotion division of soyuzmultfilm: Roman Kachanov, Fedor Khitruk

Vladimir Suteyev develloped further as scenario(& illustrated childrens books)writer and is responsible for some 40 scripts in the 50's and 60's. Some composers develloped too by their contribution to animation in the 60's. The most important one: sophia Gubaidulina

Also important for develloping the new 60's style were some art directors: Grazhina Brashishkite, Victor Nikitin, leonid Shvartsman, alexander Vinokurov

End 60 begin 70 it was time for a new generation Eus347 (talk) 14:50, 6 August 2012 (UTC)

Lack of citations
This is largely uncited, and therefore largely subject to deletion is that malady is not addressed. Epeefleche (talk) 00:15, 25 June 2015 (UTC)

 * A little over a year ago I went and did a detailed Google search for sources to further refine this article, but have not found the time to process them. I did however put them under some sub-headings. So here they are for anyone interested:

 * http://russianprofessionalpractice.weebly.com/index.html
 * http://animator.ru/
 * http://animamuseum.ru/en
 * http://sovietanimation.weebly.com/index.html
 * http://russian-insider.blogspot.ca/
 * http://www.cheburashkas.com/about.php

 * https://www.youtube.com/playlist?list=PL789FE1518F4E6637
 * https://www.youtube.com/playlist?list=PL5D8E230243519139

 * https://web.archive.org/web/20061229142428/*http://www.russiaprofile.org/culture/2006/5/18/3723.wbp

 * http://nishikataeiga.blogspot.ca/2010/10/laputas-top-150-japanese-and-world.html
 * http://www.listal.com/list/nondisney-nonpixar-nonghibli-animated-films

Threads:
 * http://myanimelist.net/forum/?topicid=629711
 * http://www.reddit.com/r/AskHistorians/comments/2jpc2z/how_did_animated_film_in_the_soviet_union_compare/
 * http://www.listchallenges.com/golden-100-of-russian-animation
 * http://www.giantitp.com/forums/archive/index.php/t-180968.html
 * http://masterrussian.net/f25/soviet-russian-psychedelic-animation-21964/
 * http://www.reddit.com/r/animation/comments/2ubhdh/this_seems_like_a_surprisingly_subversive_soviet/
 * http://myanimelist.net/forum/?topicid=629711
 * http://www.truthandbeautybombs.com/bb/viewtopic.php?t=19216&sid=8c838fd377d3f0bb88de2c61b9cd582c

Lists:
 * http://www.imdb.com/list/ls073133229/
 * http://tvtropes.org/pmwiki/pmwiki.php/Main/EasternEuropeanAnimation?from=Main.EasternAnimation
 * http://www.russianforfree.com/cartoons-in-russian.php
 * http://rbth.com/arts/2014/02/21/not_just_for_the_kids_the_5_best-loved_soviet_animations_34455.html
 * http://www.brainpickings.org/2010/06/24/vintage-russian-animation/
 * http://www.hoodedutilitarian.com/2013/08/russian-animation/
 * http://editthis.info/animatsiya/List_of_Russian_animation_subtitled_in_English
 * http://www.festanca.sk/2014/en/live-music-multagitprop---early-ukrainian-soviet-animation-1
 * http://klarden.dumdoi.com/2012/12/soviet-animation-loves-you/
 * http://chewbakka.com/garmonbozia/cartoon_soviet
 * http://oneeyedrobot.com/little-known-fantastic-gems-of-soviet-era-animation/
 * http://www.menggang.com/movie/animate/mstrrussian/e-mstrrussian1.html
 * http://artinrussia.org/15-soviet-cartoons-put-holiday-spirit/
 * http://www.openculture.com/2014/03/enjoy-15-hours-of-the-weird-and-wonderful-world-of-post-soviet-russian-animation.html
 * http://networkawesome.com/special/russian-animation-festival/
 * http://io9.com/the-incredibly-bizarre-world-of-animated-soviet-propaga-1644248684
 * http://todiscoverrussia.com/soviet-cartoons-good-tales-that-transcend-time/
 * http://calvertjournal.com/articles/show/544/yekaterinburg-animation-captures-imagination-with-hand-darwn-techniques
 * https://myfirstblog5.wordpress.com/2012/05/05/lets-hear-it-for-russian-animation/
 * https://filmslikedreams.wordpress.com/2013/05/05/ura-russian-animation/
 * http://www.menggang.com/movie/animate/mstrrussian/e-mstrrussian1.html

Review:
 * http://www.candlelightstories.com/category/russian-animation/
 * http://www.strangekidsclub.com/2014/01/30/masters-of-russian-animation-bringing-out-the-color-in-the-grey-soviet-life/
 * http://www.rarefrequency.com/2008/06/soviet_era_russ.html
 * http://dangerousminds.net/comments/extremely_dark_soviet-era_stephen_king_animation
 * http://fairytalenewsblog.blogspot.ca/2012/01/russian-animation-classic-snow-queen-on.html
 * http://www.businesswire.com/news/home/20061106006139/en/Soviet-Propaganda-Films-Stalins-Animation-Factories-Released#.VaqrWHLOrEY
 * http://passepartout.olivianita.com/all-ears-and-eyes/bear-linden-leg-a-soviet-animation-as-old-as-i-am
 * http://booksandjournals.brillonline.com/content/journals/10.1163/18718000-12340022
 * http://www.awn.com/news/masters-russian-animation-debuts-musical-rebirth-san-francisco
 * http://boingboing.net/2004/10/04/cheburashka-adorable.html
 * https://pirates-forum.org/Thread-The-Cossacks-70s-Russian-animation-series
 * http://io9.com/5900162/behold-the-dark-beauty-of-russias-1968-little-mermaid-cartoon
 * http://io9.com/this-trippy-anti-capitalist-cartoon-was-the-ussrs-firs-1535372332
 * http://laughingsquid.com/anya-an-animated-short-created-to-benefit-russian-orphanages/
 * http://www.strangekidsclub.com/2014/01/30/masters-of-russian-animation-bringing-out-the-color-in-the-grey-soviet-life/
 * http://www.animationxpress.com/index.php/latest-news/the-russian-animated-series-alisas-adventures-will-be-presented-at-mipjunior-2014
 * http://www.huffingtonpost.com/2013/02/25/stop-motion-video-by-dina-velikovskaya-my-strange-grandfather_n_2759359.html
 * http://mondemerda.blogspot.ca/2010/11/vampire-animation-released-in-russia.html
 * http://www.yam-mag.com/reviews/film-reviews/the-ugly-duckling-russian-animation/
 * http://globalvoicesonline.org/2014/07/11/russia-animation-masyanya-comedy/

Nu Pagodi:
 * http://englishrussia.com/2007/08/22/nu-pogodi-the-most-favorite-russian-cartoon-ever/
 * http://www.academia.edu/11697038/
 * http://www.guelphmercury.com/news-story/2787458-russian-cartoon-wolf-skirts-new-law-that-may-have-cut-scenes-where-he-smokes/
 * http://www.sandiegouniontribune.com/news/2012/aug/30/russian-tv-cartoon-villain-gets-to-keep-smoking/

Vinni Puhvk:
 * http://www.cartoonbrew.com/classic/american-pooh-vs-russian-pooh-49356.html
 * http://www.cartoonbrew.com/ideas-commentary/russian-pooh-2795.html
 * http://colorfulanimationexpressions.blogspot.ca/2011/08/pooh-vs-pukh-character-analysis.html
 * http://www.smithsonianmag.com/smart-news/russian-version-winnie-pooh-different-also-classic-180953496/?no-ist
 * http://www.npr.org/sections/deceptivecadence/2011/11/03/141981053/hey-kids-its-vinny-pookh-time-cartoon-music-from-the-ussr

Modern CGI/Timur Bekemetov:
 * http://animationdigitaldigest.com/tag/russian-cg-animated-tv-series/
 * http://www.animationmagazine.net/features/russian-animation-on-ice/
 * http://www.themoscowtimes.com/news/article/russian-cartoon-masha-and-the-bear-wins-animation-prize/517684.html
 * http://www.screendaily.com/news/bekmambetov-animation-series-sold-to-north-america/5086424.article
 * http://en.riavrn.ru/news/voronezhskaya-wizart-animation-sdelaet-multfilm-o-velikom-shelkovom-puti-/

Space Dogs:
 * http://pickingupthepennies.com/2012/08/space-dogs-dvd-review.html
 * http://hereandthere.us/index.php/2012/space-dogs-dvd-review/
 * http://megankayden.blogspot.ca/2012/07/kiara-and-space-dogs-from-phase-4-films.html
 * http://www.screendaily.com/festivals/cannes/epic-launches-space-dogs-2/5056370.article
 * http://www.sippycupmom.com/2012/05/space-dogs-movie-review.html
 * http://www.adayinmotherhood.com/space-dogs-kiara-the-brave-fun-movies-with-flare-reviews/
 * https://cgmoviereview.wordpress.com/tag/space-dogs/
 * http://beyourbestmom.com/2012/04/space-dogs-on-dvd-review/
 * http://www.emilyreviews.com/2012/05/space-dogs-movie-review.html

Anylisis:
 * http://reddebreksbowl.blogspot.ca/2011/09/in-soviet-russia-animation-is-unique-in.html
 * http://www.russian-moscow.com/russian/the-history-of-russian-animation-part-1/
 * http://ellisoncenter.washington.edu/wp-content/uploads/2014/04/Klots.pdf
 * http://www.fact.co.uk/whats-on/archive/s/soviet-animation-in-3d.aspx
 * https://www.questia.com/magazine/1G1-111165842/moving-pictures-the-little-known-history-of-russian
 * http://www.meetup.com/berlinhistory/events/219790570/
 * http://english.pravda.ru/society/stories/29-06-2011/118349-soviet_animation-0/
 * https://muse.jhu.edu/journals/journal_of_american_folklore/summary/v124/124.494.kononenko.html
 * https://www.h-net.org/reviews/showrev.php?id=12217
 * http://www.trans-siberian.co.uk/blog/tag/russian-animation/
 * https://www.animationfestival.ca/index.php?option=com_oiaf&task=showevent&i=1092
 * http://www.liaf.org.uk/2011/04/animose-and-russian-animation-%E2%80%93-irina-goundortseva/
 * http://rbth.asia/articles/2012/09/16/the_centennial_of_russian_animation_episode_i_from_1912_until_1940_18257.html
 * http://www.decal.org/2500
 * http://blog.wfmu.org/freeform/2008/06/russian-cartoon.html
 * http://www.kinokultura.com/2014/43-beumers.shtml
 * http://www.kinokultura.com/2009/23-maliukova.shtml
 * http://russia-ic.com/tags/Russian%20Animation
 * http://russia-ic.com/culture_art/theatre/1529#.VarVCXLOrEY
 * http://russia-ic.com/culture_art/theatre/1532#.Varih3LOrEY
 * http://cartoonresearch.com/index.php/animation-from-where/
 * http://www.1tv.ru/sprojects_edition_p/si=5840&fi=10932
 * http://www.trans-siberian.co.uk/blog/80s-russian-animation/
 * http://thetyee.ca/ArtsAndCulture/2010/10/15/VIFF2010Animation/
 * http://www.karazwlaimoon.com/two-compact-russian-films.html
 * http://sputniknews.com/voiceofrussia/2012_03_05/67624000/
 * http://the-animatorium.blogspot.ca/2013/07/stop-motion-animation-brief-history.html
 * http://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1000&context=russian_honproj

News:
 * http://artofrussia.com/2011/01/russian-art-news/russian-animation-today/
 * http://www.rt.com/art-and-culture/soviet-animation-cartoon-era/
 * https://web.archive.org/web/20130208060926/*http://rt.com/news/prime-time/russian-animation-children-festival/
 * http://www.themoscowtimes.com/business/article/russian-animation-rises-from-ashes-of-1990s/522313.html
 * http://variety.com/2014/film/features/russian-animation-booming-1201300892/
 * http://rbth.co.uk/articles/2013/01/03/soviet_animation_classics_40_years_on_21649.html
 * http://rbth.co.uk/articles/2009/12/17/171209_animation.html
 * https://blogs.unbc.ca/michel/2013/03/03/russian-animated-films-and-nationalism-of-the-new-millennium-the-russian-phoenix-rising-from-the-ashes/
 * http://www.rferl.org/content/russian_animation_studio_soyuzmultfilm_75th_anniversary/24233082.html
 * http://www.hollywoodreporter.com/news/russian-animation-studio-target-chinese-697873
 * http://www.hollywoodreporter.com/news/cannes-russian-animation-sells-china-704439
 * http://yle.fi/uutiset/russian_animation_wins_international_grand_prix_at_tampere_film_festival/7127722
 * http://shorts.cineuropa.org/sh.aspx?t=article&t2=tampere%20film%20festival&did=257584
 * http://www.universityworldnews.com/article.php?story=20130201084517196
 * http://eng.fond-kino.ru/news/36/905/
 * http://www.akipress.com/news:549767/
 * http://russkiymir.ru/en/news/188803/
 * http://time.com/3857079/animation-russian-frozen/
 * http://eng.fond-kino.ru/news/36/612/
 * http://ajw.asahi.com/article/cool_japan/anime_news/AJ201306240053
 * http://news.bbc.co.uk/2/hi/entertainment/2981688.stm - the era of occupation
 * http://themoscownews.com/russia/20110629/188796876.html
 * http://www.ntd.tv/en/news/world/europe/20100730/56562-russian-animation-industry-calls-for-help.html
 * http://www.mojenovosti.com/english/index.php?option=btg_novosti&idnovost=17418#.Vara1HLOrEY
 * http://rbth.com/articles/2012/07/25/an_animator_who_draws_a_fine_line_line_between_man_and_beast_16659.html
 * http://in.rbth.com/articles/2011/07/14/russian_animation_icon_faces_uncertain_future_12754.html

Technopeasant (talk)

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claire parker
Considering that she is one of the pioneers in animation along with her husband, and that she has her own wikipedia page and is mentioned by alexander himself how he couldn´t have done the animation without her (source:https://www.awn.com/animationworld/claire-parker-appreciation) I think we should mention her along him. History is harsh on woman filmakers lol, lets try to prevent them getting erased. 161.22.7.159 (talk) 16:57, 27 July 2023 (UTC)

title: Talk:History of Russian animation


text:
XMP

XMP may refer to:

Computing

 * Cray X-MP, a supercomputer
 * Extensible Metadata Platform, an ISO standard for the creation, processing and interchange of metadata for all kinds of resources
 * Extreme Memory Profile, information about a computer memory module, used to encode higher-performance memory timings

Gaming

 * eXpanded MultiPlayer (U2XMP), the multiplayer expansion to Unreal II
 * Unreal Tournament: Expanded Multiplayer (UT:XMP), a total conversion of expanded multiplayer for Unreal Tournament 2004
 * Exotic matter pulse burster, a weapon in the game Ingress

Other uses

 * Extremely Metal-Poor, stars, galaxies and related
 * Xanthosine monophosphate, an intermediate in purine metabolism

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

title: XMP


text:
Talk:African Union/to do

Expand upon:
 * Organisation
 * Economy
 * Funding and economy of the AU project
 * Get flag image put back on page.

title: Talk:African Union/to do


text:
Herbert Ross

Herbert David Ross (May 13, 1927 – October 9, 2001) was an American actor, choreographer, director and producer who worked predominantly in theater and film. He was nominated for two Academy Awards and a Tony Award.

He is known for directing musical and comedies such as Goodbye, Mr. Chips (1969), The Owl and the Pussycat (1970), Play It Again, Sam (1972),  The Sunshine Boys, Funny Lady (both 1975), The Goodbye Girl (1977), California Suite (1978), and Pennies From Heaven (1981). His later films include Footloose (1984), and Steel Magnolias (1989). For the drama The Turning Point (1977) he received two Academy Award nominations for Best Picture and Best Director and received the Golden Globe Award for Best Director.

He is also known for his work on Broadway as a choreographer for productions for Barbra Streisand, Stephen Sondheim, Richard Rodgers, and Arthur Laurents. His credits include A Tree Grows in Brooklyn in 1951, Finian's Rainbow in 1960, I Can Get It for You Wholesale in 1962, and Do I Hear a Waltz? in 1965. He was nominated for a Tony Award for Best Choreography for Anyone Can Whistle in 1964.

Early life
Ross was born on May 13, 1927, in Brooklyn, New York, the son of Louis Chester Ross, a postal clerk, and his wife Martha (née Grundfast). His parents were Russian-Jewish immigrants. When Ross was nine, his mother died and his father moved the family to Miami and opened a luncheonette.

After dropping out of high school, Ross went to New York to pursue an acting career but became smitten with dance and studied dance.

Theatre
Dancer

In 1942, Ross' stage debut came as "Third Witch" in a touring company of Macbeth. The next year brought his first Broadway performance credits with Something for the Boys, as a dancer. Ross was a dancer in Follow the Girls (1943–44), Laffing Room Only (1944–45), Beggar's Holiday (1946–47), and Look, Ma, I'm Dancin'!.

Choreographer

By 1950, he was a choreographer with the American Ballet Theatre and choreographed his first Broadway production, the Arthur Schwartz-Dorothy Fields musical adaptation of A Tree Grows in Brooklyn (1951). For TV he choreographed All Star Revue, The Milton Berle Show, and The Steve Allen Plymouth Show. Ross's first film assignment came as an uncredited choreographer on Carmen Jones (1954).

Back on Broadway he choreographed House of Flowers (1954) for Peter Brook, and The Body Beautiful (1958). He choreographed some TV specials: The Jerry Lewis Show (1957), Wonderful Town (1958), Meet Me in St Louis (1959) and A Christmas Festival (1959). On Broadway Ross directed and choreographed a revival of Finian's Rainbow (1960). In 1965, Ross choreographed the original production of On a Clear Day, You Can See Forever and, without credit, took over the helm from the director of record, Robert Lewis, when the musical ran into trouble in Boston during its pre-Broadway tryout tour.

Ross went to England where he choreographed the feature film The Young Ones (1961), starring Cliff Richard. He returned to Broadway to be musical director on The Gay Life (1961–62) and I Can Get It for You Wholesale (1962), the latter directed by Arthur Laurents and starring Barbra Streisand. He did The Bacchantes (1961) for TV. Ross then choreographed a second Cliff Richard musical in England, Summer Holiday (1963). On Broadway he choreographed Tovarich (1963) with Vivien Leigh and Anyone Can Whistle (1964) with Laurents. For TV he did musical numbers for The Fantasticks (1964), The Bell Telephone Hour, Delia Scala Show (1962), Rinaldo in campo (1963), and The Nut House!! (1964) and staged numbers for the films Inside Daisy Clover (1965), Who's Afraid of Virginia Woolf? (1966) and Doctor Dolittle (1967).

On Broadway Ross directed and choreographed Kelly (1965), and choreographed Do I Hear a Waltz? (1965) and On a Clear Day You Can See Forever (1965-66). He did some additional staging on The Apple Tree (1966–67) directed by Mike Nichols. Ross was choreographer and director of musical numbers for Funny Girl (1968), produced by Ray Stark.

Film
His film directorial debut came with the musical version of Goodbye, Mr. Chips (1969), made by MGM-British, with Peter O'Toole and Petula Clark. It was produced by Arthur P. Jacobs who had made Doctor Dolittle two years prior, and just like that film, Goodbye, Mr. Chips was a box-office disappointment. However, Ross' second feature as director, The Owl and the Pussycat (1970), was a big hit. The film was produced by Ray Stark and starred Streisand.

Ross did T.R. Baskin (1971) then Play It Again, Sam (1972), the latter produced by Jacobs and starring Woody Allen based on his play. Ross made The Last of Sheila (1973) co-written by Stephen Sondheim and Anthony Perkins, and Funny Lady (1975) with Stark and Streisand. Ross directed The Sunshine Boys (1975) based on a play and script by Neil Simon, starting a long collaboration between the two men; Stark produced. Ross directed The Seven-Per-Cent Solution (1976), and The Turning Point (1977); Ross produced the latter.

Ross had two big hits with Simon scripts produced by Stark, The Goodbye Girl (1977) and California Suite (1978). Ross returned to Broadway to direct Neil Simon's Chapter Two (1977–79). After doing the ballet film Nijinsky (1980) he directed Simon's I Ought to Be in Pictures (1980–81) on Broadway. He followed this with Pennies from Heaven (1981) and the film version of I Ought to Be in Pictures (1982). His last film with Simon was Max Dugan Returns (1983).

Later career
Ross had a huge hit with Footloose (1984). He followed this with two comedies, Protocol (1984) with Goldie Hawn and The Secret of My Success (1987) with Michael J. Fox. Less successful was Dancers (1987).

Ross had one last big hit with another play adaptation, Steel Magnolias (1989). In the 1990s, he directed My Blue Heaven (1990), True Colors (1991), Undercover Blues (1993) and Boys on the Side (1995).

Personal life
In 1959, he married Nora Kaye, a ballerina, with whom he produced four films. In 1987, his wife Nora died of cancer.

In September 1988, he married for the second time to Lee Radziwiłł, the younger sister of former First Lady Jacqueline Kennedy Onassis. The marriage ended in divorce in 2001, shortly before his death. In 2013, Radziwiłł described their relationship as follows:

"He was certainly different from anybody else I'd been involved with, and the film world sounded exciting. Well, it wasn't. I hated Hollywood, and the provincialism of the industry ... Herbert had been married to the ballerina Nora Kaye until she died, and unbeknownst to me was still obsessed by her. It was 'Nora said this, Nora did it like that, Nora liked brown and orange.'"

On October 9, 2001, Ross died from heart failure in New York City. A memorial was held for him at the Majestic Theater on West 44th Street in New York where Leslie Browne, Barbara Cook, Arthur Laurents, Marsha Mason, Mike Nichols and Mary-Louise Parker spoke of Ross. He was interred with Kaye in the Westwood Village Memorial Park Cemetery in Los Angeles.

title: Herbert Ross


text: Wikipedia talk:Successful bureaucratship candidacies


text:
Talk:Sonic Mega Collection

Name origin?
Could we consider this game to be called Mega collection because of the [Mega Drive] name in territories besides North America?

 * I thought of that too. Should it be in the article?. --Libertyernie2 01:28, 6 July 2006 (UTC)
 * That's speculative and original research, so no. Ace of Sevens 01:36, 6 July 2006 (UTC)

Sonic Mega Collection Plus
Is there any reason Sonic Mega Collection Plus is a separate article? It's mostly the same. We could easily make it a section in this article with its own infobox and a paragraph about what was added. Ace of Sevens 19:26, 1 July 2006 (UTC)

I agree, it doesn't seem to warrant an additional article. Hyper Anthony 18:43, 3 July 2006 (UTC)

Agree. Nothing else more to be said.

I just merged the article now. This is my first merge, so please tell me if I screwed up on something! CJ 21:28, 4 July 2006 (UTC)
 * You forgot to merge in the categories and left a bit of redundant info, but not bad. I fixed it up a bit. Ace of Sevens 22:48, 4 July 2006 (UTC)

Worth Upgrading to SMC+
I have SMC, and was wondering if it was worth getting SMC+. I am considering getting it and Gems so as to have as many Sonic games as possible.
 * It adds six Game Gear games and two Genesis games, as it says on the page. I haven't played those much, so I can't really say. --Libertyernie2 16:15, 28 September 2006 (UTC)
 * Sonic Adventure DX has all 12 Sonic Game Gear games. Sonic Mega Collection+ has only 6. So I'd keep the GameCube version of Sonic Mega Collection, and buy Sonic Adventure DX. Mega Man 5 30 June 2007 (UTC)
 * You have to unlock the games though, so it would be very hard. Libertyernie2 13:14, 1 July 2007 (UTC)
 * Yes, but at least all 12 are included. And the first 6 or 7 aren't very hard to unlock. Mega Man 5 2 July 2007 (UTC)

Sonic the Hedgehog
What's the difference between the American and Japanese versions? I used a code to see the American version but I didn't notice any difference. YuckieDuck 15:06, 29 December 2006 (UTC)
 * The clouds in GHZ move in the Japanese version, and there are a few other fancy effects too. They're really not that different. --Libertyernie2 18:11, 29 December 2006 (UTC)

Massive Lag
Did anybody experience an almost untolerable amount of lag while getting the a Chaos Emerald in Sonic 3 (its the one that's on the upper-left on the diagram, the X below:

x 0 0 0 0 0 0

While getting the last 20 or so blue spheres, the frame started to slow down, and with the last 5 or so, the amount of time between each sphere extended to seconds. I thought it froze for a few seconds, since it just sat there at one point for at least 5 seconds.

This is why it took me forever to get the last emerald, as it transitions from super fast to unbelievably slow in a short period of time. I'm hoping this isn't normal. BirdValiant 19:54, 29 December 2006 (UTC)

Released in North America first
This product (i.e. the package, not the individual games) was released in North America first, so I thought it would count as an American game and the Template:Nihongo could be left out. Megata Sanshiro (talk) 22:23, 14 April 2008 (UTC)

Exclusion of Sonic CD
Does somebody know why it was (oh so rudely) left out? I think it should be said on the article, after all the game is exellent. --UltimateDestroyerOfWorlds (talk) 01:54, 19 December 2008 (UTC)

8 Bit games
Does anybody know why they are the Game Gear and not Master System versions?  AJUK  Talk!! 21:43, 9 January 2009 (UTC)

I don't know about their differences, but the Master System versions were very obscure. The final one (Sonic Blast) was even South America only. Theclaw1 (talk) 03:57, 21 September 2009 (UTC)

50Hz
I have removed the line claiming that "the PC version also uses the PAL-50 versions of the Mega Drive games instead of the NTSC-60 ones, and the game therefore runs at the slower 50Hz". I have tested this with Sonic the Hedgehog and it is definitely running at 60Hz. It is still possible that the games are the PAL versions though as the speed of Mega Drive games depended on the console (or emulator) on which the games were running. Thus, it is possible the games are the PAL versions running at 60Hz. Does anyone know what the actual code differences were between the NTSC and PAL versions? eyeball226 (talk) 16:08, 1 August 2010 (UTC)

Emulation
The Emulation part of the page suggests that Gens/GS was used for emulation on the PC version, however Gens/GS first milestone release was in 2008 with the PC version for SMC+ being released in 2006 in North America. Is this truly possible? Wouldn't normal Gens or KEGAFusion have been used? 90.219.26.46 (talk) 01:49, 29 June 2011 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20090611140355/http://ps2.gamezone.com/gzreviews/r24670.htm to http://ps2.gamezone.com/gzreviews/r24670.htm
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Table of Games
Added the table here, please take a look when you get a chance. I trust your expertise on Sonic games more than mine. I said Flicky is originally an arcade game, which it is, but I wondered if this compilation ported the Genesis version. So maybe a sentence is needed to explain that. Bchill53 (talk) 22:10, 4 January 2019 (UTC)
 * I've got no problems with it. And FWIW I think the Genesis version of Flicky was used but that can be noted in the development section. JOE BRO  64  22:12, 4 January 2019 (UTC)
 * I tried a footnote solution. TarkusAB talk 22:25, 4 January 2019 (UTC)
 * Or that JOE BRO  64  22:27, 4 January 2019 (UTC)

title: Talk:Sonic Mega Collection


text:
Point-blank range

Point-blank range is any distance over which a certain firearm or gun can hit a target without the need to elevate the barrel to compensate for bullet drop, i.e. the gun can be pointed horizontally at the target. For targets beyond-blank range, the shooter will have to point the barrel of their firearm at a position above the target, and firearms that are designed for long range firefights usually have adjustable sights to help the shooter hit targets beyond point-blank range. The maximum point-blank range of a firearm will depend on a variety of factors such as muzzle velocity and the size of the target.

In popular usage, point-blank range has come to mean extremely close range with a firearm, yet not close enough to be a contact shot.

History
The term point-blank dates to the 1570s and is probably of French origin, deriving from pointé à blanc, "pointed at white". It is thought the word blanc may be used to describe a small white aiming spot formerly at the center of shooting targets. However, since none of the early sources mention a white center target, blanc may refer to empty space or zero point of elevation when testing range.

The term originated with the techniques used to aim muzzle-loading cannon. Their barrels tapered from breech to muzzle, so that when the top of the cannon was held horizontal, its bore actually sat at an elevated angle. This caused the projectile to rise above the natural line of sight shortly after leaving the muzzle, then drop below it after the apex of its slightly parabolic trajectory was reached.

By repeatedly firing a given projectile with the same charge, the point where the shot fell below the bottom of the bore could be measured. This distance was considered the point-blank range: any target within it required the gun to be depressed; any beyond it required elevation, up to the angle of greatest range at somewhat before 45 degrees.

Various cannon of the 19th century had point-blank ranges from 250 yd (12 lb howitzer, 0.595 lb powder charge) to nearly 1075 yd (30 lb carronade, solid shot, 3.53 lb powder charge).

Maximum point-blank range

Small arms are often sighted in so that their sight line and bullet path are within a certain acceptable margin out to the longest possible range, called the maximum point-blank range. Maximum point-blank range is principally a function of a cartridge's external ballistics and target size: high-velocity rounds have long point-blank ranges, while slow rounds have much shorter point-blank ranges. Target size determines how far above and below the line of sight a projectile's trajectory may deviate. Other considerations include sight height and acceptable drop before a shot is ineffective.

Hunting
A large target, like the vitals area of a deer, allows a deviation of a few inches (as much as 10 cm) while still ensuring a quickly disabling hit. Vermin such as prairie dogs require a much smaller deviation, less than an inch (about 2 cm). The height of the sights has two effects on point blank range. If the sights are lower than the allowable deviation, then point blank range starts at the muzzle, and any difference between the sight height and the allowable deviation is lost distance that could have been in point blank range. Higher sights, up to the maximum allowable deviation, push the maximum point blank range further from the gun. Sights that are higher than the maximum allowable deviation push the start of the point blank range farther out from the muzzle; this is common with varmint rifles, where close shots are only sometimes made, as it places the point blank range out to the expected range of the usual targets.

Military
Known also as "battle zero", maximum point-blank range is crucial in the military. Soldiers are instructed to fire at any target within this range by simply placing their weapon's sights on the center of mass of the enemy target. Any errors in range estimation are effectively irrelevant, as a well-aimed shot will hit the torso of the enemy soldier. No height correction is needed at the "battle zero" or less distance; however, if it can result in a headshot or even a complete miss. The belt buckle is used as battle zero point of aim in Russian and former Soviet military doctrine.

The first mass-produced assault rifle, the World War II StG 44, and its preceding prototypes had iron sight lines elevated over the bore axis to extend point-blank range. The current trend for elevated sights and flatter shooting higher-velocity cartridges in assault rifles is in part due to a desire to further extend the maximum point-blank range, which makes the rifle easier to use. Raising the sight line 48.5 to 66 mm over the bore axis, introduces an inherent parallax problem as the projectile path crosses the horizontal sighting plane twice. The point closest to the gun occurs while the bullet is climbing through the line of sight and is called the near zero. The second point occurs as the projectile is descending through the line of sight. It is called the far zero. At closer ranges under the near zero range (typically inside 15 to 25 m), the shooter must aim high to place shots where desired.

title: Point-blank range


text:
Talk:Bernard Shaw (disambiguation)

Bernard Shaw and Bernard shaw... admin please help me move

 * Moved from the Village Pump

There are two pages, one named "Bernard Shaw," which is a redirect to "George Bernard Shaw," and a page named "Bernard shaw," which is a disambiguation page between "George Bernard Shaw" and a still-blank "Bernard Shaw (CNN)" (Bernard Shaw is a CNN comentator).

The "American presidential debates" entry lists "Bernard Shaw" as a former presidential TV debate moderator. The link, however, is to "Bernard Shaw" and redirects to "George Bernard Shaw." George Bernard Shaw died in 1950, ten years before the first TV debate between Kennedy and Nixon.

Please help moving things around.

Thanks.

Large Boat 02:18, 28 Sep 2004 (UTC)

 * Done. Bernard Shaw is now the disambiguation page. Incoming links all made to point to the correct place. Lupo 09:39, 28 Sep 2004 (UTC)

User: bernard shaw. Why is the name Bernard Shaw as written, born in Dartford 1930, writer of poetry and childrens fairy-tales been taken off this list? I have as much right to my little piece of fame for my works as all of the tother Bernard shaw's. See http:// members.chello.at/fairy-tales/ fairies.html —Preceding unsigned comment added by Bernshor (talk • contribs) 15:31, 29 June 2008 (UTC)

 * Umm...isn't it safe to assume that almost everyone who types "Bernard Shaw" is looking for George Bernard Shaw? This disambiguation page is absurd and needs to be replaced by a redirect to the playwright's biography. -69.47.186.226 05:39, 28 June 2007 (UTC)

title: Talk:Bernard Shaw (disambiguation)


text:
List of secret police organizations

This is a list of current secret police organizations. Fictional secret police organizations and historical secret police organizations are listed on their own respective pages.

In this list, reputable sources, with relevant quotes, assert that the organizations in this list are secret police.

title: List of secret police organizations


text:
Michael Field (author)

Michael Field was a pseudonym used for the poetry and verse drama of the English authors Katherine Harris Bradley (27 October 1846 – 26 September 1914) and her niece and ward Edith Emma Cooper (12 January 1862 – 13 December 1913). As Field, they wrote around 40 works together, and a long journal Works and Days. Their intention was to keep the pen-name secret, but it became public knowledge, not long after they had confided in their friend Robert Browning.

Biographies
Katherine Bradley was born on 27 October 1846 in Birmingham, England, the daughter of Charles Bradley, a tobacco manufacturer, and of Emma (née Harris). Her grandfather, also Charles Bradley, was a prominent follower and financial backer of prophetess Joanna Southcott and her self-styled successor John "Zion" Ward. She attended lectures at the Collège de France in 1868, and in 1874 she attended a course at Newnham College, Cambridge specially designed for women, however did not receive a degree for it.

Bradley's elder sister, Emma, married James Robert Cooper in 1860, and went to live in Kenilworth, where their daughter, Edith Emma Cooper was born on 12 January 1862. Emma Cooper became an invalid for life after the birth of her second daughter, Amy, and Katharine Bradley, being her sister, stepped in to become the legal guardian of her niece Edith Cooper.

Bradley was for a time involved with Ruskin's utopian project. She published first under the pseudonym Arran Leigh, a nod to Elizabeth Barrett. Edith adopted the name Isla Leigh for their first joint publication, Bellerophôn.

From the late 1870s, when Edith was at University College, Bristol, they agreed to live together and were, over the next 40 years, lesbian lovers, and co-authors. Their first joint publication as Michael Field was "Callirhöe and Fair Rosamund" in 1884. The Athenaeum noted that 'the famous Faun song in 'Callirrhoé,' which has found its way into many anthologies, the Fairy songs in 'Fair Rosamund,' and the whole of the poignant drama of 'The Father's Tragedy' were the work of the younger writer while still a girl.' They had financial independence.

They were Aestheticists, strongly influenced by the thoughts of Walter Pater. They developed a large circle of literary friends and contacts; in particular painters and life partners Charles Ricketts and Charles Shannon, near whom they settled in Richmond, London. Robert Browning was a close friend of theirs—if also the source of their leaked identity—as well as Rudyard Kipling. They also knew and admired Oscar Wilde, whose death they bitterly mourned. While they were always well connected, the early critical success was not sustained (this is often attributed to the joint identity of Field becoming known). They knew many of the aesthetic movement of the 1890s, including Walter Pater, Vernon Lee, J. A. Symonds and also Bernard Berenson. William Rothenstein was a friend. In 1899 the death of Edith's father enabled them to buy their own house as evidence of their "close marriage", although Edith saw her father's death as retribution for their lifestyle. Edith later led the way in establishing the couple as active Catholics.

They wrote a number of passionate love poems to each other, and their name Michael Field was their way of declaring their inseparable oneness. Friends referred to them as the Fields, the Michaels, or the Michael Fields. They had a range of pet names for each other. They also were passionately devoted to their pets, particularly Whym Chow, for whom they wrote a book of elegiac poems entitled Whym Chow: Flame of Love. Their joint journal starts with an account of Bradley's passion for Alfred Gérente, an artist in stained glass and brother of Henri Gérente, who was of an English background but worked mostly in France. It goes on to document Michael Field as a figure, amongst 'his' literary counterparts, and their lives together. When Whym Chow died in 1906, the emotional pattern of the relationship was disturbed; both women became Roman Catholic converts in 1907. Their religious inclinations are reflected in their later works, where their earlier writing is influenced by classical and Renaissance culture, in its pagan aspects particularly, Sappho as understood by the late Victorians, and perhaps Walter Savage Landor.

Katherine had found that she had breast cancer in June 1913 and only told her confessor, Vincent McNabb; she had never told Edith, who had been diagnosed with cancer in 1911. Edith died 13 December 1913 at their home, The Paragon, Richmond. Katherine died 26 September 1914, having moved to a cottage near McNabb at Hawkesyard Priory, Rugeley. They are buried together in the cemetery of St Mary Magdalen Roman Catholic Church in Mortlake.

Legacy
In 1923, saddened at their lack of a memorial, Charles Ricketts designed one for them of black stone, for which John Gray wrote the epitaph ('United in blood, united in Christ'). However, this tombstone at St Mary Magdalen Roman Catholic Church Mortlake cracked irreparably in 1926, the year in which it was installed, and is now lost.

Their extensive diaries are stored in the British Library, and have been digitized and made available by the Victorian Lives and Letters Consortium. Carolyn Dever argues that the diaries contain many novelistic qualities—at least up until the time of Whym Chow's death.

A much-edited selection from the journals, which were two dozen annual volumes in ledgers with aspects of scrapbooks combined with a self-conscious literary style of composition, was prepared by T. Sturge Moore, a friend through his mother Marie.

Reception
A review of their poems in 1908 noted that 'One of the London weeklies, announcing the new volume, comments on the strange anomaly that a poet of "Michael Field’s" distinction should have had such slight recognition in this country. A writer in the "Academy" is quoted as saying that "he is perhaps the greatest of our living lyric poets who are actually writing at this time," and it is claimed that those who are acquainted with the poet's work must agree with this appreciation. Without entering into the question of comparative merit (says the "Yorkshire Observer"), it may be readily admitted that the poems have had a genuine note of distinction'. The Athenaeum noted that 'Seven years ago both poets were received into the Roman Church, and their definitely Catholic work is represented by two volumes of devotional verse: 'Poems of Adoration,' by the younger, and 'Mystic Trees,' by the elder writer.'

Works

 * The New Minnesinger and other poems (London : Longmans, Green, and Co., 1875) poems by Arran Leigh.
 * Bellerophon (C. Kegan Paul, 1881) by Arran and Isla Leigh.
 * Callirrhoe & Fair Rosamund (1884) verse dramas.
 * The Father's Tragedy (1885) verse drama.
 * William Rufus (1885) verse drama.
 * Loyalty Or Love? (1885) verse drama.
 * Brutus Ultor (1886) verse drama.
 * Canute the Great (1887) verse drama.
 * The Cup of Water (1887) verse drama.
 * Long Ago (1889) poems.
 * The Tragic Mary (1890) verse drama.
 * Sight and Song (1892) E. Mathews and J. Lane, poems
 * Stephania, a Trialogue (1892) verse drama.
 * A Question of Memory (1893) drama.
 * Underneath the Bough (1893) poems.
 * Attila, My Attila (1896) verse drama.
 * World at Auction (1898) Vale Press, verse drama.
 * Noontide Branches (1899) verse drama.
 * Anna Ruina (1899) verse drama.
 * Race of Leaves (1901) Vale Press, verse drama.
 * Julia Domna (1903) Vale Press, verse drama.
 * Borgia (1905) verse drama.
 * Wild Honey from Various Thyme (1908) poems.
 * Queen Mariamne (1908) verse drama.
 * Tragedy of Pardon (1911) verse drama.
 * Tristan de Léonois (1911) verse drama.
 * Dian (1911) verse drama.
 * The Accuser (1911) verse drama.
 * A Messiah (1911) verse drama.
 * Poems of Adoration (1912).
 * Mystic Trees (1913) poems.
 * Whym Chow: Flame of Love (1914) poems.
 * Ras Byzance (1918) verse drama.
 * Deirdre (1918) verse drama.
 * In The Name of Time (1919) verse drama.
 * Selection (1923).
 * The Wattlefold: Unpublished Poems (1930).
 * Works and Days: From the Journal of Michael Field, (1933) edited by T. Sturge Moore (unpublished journals are now available on microfilm) kept from 1888, annual to 1914.
 * A Shorter Shırazad: 101 Poems of Michael Field (1999) selection by Ivor C. Treby
 * Where the Blessed Feet Have Trod - poem.

title: Michael Field (author)


text:
Aero AT

Aero AT Sp.z o.o. is a Polish light aircraft manufacturer founded by Tomasz Antoniewski in Warsaw in 1994. It is unrelated to the Czech Aero company.

The company is organized as a Spółka z ograniczoną odpowiedzialnością (Sp.z o.o.), a Polish private limited company.

The company was founded to develop and market a two-seat aircraft specifically for the flight training and touring market. The result of this venture was the Aero AT-3, type certified by European Aviation Safety Agency in May 1999 under the EASA CS-VLA rules, only the sixth aircraft type to receive this certification. The first five production aircraft were delivered to customers in 2002. A version for the light-sport aircraft market was accepted by the Federal Aviation Administration and marketed as the Gobosh 700 in the United States.

Aircraft

 * Aero AT-1
 * Aero P220S AT-2
 * Aero AT-3 (1997) – Single-engine two-seat low-wing Very Light Aircraft (VLA) with fixed tricycle undercarriage. Marketed in Europe in two versions - the SK (Standard Kit) and the R100. The Gobosh 700S is a version marketed in the U.S.
 * Aero AT-3S (S for Sport) was launched at the Aero Friedrichshafen 2017. Weighing just 600 kg, it is a refined variant of the AT-4.
 * Aero AT-4

title: Aero AT


text:
User talk:64.56.37.122

Nomination of 625 Thrashcore for deletion
A discussion is taking place as to whether the article 625 Thrashcore is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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title: User talk:64.56.37.122


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Talk:Key (cryptography)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 14 January 2021 and 30 April 2021. Further details are available on the course page. Student editor(s): Devinr-usc, Nhoang82, Sachenfrank.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 01:45, 17 January 2022 (UTC)

 * Italic 2A00:F29:2D0:2729:ED65:D45B:BC0F:C409 (talk) 06:47, 2 June 2024 (UTC)

Key article secrecy section vs. Secret_key redirect
The Secret key article redirects here. However, the subject of secrecy is dicussed here without really differentiating (well) the concept of secret keys (symmetric all secret) vs. public/private keys (asymmetric part secret). So perhaps the secret key article can be split out on its own (no more redirect), or it can be treated as a part of this article. Poppafuze 21:12, 21 October 2006 (UTC)

Opinions are solicited here:
 * No preference Poppafuze 21:12, 21 October 2006 (UTC)

List of applications
Hmm..not quite sure if this article is the right place for this...it's true that these protocols use keys, but I don't think it's sufficiently noteworthy for this topic. Perhaps we should move it to Cryptographic protocol ? — Matt 15:45, 12 Oct 2004 (UTC)
 * I agree. This part should probably contain a simple link to Cryptographic protocol, especially since it seems it was created in the first place to advertise PGP :)  ClementSeveillac 16:20, 12 Oct 2004 (UTC)

Major Edit
I've attempted a major cleanup and dropped some redundant text. I shortend the discussion of key length and pointed readers to the full article. I am also deleting "If a key can be guessed, an attacker is likely to be able to break the entire cryptosystem. For example, the poor choice of using related keys for the Japanese PURPLE cipher machine during World War II made it much easier for American analysts to continue to break encoded traffic after their initial breakthrough." It really does not affect modern systems much, particularly given the assumption that "the system is known". More work neded, but ran out of time for now. --agr 15:40, 19 Nov 2004 (UTC)
 * Thanks, I've also hacked on the lead section a little, and I think the article is looking quite a lot better than it did on the 15th. But yes, still more to do, I think. — Matt 06:40, 22 Nov 2004 (UTC)

Key vs Password
I came here as part of trying to understand 1Password's articles on how its various keys and passwords work. I realized that for most non-specialists (like me), one thing that's missing from a lot of relevant discussions is a simple explanation of why we have the two different words of "key" and "password" -- i.e. because they do not always (or even often?) refer to the same concept. I was going to merely make a suggestion here, but I decided to be bold and have a go myself. I am not a crypto person though, so could someone who is please check what I wrote, and add/subtract/modify as needed, just bearing in mind that the intended audience is more likely to be like me (crypto-naive) than you (crypto-sophisticated) and so lucidity may be more of a priority than absolutely bomb-proof technical precision! :-) Thanks. Thomask0 (talk) 20:13, 16 April 2016 (UTC)

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I removed this phrase from the main space version of the article to clean it up. I hope to do some real edits soon. {{Short description |Piece on information in cryptography}

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text:
Talk:BBC Sports Personality of the Year Lifetime Achievement Award

Page move request

 * Moved from the Village Pump

Could an admin please move Lifetime Achievement Award to BBC Sports Personality of the Year Lifetime Achievement Award over the existing redirect, if possible, in order to maintain the style of titles for the other awards at BBC Sports Personality of the Year? Thanks. -- Michael Warren | Talk 17:33, 6 Oct 2004 (UTC)
 * Done. I did a manual, non-admin cut-and-paste job because both pages had meaningful edit histories. And Lifetime Achievement Award now redirects to Award, since the BBC Sports award is one of many lifetime achievement awards. • Benc • 21:36, 6 Oct 2004 (UTC)

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Conmhaícne Mara

The Conmhaícne Mara or Conmaicne Mara (the Conmaicne of the sea) were an early people of Ireland. Their tuath was located in the extreme west of County Galway, Republic of Ireland, giving their name to Connemara, an anglicised form of Conmhaicne Mara.

Origin
The Conmhaícne or Conmaicne were a people of early Ireland, perhaps related to the Laigin, who dispersed to various parts of Ireland. They settled in Connacht and Longford, giving their name to several Conmaicne territories. Other branches of the Conmaicne located in County Galway included the Conmaícne Dúna Móir (Conmaicne of Dunmore) and the Conmhaícne Cúile Toland (Conmaicne of Cuile-Toland).

Territory
Conmhaícne Mara comprised all of the barony of Ballynahinch and the civil parish of Inishbofin, which is in the barony of Murrisk. The territory contains the five civil parishes of Ballynakill/Baile na Cille, Ballindoon, Moyrus/Maigh Iorras, Omey/Iomaidh Fheicín and Inishbofin/Inis Bó Fine. The territory contains the five Catholic parishes of An Clochán (Clifden, Omey & Ballindoon), Iorras Ainbhtheach (Carna), Cloch na Rón/(Roundstone), Baile na Cille (Ballynakill) and Inis Bó Fine/(*Inishbofin (County Galway)).

The area of County Galway in which Connemara lies is known as Iar Connacht i.e. the portion of County Galway west of Lough Corrib and a small piece of County Mayo. The parish of Kilconickny, which means "church of the Conmaicne"is located west of the town of Loughrea.

History
The chiefs of the Conmaicne Mara were the O’Kealys, and their cadets were the MacConneelys, O’Devaneys, and O’Clohertys, with the O’Falons [Folan] as their hereditary brehons. The O’Kealys relocated to Ui Oirbsen, but they were to find themselves imposed upon again after just a few decades. The MacConneelys stayed in their home at Ballyconneely Peninsula, but soon found themselves neighbors of the O’Flahertys.

A court inquisition in 1607 includes the following as leading chiefs of name in the barony of Ballynahinch: O’Flaherty of Bunowen, MacConroy, MacConnor, MacDonough, O’Duan, O’Lee, and MacConneely. MacConnor and MacDonough, are chiefs of branches that separated from the O’Flahertys, while the two after that, O’Duan and O’Lee, headed old followers of that family. The MacConneelys were the eldest cadets of the O’Kealys of Conmaicne Mara.

Annalistic references
See Annals of Inisfallen

 * AI1016.6 The slaughter of Ára, in which Ua Lochlainn, royal heir of Corcu Modruad, was killed in Port Ciaráin in Ára. It was the Conmaicne who slew him.
 * AI1016.8 Death of Muiredach son of Cadla, king of Conmaicne Mara.

title: Conmhaícne Mara


text:
Eumenes II

Eumenes II Soter (Εὐμένης Σωτήρ; ruled 197–159 BC) was a ruler of Pergamon, and a son of Attalus I Soter and queen Apollonis and a member of the Attalid dynasty of Pergamon.

Biography
The eldest son of king Attalus I and queen Apollonis, Eumenes was presumably born prior to 220 BC and was the eldest of four sons to Attalus I. Eumenes followed in his father's footsteps upon becoming king and collaborated with the Romans to oppose first Macedonian, then Seleucid expansion towards the Aegean, leading to the defeat of Antiochus the Great at the Battle of Magnesia in 190 BC.

He had refused to marry a daughter of Antiochus III upon noticing that he was about to engage in a war against the Romans. He then had married Stratonice of Pergamon, daughter of Ariarathes IV (King of Cappadocia) and his wife Antiochis, and their son was named Attalus III.

Expansion of the kingdom
Eumenes had followed his father's footsteps and aided the Romans whenever he could, firstly in the Syrian War, where he both informed them by sending his brother Attalus II and sided with the Romans, successfully aiding Rome in defeating Antiochus III in the Battle of Magnesia. He then aided the Romans in the War against Nabis where he aided both the Aetolian and Achaean leagues to defeat the Spartan tyrant Nabis, and lastly in the Third Macedonian War where he aided the Romans in defeating the Macedonian and Thracian army in the Battle of Pydna against Perseus of Macedon. He was then at war with the Bithynian king Prusias I in 183 BC, although being defeated, he received Roman support which ended in his victory.

Following the Peace of Apamea in 188 BC, he received the regions of Phrygia, Lydia, Pisidia, Pamphylia, and parts of Lycia from his Roman allies. By dividing Asia Minor between their allies Rhodes and Pergamon the Romans made sure that neither state would be able to become too powerful in the region. The Romans also managed to ensure that Rome would remain involved in the affairs of the region.

Falling out of favour with the Romans
He later fell out of favour with the Romans after they suspected him of conspiring with Perseus of Macedon. In order to avert suspicion, he sent his congratulations to Rome by his brother Attalus II after the defeat of Perseus. Attalus was received courteously, and in 167 BC the Romans made an abortive attempt to install Attalus on the Pergamene throne. Eumenes in alarm set out to visit Rome in person to plead his case, but on his arrival at Brundusium (Brindisi) was ordered to leave Italy at once. In the event, the ties of kinship proved strong, and Eumenes remained as ruler. He also warred with Pharnaces I, who attempted to enlist the aid of the Seleucids, under Seleucus IV but due to the peace of Apamea, denied siding with him. Later on, in around 179 BC, after suffering losses, Pharnaces sued for peace.

When Eumenes' health began to weaken his brother Attalus II ascended to the throne as a co-ruler in 160 BC. Since Eumenes' and Stratonice's son was still a minor, the throne was assumed by Attalus, who also married Eumenes' widow Stratonice in 158 BC upon becoming king.

Legacy
Eumenes II was a shrewd ruler and politician, who raised his state to a powerful monarchy. During his reign Pergamum became a flourishing city, where men of learning were always welcome, among them Crates of Mallus, the founder of the Pergamene school of criticism. Eumenes adorned the city with splendid buildings, amongst them the great altar with the frieze representing the Battle of the Giants. His great achievement was the expansion of the Library at Pergamon, one of the great libraries of the Ancient World and the place traditionally associated with the creation of parchment, although it had existed for centuries. He also built a stoa on the Athenian acropolis.

title: Eumenes II


text:
Garfield Dunlop

Garfield Dunlop is a former politician in Ontario, Canada. He was a Progressive Conservative member of the Legislative Assembly of Ontario from 1999 to 2015 who represented the riding of Simcoe North. He resigned from the legislature in 2015 in order to provide a vacancy so that former PC leader Patrick Brown could seek a seat in the legislature.

Background
Dunlop was educated at the University of Waterloo. In 1971, he joined his family business, Glen Dunlop Plumbing, Heating and Supplies.

Politics
In 1980, Dunlop was elected a councillor in the village of Coldwater, Ontario. He served as reeve of the village from 1982 to 1994, and as deputy mayor of the township of Severn from 1994 to 1999. In 1998, he was named warden of Simcoe County.

Dunlop was elected to the Ontario legislature in the 1999 provincial election. He won the Progressive Conservative nomination in Simcoe North following the resignation amid scandal of sitting MPP Al McLean. Dunlop defeated his Liberal opponent George MacDonald, in 1999, by about 7,000 votes. He was re-elected in four times from 2003 to 2014. In 2014 his vote count dropped dramatically, while his opponents made significant gains, in what has been considered a safe riding for Progressive Conservative candidates.

Dunlop was appointed deputy government whip after his election, but was not given a cabinet position in the governments of Mike Harris or Ernie Eves. He was one of only 24 Tories re-elected in the 2003 election, defeating Liberal Paul Sloan by 3680 votes.

Dunlop is socially conservative. While campaigning in 2003, he handed out literature against same-sex marriage, which he referred to as a sin. Dunlop is also known to support private prisons.

As an Opposition member, Dunlop served as chief opposition whip from 2003 to 2005 and was Progressive Conservative critic for community safety and correctional services from 2003 to 2011 and was chair of the Standing Committee on Estimates from 2009 to 2011. From 2011 to 2014 he was critic for Training and Apprenticeship and from 2014 until 2015 he served as critic for Education as well as for Training, Colleges and Universities.

During the 2015 Progressive Conservative leadership campaign, Dunlop supported Lisa MacLeod and criticized eventual winner Patrick Brown, at the time federal Member of Parliament for Barrie without a seat in the Ontario legislature, for being "a federal member who’s made no headway whatsoever in the Harper government in the eight or nine years he’s been there." Dunlop added: "How could I possibly think he could come to Ontario and do a good job when he couldn’t even make cabinet in Ottawa?"

Nevertheless, on July 22, 2015 Dunlop announced he would step aside and allow Brown to run in the riding so that he could enter the legislature. Dunlop's resignation took effect August 1, 2015.

His daughter, Jill Dunlop, was elected to represent Simcoe North in the 2018 provincial election.

title: Garfield Dunlop


text:
John the Exarch

John the Exarch (also transcribed Joan Ekzarh; Їѡаннъ Єѯархъ Йоан Екзарх) was a medieval Bulgarian scholar, writer and translator, one of the most important men of letters working at the Preslav Literary School at the end of the 9th and the beginning of the 10th century. He was active during the reign of Boris I and his son Simeon I. His most famous work is the compilation Shestodnev (Шестоднев – Hexameron) that consists of both translations of earlier Byzantine authors and original writings. The Russian Orthodox Church canonized him and his memory is honoured on the. In a manuscripts of the Gospels, held in the National Library of Serbia, an alternative date is given, namely —.

Life
Evidence about his life is scarce but his literary legacy suggests an excellent knowledge of Greek language. It is therefore assumed that John the Exarch received his education in the Byzantine Empire. Some historians assume that his sobriquet "the Exarch" means that he was the Archbishop of Bulgaria. Others suggest that this was not an bishopric rank. There are also theories that identify John the Exarch with Chernorizets Hrabar or with John of Rila.

Literary activities
John the Exarch's literary work includes a number of translations of medieval Byzantine authors, the most important of which is the translation, around 895, of On Orthodox Christianity by the Byzantine theologian John of Damascus. He is also the author of several original works and compilations, the most important whereof is the compilation Шестоднев (Shestodnev). The compilation includes parts of the works of several Byzantine authors, most notably Basil the Great, as well as original parts which give valuable first-hand evidence about the Bulgarian Empire under Simeon I. John the Exarch describes the royal palace and the Bulgarian ruler that includes information about his attire, the boyars, the social stratification of the Bulgarian society and like matters.

Monographs

 * Калайдович, К. Иоанн ексарх болгарский. Москва (1824)
 * Архимандрит Панарет, Животът на Йоана Екзарха Български, Станимака (1914)
 * Иванова-Мирчева, Д., Йоан Екзарх Български, Слова, т. 1, София (1974)
 * Бонов, А. Възгледите за вселената на Йоан Екзарх български. София (1982)
 * Чолова, Ц., Естественонаучните знания в средновековна България, София, изд. БАН (1988)
 * Баранкова, Г. С., В. В. Мильков. Шестоднев Иоанна екзарха Болгарского. Санкт Петербург (2001)
 * Трендафилов, Хр. Йоан Екзарх Български. София (2001)

Articles

 * Vondrák, V., O mluvě Jana Exarcha bulharského, Praha, p. 40–92, p. 95–97 (1896)
 * Трифонов, Ю., Сведения из старобългарския живот в "Шестоднева" на Йоан Екзарх, Списание на БАН, т. 35, с. 1–26 (1926)
 * Мавродинов, Н., Описание на Преслав в Шестоднева на Йоан Екзарх, ИП, кн. 3, с. 66–76 (1955)
 * Миятев, К., Два поетични фрагмента у Йоан Екзарх като исторически извори, Археология, кн. 1–2, с. 9–16 (1959)
 * Хаджиолов, А., Йоан Екзарх Български като учен и философ, основоположник на българското естествознание, Проблеми на природата, кн. 8, с. 177 (1978)
 * Боев, П., Йоан Екзарх Български – първият наш антрополог, Проблеми на природата, кн. 9 с. 317 (1978)
 * Борисов, М., А. Ваврек, В. Кусев, "Йоан Екзарх – първият разпространител на знания в областта на физическите науки у нас", Физика, кн. 1, с. 14–28 (1983)
 * Борисов, М., А. Ваврек, Г. Камишева, "Йоан Екзарх Български – пръв разпространител на физически знания у нас", Предшественици на разпространението и развитието на физическите знания в България, София, Народна просвета (1985) с. 5–65
 * Чолова, Ц., Върховната власт и управлението в средновековната българска държава по времето на Симеон, отразени в "Шестоднева" на Йоан Екзарх, Известия на Института по история, т. 27, с. 216–235 (1985)

title: John the Exarch


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User talk:Pdurbin

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Talk:Karen Walker (designer)

Untitled
Can someone change it so that a search for "Karen Walker" goes to Karen Walker(disambiguation)? Pacian 15:15, 12 Oct 2004 (UTC)
 * Nevermind. Someone's already REMOVED my disam-page and just redirected the karen walker link from Will & Grace. Pacian 15:16, 12 Oct 2004 (UTC)

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