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Rajpramukh

Rajpramukh was an administrative title in India which existed from India's independence in 1947 until 1956. Rajpramukhs were the appointed governors of certain Indian provinces and states.

Background
The British Indian Empire, which included most of present-day India, Pakistan, and Bangladesh, was made up of two types of political units. British India consisted of fifteen provinces, all British possessions, ruled directly by the British in all respects, either through a governor or a chief commissioner, officials appointed by the viceroy. Existing alongside British India were a large number of princely states, ruled by local hereditary rulers, who acknowledged British suzerainty, including British control of their external affairs, but who retained local autonomy. At the time of the proclamation of Queen Victoria as Empress of India in 1875, more than 700 Indian princely states and territories enjoyed treaty relations with the British Crown. The exact relationship between the Government of India (controlled by the British) and these states varied enormously, ranging from treaties of alliance, defence, protection, or supervision to almost outright control. The British Crown assumed control of British India from the East India Company in 1857 and thereafter controlled the internal governance through a Secretary of State for India in London and a Viceroy in India.

The hundreds of princely states varied greatly in size, from Hyderabad, with a population of over ten million, to tiny states. Most of the rulers of the princely states worked closely with a British political agent who was responsible to the governor of a British province, but the four largest princely states, Hyderabad, Baroda, Mysore, and Jammu and Kashmir, had Residents directly under the authority of the viceroy. Two agencies, the Central India Agency and Rajputana Agency, were made up of numerous princely states, and their political agents were appointed by the Viceroy.

After independence under the Dominion of India, 1947–1950
On 20 February 1947, the British government announced its intention to transfer power in British India to Indian hands by June 1948. However by 16 May 1947, the Cabinet Mission Plan had failed to evolve a constitution for India acceptable to all contending parties. Subsequently, the British government announced on 3 June 1947 its intention to partition British India into two dominions. On 15 July 1947, the House of Commons passed the Indian Independence Act 1947, to divide British India into the dominions of India and Pakistan. The House of Lords followed suit the next day. The Bill received the Royal assent on 18 July 1947. From this day the suzerainty of the British Crown over the Indian princely states lapsed as per 7(b) of the India Independence Act 1947, and with it all treaties between the British Crown and the Indian states also had a legal quietus. The rulers of the Indian States became sovereign rulers from 18 July 1947, and in principle they were free to accede to either of the two dominions or to remain independent. As per the provisions of the Act, on 15 August 1947 two independent dominions of India and Pakistan were established. The leaders in the Indian Independence movement put strong pressure on the Indian princes to accede their states to the Dominion of India. By 15 August 1947, virtually all of the rulers had signed an Instrument of Accession with the Governor-General of India, giving power to the dominion government to make laws on the three subjects of foreign policy, communication and defence, and otherwise they remained sovereign rulers. These rulers also signed another agreement known as the "Stand Still Agreement", to provide continuity to any existing agreements between British India and their States.

Three Indian states namely Hyderabad, Jammu and Kashmir, and Junagadh, failed to accede to either of the dominions. Jammu together with parts of Kashmir was incorporated into India after the Maharaja Hari Singh was forced to seek Indian military intervention against the marauding Pakistani sponsored tribal lords (Afridis). In time, the two remaining states of Hyderabad and Junagadh were invaded and annexed by India.

In 1948 the Maharaja of Gwalior signed a covenant with the rulers of the adjoining princely states to form a new state known as Madhya Bharat. This new covenanting state was to be governed by a council of the rulers with a head known as Rajpramukh. This new state signed a fresh Instrument of Accession with the Indian dominion. Subsequently, many other Indian states merged with their neighbouring Indian states on the same lines to form the covenanting states known as Vindhya Pradesh, Patiala and East Punjab States Union (PEPSU), Rajputana, etc.

Rajpramukhs in the Republic of India, 1950–1956
In the intervening period the Dominion Government of India had set up a Constitution Assembly to formulate a new Constitution for India. Simultaneously each of the independent Indian rulers and Rajpramukhs of covenanting states had set up Constituent Assemblies for their respective states and also sent their representatives to the Constituent Assembly of India so as to make uniform laws for their respective states. The thinking among Indian leaders at that time was that each princely state or covenanting state would remain independent as a Federal state along the lines suggested originally by the 1935 Act. But as the drafting of the constitution progressed and the idea of forming a republic took concrete shape, it was decided that all the princely states/covenanting states would merge with the Republic of India, and all the Maharajas would be provided with a Privy Purse and privileges as enjoyed by them on 15 August 1947 by constitutional guarantees. Hence Art. 294, Art 362, Art 366, Art 363 were incorporated. Besides it was also decided that the Maharaja of Mysore, the Maharaja of Jammu & Kashmir, the Nizam of Hyderabad, and the Rajpramukhs of the covenanting states would continue to be the constitutional heads of their respective states. By 26 October 1949, the constituent assembly had finalised a new constitution for India and all the acceding Indian princely states and the covenanting states merged with the new Republic of India. In accordance with constitutional provisions all the Maharajas entered into another agreement with the Governor-General of India to provide for the specific privy purse amount, the right to their personal properties (as distinct from state properties), and the right to succession in accordance with the practice in their territories. These agreements were entered into before 26 January 1950 so as to bring them within the ambit of Art. 363. On 26 January 1950, India became a republic. The new constitution created four types of administrative divisions in India: nine Part A states, the former British provinces, which were ruled by an appointed governor and state legislature; eight Part B states, former princely states or groups of covenanting states, which were governed by a Rajpramukh; ten Part C states, including both former princely states and provinces, which were governed by a chief commissioner; and a union territory ruled by a governor appointed by the President of India.

As per Art.366 of the Indian Constitution (as it existed in 1950):

Art 366(21): Rajpramukh means- (a) in relation to the State of Hyderabad, the person for the time being is recognised by the President as Nizam of Hyderabad.; (b) in relation to the State of Jammu and Kashmir or the State of Mysore, the person who for the time being is recognised by the President as the Maharaja of that State; and (c) in relation to any other State specified in Part B of the First Schedule, the person who for the time being is recognised by the President as the Rajpramukh of that State, and includes in relation to any of the said States any person for the time being recognised by the President as competent to exercise Madhya Bharat, Vindhya Pradesh, Patiala and East Punjab States Union (PEPSU), and Rajasthan.

Governing Rajpramukhs, 1948–1956

 * Hyderabad State had its last Nizam, HEH Mir Osman Ali Khan (b. 1886 -d. 1967) as Rajpramukh of the state from 26 January 1950 to 31 October 1956.
 * Patiala and East Punjab States Union had Maharaja Yadavindra Singh (b. 1913 -d. 1974), the  Maharaja of Patiala, as the Rajpramukh and had Maharaja Jagatjit Singh (b. 1872 -d. 1949), the Maharaja of Kapurthala, as the Uprajpramukh (Deputy Rajpramukh).
 * Saurashtra had Krishna Kumarsinhji Bhavsinhji (b. 1912 -d. 1965), the former Maharaja of Bhavnagar State, and Digvijaysinhji Ranjitsinhji (b. 1895 -d. 1966), the former Maharaja of Nawanagar State, as acting and regular Rajpramukh respectively. Meanwhile, Maharana Maharaja Shri Raj Mayurdhwajsinhji Meghrajji III Ghanshyamsinghji Sahib, the former Maharaja of Dhrangadhra State, on the establishment of the United State of Kathiawar (Saurashtra) in 1948, was installed as Uprajpramukh (Deputy Rajpramukh) and he served as Acting Rajpramukh during the absence of the Rajpramukh.
 * Mysore had the Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (b. 1919 -d. 1974) as Rajpramukh. He continued as governor from 1 November 1956 to 4 May 1964. He held office as Governor of Madras State (present-day Tamil Nadu) from 4 May 1964 to 26 June 1966.
 * Travancore-Cochin state had the last Maharaja of Travancore, Bala Rama Varma II (b. 1912 -d. 1991) as Rajpramukh from 1 July 1949 – 31 October 1956.
 * Madhya Bharat had the last Maharaja of Gwalior, Sir Jiwajirao Scindia (b. 1916 -d. 1961) as Rajpramukh from 28 May 1948 to 31 October 1956.
 * Rajasthan had several Rajpramukhs, Sir Bhim Singh II (1909-1991), the Maharao of Kota, from 25 March 1948 to 18 April 1948  and Sir Bhopal Singh (b. 1884 -d. 1955), the Maharana of Udaipur, from 18 April 1948 – 1 April 1949, then continuing with the designation of Maha Rajpramukh from 1 April 1949 to 4 July 1955; and Man Singh II, Maharajah of Jaipur, from April 1949 to October 1956. The Maharana of Udaipur was appointed Rajpramukh and Kota Naresh was appointed Up-Rajpramukh of the Union of many former princely states of Rajasthan, and subsequently Maharana Bhupal Singh of Udaipur was appointed the Maha-Rajpramukh and the Kota Naresh was appointed the Up-Rajpramukh.
 * Vindhya Pradesh had Rameshwar Prasad Singh, Maharaja of Singrauli as Rajpramukh but then he died, so Martand Singh the Maharaja of Rewa was appointed.

After 1956
On 1 November 1956, the States Reorganization Act took effect, which erased the distinction between parts A, B, and C states, and reorganised state boundaries along linguistic lines. Of the Part B states, Rajputana was merged with Ajmer-Merwara state to become Rajasthan; Hyderabad was partitioned among Mysore, Andhra Pradesh, and Bombay state; Saurashtra was merged into Bombay state; Travancore-Cochin was merged with Malabar district to form the new state of Kerala; Madhya Bharat and Vindhya Pradesh were merged into Madhya Pradesh; Patiala and East Punjab States Union (PEPSU) was merged into Punjab state, and Mysore state was enlarged with the addition of Coorg state and parts of Bombay, Madras and Hyderabad states.

By 1956, the system of voluntary unions of states was dismantled and the position of Rajpramukh abolished. New states were created along linguistic and ethnic lines, which tore apart the traditional ties that existed in the former princely states. As the princely rulers died one by one more time was being taken before their successors were recognised by the Government of India. When they were recognised it was usually after they were persuaded to accept lower privy purses or reductions in privileges. But many influential Maharajahs and Maharanis were not content with being mere nominal title holders enjoying privileges. They started contesting in elections either as independents or by joining political parties. Growing popularity and success of many of the former royalty in the hustings particularly Maharani Gayatri Devi of Jaipur and Rajmata of Gwalior, Vijaya Raje Sindhia among others was not to the liking of Mrs. Indira Gandhi who had become prime Minister by 1966.

By the year 1969 Indian National Congress had split into Congress (Organisational) and Congress (Requisitionist). Congress (R) was headed by Mrs. Indira Gandhi and to score public support she coined slogans like Garibi Hatao (Stop Poverty) which included promise to abolish the royal order. She de-recognized all the Maharajahs by a presidential order in 1969. But this was struck down by the Supreme Court of India. Eventually, the government by the 26th Amendment of the Constitution of India was successful in abolishing the Princely order. This process was completed by the end of 1971. Though a challenge to this amendment was mounted in the Supreme Court, the court neither heard the matter immediately nor gave any relief to the rulers. The case was ultimately decided against the rulers by as late as in 1993, by which time it had become fait accompli.

They have since only enjoyed their traditional styles and titles on a social basis and seem to have adapted well. Former royals like Captain Amarinder Singh - Maharaja of Patiala, Maharani Vasundhara Raje Scindia of Dholpur even rose to post of  Chief Ministers of Punjab and Rajasthan respectively till recently. Many others like Srikantadatta Narasimharaja Wadiyar - Maharaja of Mysore, V. P. Singh, Digvijay Singh, Madhavrao Scindia and his son Jyotiraditya Scindia, Arjun Singh,  and many others have been active politics and been prime minister, governors, ministers, MPs and MLAs at different times.

title: Rajpramukh


text:
Town privileges

Town privileges or borough rights were important features of European towns during most of the second millennium. The city law customary in Central Europe probably dates back to Italian models, which in turn were oriented towards the traditions of the self-administration of Roman cities.

Judicially, a borough (or burgh) was distinguished from the countryside by means of a charter from the ruling monarch that defined its privileges and laws. Common privileges involved trade (marketplace, the storing of goods, etc.) and the establishment of guilds. Some of these privileges were permanent and could imply that the town obtained the right to be called a borough, hence the term "borough rights" (Stadtrecht; stadsrechten). Some degree of self-government, representation by diet, and tax-relief could also be granted. Multiple tiers existed; for example, in Sweden, the basic royal charter establishing a borough enabled trade, but not foreign trade, which required a higher-tier charter granting staple right.

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

title: Town privileges


text:
Talk:Rufus Wainwright

Cover
... his cover of Jeff Buckley's cover of Leonard Cohen's ..." seems confusing. Is there any particular reason why Buckley's cover is mentioned?

 * -Because his cover was intended to be a tribute to Buckley, as they were friends.

Actually, RW has stated that he hadn't even heard Buckley's version before he wrote/recorded his own. However unlikely this sounds, we can't prove that RW's Hallelujah is NOT a direct cover of Leonard Cohen, especially since there are ties between himself and Cohen (he lived at the house of Cohen's daughter for a while, I think LC had his own appartment at the same place). It is even possible that both Wainwright and Buckley were inspired by another source, the song has been covered a fair few times...

Buckley's 'Hallelujah' is mentioned because (as the article states) Wainwright references it in the song 'Memphis Skyline', and 'Memphis Skyline' is the subject of the paragraph. - NeilH

Songwriting saved my life - Tomas Bartlett "I had to sing "Hallelujah" for "Shrek," and I recorded my version before hearing his version, and then I heard his, and it just dawned on me at that moment the incredible loss, and the incredible talent that he was. The opportunity for me to sing with him would have been mind-blowing." the full text may be read here: -Danny

The McGarrigle Hour
Should The McGarrigle Hour be listed in the discography? How? He was one of several performers (almost all related). --Samuel Wantman 09:43, 11 Dec 2004 (UTC)

Somebody change the song title to Schooldays instead of Shooldays (I'm afraid to mess things up).

Other contributions (off the top of my head - which means correct but not complete):
 * What'll I Do on Antony and the Jonsons' I Am A Bird Now
 * So Easy (backing vocals) and Missing Children (writing credits) on Teddy Thompson's eponymous album
 * and of course he wrote and sings The Maker Makes on the forthcoming Ang Lee movie Brokeback Mountain

maybe special attention can be paid to these two: both songs are about Matthew Shepard -Danny
 * harmony vocals on Elton John's American Triangle (on Songs from the West Coast)
 * he has sung Scarecrow together with Kristian Hoffman

The name of the Antony and the Jonsons track RW sings on is What Can I Do, not What I'll Do.--81.79.173.138 17:31, 26 May 2006 (UTC)

"Openly Gay"
Why is the fact that Rufus is "openly gay" the very first thing used to describe him? Shouldn't he be described as a "Canadian-American singer-songwriter" who is gay. --michael zimmer 15:43, Jan 23, 2005 (UTC)

I agree. I removed "gay" from the introductory sentence. While i can think of some reasons for putting "gay" in the introduction, it is interesting to think about the fact that you never see a straight celebrity described as "straight," whereas a queer celebrity's queerness is often the first thing you hear about them. --Something 19:57, 3 Mar 2005 (UTC)

It's the fact that he was the first artist to be openly gay before being signed. All other artists were 'in the closet' when signed and then later in their careers came out.

 * I hardly believe that Wainwright was "the first artist to be openly gay before being signed." Such unsupported claims and other generalizations ("All other artists...") have little value in encyclopedic articles. --mtz206 13:02, May 31, 2005 (UTC)

First of all, I can't think of any that were openly gay when they started their career, only those who came out later, or those who (tried to) live(d) a lie during their entire career. Nor has anyone I discussed this with ever offered any suggestions (not good ones anyway) or any of the writers who included this statement in their articles. Even if new acts wanted to, there is so much pressure put on them by the US record companies they depend on for their big break. (cf. British Pop Idol winner Will Young, who is openly gay now, who was asked by an American record company to start hiding his sexuality as a condition for a record contract. Young turned them down. New York-based Scissor Sisters have 3 gay members, their break came from a British record company.) Secondly, I think this is something Rufus himself claimed and it can be presented as such. Thirdly, although I understand that sexual orientation is only a small part of what makes a person who he/she is, there are precious few role-models for gay people and for kids, who need those most. -Danny

 * First of all, Danny, I can think of many artists that were openly gay before their careers took off - Bruce David Campbell (a.k.a. Jobriath) and Sylvester James, to name just two. Second, while it may be something that Rufus himself has claimed, it really has no place in the article's first paragraph - it's part of who he is and how he creates his music, true; therefore, it should go with everything else that forms a part of who his is, all of which is located in the main paragraphs. Third, while I think it's great that he's a role model for homosexuals, an encyclopedia is not at all the place for preaching incessantly about this. It can be stated in the main paragraph, just like every other fact about him.

Also, please sign your name using the four tildes -like this: ~ --LittleRoughRhinestone 19:39, 5 November 2006 (UTC)

Jimmy Somerville/Bronski Beat, Andy Bell (Erasure), Two Nice Girls, Tom Robinson (in the 70s!), Phranc ... all were 'out' from the start of the careers. I'm sure there were many more too. Vauxhall1964 (talk) 22:57, 26 November 2007 (UTC)

I am bothered by the following sentences found in the article: "In 1999, he told Rolling Stone that his father recognized his homosexuality early on. "We'd drive around in the car, he'd play 'Heart of Glass' and I'd sort of mouth the words, pretend to be Blondie. Just a sign of many other things to come as well." Is this an article on Rufus Wainwright, or "How to Tell if Someone's Gay?" Or "Rufus Wainwright's Guide to Knowing if Someone's Gay?" Rufus' father knew he'd be gay by what kind of music he liked as a kid? And both he and his father knew and understood these as "signs" of what was to come? Really? I thought homosexuality had to do with who you find sexually attractive, not what kind of music you listen to, but that's just me. Wainwright may be gay, and his father may have known, but I think these sentences try to apologize for that. What music one starts to like as a child has little bearing on what sex that person will prefer. These anecdotal sentences do more to strengthen gay stereotypes than tell about Rufus' sexual identity as a child IMO. (IE, he could have talked about who he found attractive, instead of what music he liked...) Stereotypes can also work in reverse; boys who grow up to be tough star athletes but hide in the closet because they don't want to disappoint their parents who have viewed them as "straight" from childhood.

The first posters on the subject hit it on the button; Rufus Wainwright is first of all a talented artist. Why is it that he is gay, and how why he thinks he was gay as a child and whether his father recognized it have to take the presedence in importance? I think Rufus Wainwright's music is beautiful and could care less who he f***s on the side. I listen to artists because they create music I like. When I listen to music I don't think "this music is nice. Who wrote it and is he gay or straight?" To the person who brought up the importance of gay rolemodels, I think it's kind of sad that the need for a gay rolemodel makes a person deaf to music and more receptive as to whether an artist is "gay" or not. If a person who is gay finds an artist and he happens to be gay, that is something to be happy about. I think it's kind of sad, almost disrespectful to listen to someone BECAUSE s/he is gay. Kind of like someone who listens "only to black artists" or "only to white artists." Music first. Sexuality, gender, race etc. are secondary...113.34.33.154 (talk) 05:03, 28 December 2009 (UTC)

Contributions to soundtrack of Brokeback Mountain
You might want to add his two performances on the soundtrack. The first song is a cover of Roger Miller's "King of the Road" (with Teddy Thompson), and a good one at that. However, the second song "The Maker Makes" is an original, I believe. It may have even been written for this film. Either way it's classic, haunting Wainwright (to this non-Wainwright fan's ear).

The movie may or may not meet with wide acclaim or financial success, but it will undoubtedly be a milestone in mainstream cinema, at least for gay filmgoers. This was probably his motivation for contributing.

Whether or not the film or its actors do well during the awards season, the composer & arranger for the score (Gustavo Santaolalla) may receive a few prizes for good writing and bringing together a collection of iconic country and gay musicians as dichotomous as cowboys and homosexuals. 70.213.12.217 18:22, 17 December 2005 (UTC) T.Morris

American? Canadian-American?
I'm curious about the recent reversion of the Canadian-American label. Is he really not Canadian? Given that Kate McGarrigle is Canadian, he would automatically have Canadian citizenship under the rule of jus sanguinis (right of blood) at birth, even though he was born in the United States. Darkcore 22:45, 20 January 2006 (UTC)

Themes
I think much of the recent additions to the "Themes" section lacks NPOV and is original research. For example, I don't agree at all with the notion that becuase "many of his songs contain phallic references" necessarily makes "it largely impossible for anyone but a gay man to author or perform his songs." One, it doesn't seem accurate to state that "many" songs contain phallic references, and two, just becuase they have phallic references doesn't mean that only a gay man could write or perform them. --mtz206 03:57, 1 March 2006 (UTC)

You may be right... As far as I can tell, there isn't much "research" when it comes to Rufus Wainwright. From what I have seen, however, the question of whether RW's songs do not reach wide spread appeal because a straight man and/or woman can't sing along without realizing that he/she has just said a very gay thing or not is much discussed. I think it is an important question and should be addressed in one way or another. As for "many phallic references" I could supply you with a list, but we're easily talking about 15-20%. That's a theme. I invite anyone to expand "themes" but when I arrived... there was nothing there of any worth. RW's themes are vitally important to understanding and appreciating his music and, really, what set RW appart. —The preceding unsigned comment was added by Theowarner (talk • contribs) 05:12, 4 March 2006 (UTC).

"RW's songs do not reach wide spread appeal because a straight man and/or woman can't sing along without realizing that he/she has just said a very gay thing or not is much discussed." That just doesn't make any sense to me at all, and I still question the encyclopedic value of the sentiments of this section. --mtz206 13:27, 4 March 2006 (UTC)

Yeah... let me try again. 1) Why is it that RWs songs are both critically successful and popularly unsuccessful? 2) One reason may be that some of RWs songs are about gay love. 3) But, wait a minute, saying, "I love you" is neither gay nor straight. 4) That may be true, but some times RW says, "I'm a man and I love a man." 5) Oh... I see. A straight man or woman can't identify with "I'm a man and I love a man," in the same they can identify with "I love you."

Maybe there's another section that this deserves to be in. Any ideas? But, that some of RW's songs are from a gay voice to a gay object is an undeniably important theme. It's got to go somewhere. -theowarner
 * yeah, i can see that the "gay voice to a gay object" might be an important theme to mention, I'm just not sure about the argument that such a theme keeps non-gay folks from enjoying his songs. I can sing along to a gay song and appreciate it for what it is, no matter whether I can fully relate to its sentiments. --mtz206 19:23, 4 March 2006 (UTC)

IMO, the 11:15, March 13, 2006 edit by Theowarner does a good job indicating some of the themes, without opining/speculating as to their "possible implications" --mtz206 18:02, 13 March 2006 (UTC)

How is Rufus's list of gay icons related to the themes of his songs? Could this information be removed? Unetta 13:32, 9 October 2007 (UTC)

I don't think it really matters whether he is singing about men or women. Love is a universal term that everyone can interpret in their own way... just a thought. --Ignatiuswiki 02:14 2 March 2008 (UTC)

Contributions
Not sure why RW's contribution to Craig Armstrongs Album has been deleted, but I've just added it back in Ninefish 01:48, 19 April 2006 (UTC)

This list is getting way too long. Is it really necessary to mention eg. the tv shows that have featured his music, or compilations that include music already on his studio albums? Unetta 11:29, 16 May 2007 (UTC)

Loudon Wainwright as 'folk singer'
To assert that father Loudon Wainright is a 'folk singer' is quite absurd (why? Because he plays acoustic guitar?) Wainwright himself has made fun of this stereotype on the song 'Taking New Bob Dylan Blues' in 1992. He's a songwriter who plays acoustic guitar. Folk? In 37 years I think he's done about 2 cover versions. User: Tim Gadd

"Gay Messiah" - political song or not?
There seems to be a bit of a dispute at the moment over whether or not "Gay Messiah" is a political song or not. Thoughts?

(I have no real opinion on the issue, so please do not direct your arguments at me. I can see it going either way - no, the lyrics aren't necessarily explicitly political, but even the title could be taken as a political statement.) --DearPrudence 22:20, 25 May 2007 (UTC)

 * I think the song can definitely be considered political. Rufus himself has described it as a protest song. (source) Unetta 09:25, 29 May 2007 (UTC)

 * Good point. I'm adding it back in. --DearPrudence 01:05, 30 May 2007 (UTC)

Missing citations
The "Themes" section seems to be missing quite a number of citations. While the content of some of his songs are obvious, the less obvious ones ("Tulsa" and "Matinee Idol", as examples) should have citations for their inspiration. Also, if there are rumors about Wainwright and Brandon Flowers being lovers, that should definitely have a cite, as that's potentially highly controversial. Parthenogenetic 21:54, 8 July 2007 (UTC)

 * True, and I also think we're being a bit broad with the "themes". Brandon Flowers would not count as a theme unless Rufus had written a number of songs about him. I vote that we either remove this piece of information entirely (it's mentioned on the Release the Stars page, anyway) or move it - and other bits like it, such as the anecdote about Jeff Buckley - to another part of the article or section. --DearPrudence 02:37, 9 July 2007 (UTC)

anecdote
I don't know how useful this may be to this article but I found this on one of the OK Go members' blogs. Rosa 03:34, 25 July 2007 (UTC) ref: http://thewilltorock.blogspot.com/2005_11_01_archive.html

''Rufus Wainwright hit on me. Swear to God. After telling him that the quality of his music and talent of his band was depressing me, he simply replied with, "Oh sweetie, I can make you happy." While he and I don't play on the same team, I can't help but think that getting hit on by a guy NME calls "one of, if not the best, songwriters of his generation" is a victory for Ol' Rusty. Rufus wins, too, because everyone knows that getting turned down by a member of OK Go is an honor in itself.''

 * Hee. I'm not sure that we can fit it into the article, but thank you for sharing that anyway. :D --DearPrudence 04:33, 25 July 2007 (UTC)

Opening for the band Sloan?
Didn't Rufus open for the Canadian band Sloan several times on their tour in either 1998 or 1999? I know he opened for them for three of four shows in a row performed at the Palais Royale in Toronto back in November of 1998 or so...Though none of his performances were recorded and added to the live Sloan double disc album "4 Nights At The Palais Royale". I was just wondering if this would be something to add to the article? (I'm not quite sure but I remember reading somewhere that he opened for them a number of other times before the Palais shows and this is why I'm bringing it up.)

Absolutley Fabulous Cameo
Under the addiction subheading, it's mentioned that during his debaucherous week, Rufus "played a drug addict in a cameo role in a UK comedy television programme 'Absolutely Fabulous.'" I have just seen the cameo in the episodes entitled 'Gay' and his role is less than five seconds, and only consists of him small talking with Patsy, echoing her drunken mannerisms. Am I missing something? I will retool the reference. Kurtto (talk) 15:56, 19 November 2007 (UTC)

Nationality
Is there a source for his nationality? TIA --Tom 14:47, 9 January 2008 (UTC)
 * Does he hold Canadian citizenship?TIA --Tom 22:03, 21 January 2008 (UTC)
 * Perhaps it is my Canadian bias, but I thought he was more often referred to as Canadian. His mother is Canadian and he was raised mostly in Canada. This Rolling Stone interview refers to him "calling from his native Canada". This 2008 article says he holds both American and Canadian citizenship. -- Paul Erik (talk) (contribs) 01:39, 22 January 2008 (UTC)
 * I will try to edit the article accordingly. Thanks for the source! Cheers, --Tom 14:08, 22 January 2008 (UTC)

Promiscuity/Celibacy
The article currently says that the sexual assault at age 14 "postponed his becoming promiscuous", whilst the cited article says that at first "Wainwright's first homosexual experience traumatised him so much, he embarked on a promiscuous spree." This earlier article explains how he later ended up staying celibate for so long: "I was out for sex, and boy did I get it," he says. "It was insane, and basically I ended up thinking I had AIDS for the next seven to ten years." I believe this fear should be added because it plays quite an important part in his work (most notably in Barcelona, it also nudged him further towards opera; he would "write little operas, and I wrote a requiem for myself.") —Preceding unsigned comment added by SubtleKnife00 (talk • contribs) 20:54, 5 December 2008 (UTC)

"Direct descendant"
[Loudon Wainwright III (a direct descendant of Peter Stuyvesant, the last Director-General of New Netherland.]

What does this mean? If he is a "direct descendant of Peter Stuyvesant" in the male line, then why isn't his surname Stuyvesant? If he is not a descendent in the direct male line, what is he? —Preceding unsigned comment added by 124.176.5.121 (talk) 12:43, 5 February 2009 (UTC)

Artists that have covered Wainwright
Just for the record, in case this information pertains to an "impact" section for the article, following is a list of artists that have covered Wainwright:
 * "Damned Ladies" - Audra McDonald on Build a Bridge
 * "Dinner at Eight" - Keane on Connect Sets
 * "Going to a Town" - Mathilde Santing on 49 + TV performance
 * "Greek Song" - The Manhattan Transfer on Vibrate
 * "Imaginary Love" - Jasper Steverlinck on Songs of Innocence
 * "Oh What a World" - Sonos on Live on KCRW (EP)
 * "Poses" - Dave Douglas on The Infinite; Keren Ann; Christine Tobin on Secret Life of a Girl; Academical Village People on Academical is Not a Word; Julia Dollison on Observatory; Mel Flannery on Mel Flannery Trucking Co.
 * "Rebel Prince" - The Beautiful South on Golddiggas, Headnodders and Pholk Songs
 * "Vibrate" - The Manhattan Transfer on Vibrate

Feel free to add to the list if more covers emerge in the future! -- Another Believer ( Talk ) 03:14, 23 April 2009 (UTC)

-- Another Believer ( Talk ) 16:50, 11 October 2011 (UTC)
 * http://online.wsj.com/article/SB10001424052970203499704576623022689560618.html

Shakespearian sonnet cycle
There should be something here about the Shakespearian sonnets he was commissioned to score for a play in Germany that debuted recently. 66.41.253.22 (talk) 22:33, 6 June 2009 (UTC)

Baby!
This article isn't structured such that it has a personal life section, so I am not sure how to include this. Roscelese (talk ⋅ contribs) 05:05, 19 February 2011 (UTC)

Marriage
-- Another Believer ( Talk ) 20:32, 2 March 2012 (UTC)
 * http://www.nydailynews.com/gossip/rufus-wainwright-partner-jorn-weisbrodt-plan-tie-knot-august-long-island-article-1.1030956?localLinksEnabled=false

Want albums, references badge
So why aren't you so kind and tell us what you want to be sourced? What in that paragraph do you doubt? It's just ordinary data, nothing controversial. No reader will stumble upon this thinking, "oh is this really true". That stupid button does help nothing at all.--Sylvia Anna (talk) 18:08, 9 October 2012 (UTC)
 * I agree with Sylvia Anna that the 'Unreferenced' tag is unnecessary for this section. However, that's not because sources are unnecessary (they nearly always are) but because the section already contains perfectly good sources, i.e. wiki-links to the Want albums themselves. Adding other book, journal or magazine sources would be superfluous. Vacarme (talk) 12:41, 10 October 2012 (UTC)
 * Internal links are not considered reliable sources per WP:CIRCULAR. If the linked articles have reliable sources, they can and should be copied to this article. If they don't have reliable sources, that's a problem with those articles. Doniago (talk) 13:29, 10 October 2012 (UTC)
 * You still haven't answered my questions and comments.--Sylvia Anna (talk) 19:21, 10 October 2012 (UTC)
 * Sorry, I somewhat thought you were being rhetorical given the tone you opted to use. Frankly, it looks like every statement in that section should have a citation as its discussing years of release of various albums, even if it's multiple uses of the same reference. One doesn't need to doubt that information is true nor feel that it is controversial to feel that it should be cited...you might want to review WP:V. As to "that stupid button does help nothing at all", that's simply incorrect. Among other things using that tag places the article in a category so that editors concerned with article clean-up are alerted to the fact that this article could use improvement. It's also, I believe, far more polite (and appropriate in this case) than simply removing the unsourced information, which is also a legitimate form of addressing it, though oftentimes not "best practice". Cheers. Doniago (talk) 20:00, 10 October 2012 (UTC)

The least would have been to explain on the talk page what in that paragraph you think should be sourced. I don't know if there is a policy here that requires one to do so, but it would have been a reasonable and helpful thing to do. Just putting in a badge and moving on is not quite helpful. Those "editors concerned with article clean-up" would certainly appreciate it, too. Apart from that, they have probably better things to do than to look for sources for something that has not and probably never will be challenged. And readers seeing that badge may thnk that there is something wrong with the information in that paragraph, although there actually is no reason to doubt that information. IMO, a badge like the one you used makes only sense if you have reason to believe that the information given is incorrect.--Sylvia Anna (talk) 20:38, 10 October 2012 (UTC)
 * I don't see how the tag is unclear. "This section does not cite any references or sources." seems pretty clear-cut to me, and marking the section seems infinitely preferable, IMO, to tagging every sentence individually. For the record, by putting the tag in place the information has been challenged. I'm not inclined to remove it anytime soon, but there would certainly come a point, probably in 3 months or so, where I'd remove it for lacking sourcing...I'd probably move it here at that point, in fact. The fact that the information has no reliable sources is wrong. We provide citations so that readers don't have to assume that information is accurate, and there is no requirement that an editor believe information is incorrect before tagging it for being unsourced. The standard for inclusion here is verifiability, not truth. Doniago (talk) 20:48, 10 October 2012 (UTC)
 * It might be worth considering whether our time would be better spent updating the information with reliable sources rather than arguing over whether a tag is appropriate...especially since if the former is done the latter will be a moot point. Doniago (talk) 20:49, 10 October 2012 (UTC)
 * So you have challenged the information by inserting this badge, but you have no concrete reason to challenge the information. Very funny. "This section does not cite any references or sources" does imply to a reader who doesn't now about the internals of WP that there must be something wrong with the information given. This is absolutely not necessary here.
 * When was the last time - if at all - that you have done constructive work on this article? There are two people taking care of this article (me and Another Believer), both of us dedicated to keeping it up to date and in good state. I would never allow wrong or in any way harmful information to stay in this article. But I have a life outside WP. And you have nothing better to do than to bother us with the threat to remove perfectly fine information. A hint on the talk page that it would be good to source this information when we find time would have been enough. Your behaviour is definitely not motivating to the editors of an article.--Sylvia Anna (talk) 21:41, 10 October 2012 (UTC)
 * Not really in the mood to be snarked at, thanks. The information isn't sourced, it should be. I won't remove it at this time. You've got a few months before I'll do anything about it. You're welcome to source it, you're welcome to remove it. Obviously I can't speak for whether other editors might remove it in a shorter timeframe, but there are editors who will argue that it's better to include no information than to include unsourced information. If you want to discuss my personal conduct, this isn't the place for it, and I'm pretty sure you've been around here long enough to know that, just as I'm sure you know that an editor's claim that they're keeping an article accurate while failing to provide sources doesn't actually mean much of anything. Editors aren't reliable sources either. Done here unless you'd like to continue discussing this in a way that involves discussing the article rather than discussing me. Doniago (talk) 22:10, 10 October 2012 (UTC)
 * Looks like another editor chose to set up and take care of the problem. Awesome. Doniago (talk) 22:20, 10 October 2012 (UTC)

Citizenship
I don't know why people keep changing it. Rufus is American-Canadian. He is both of American and Canadian descend and he has dual citizenship. I'm adding a reference from a Vanity Fair article where he comfirmed dual citizenship.--Sylvia Anna (talk) 18:25, 8 August 2013 (UTC)

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Rendering error when File:Rufus Wainwright Sundance.jpg set to upright image
Hi Anachronist,

I see there was some confusion about why I undid your edit that set the display format for the image File:Rufus Wainwright Sundance.jpg to upright. To clarify, for some unknown reason, this image does not render properly for me when it is set to upright. Instead I get a version of the image that is stretched and rotated 90 degrees counterclockwise. I confirmed the issue in two different browsers, Chrome and Microsoft Edge, which is why I assumed it was a wider spread bug. Upon further testing, it does not render incorrectly in Microsoft Explorer or if I access the page on Chrome mobile. Even more strangely, every other image that is set to upright on this page renders correctly.

I would be curious if any other users are seeing this error.

--- Varjo Gr  Ay  Jay   — Preceding undated comment added 15:57, 23 February 2021 (UTC)
 * , Yes, the image is distorted for me. --- Another Believer ( Talk ) 16:26, 23 February 2021 (UTC)

 * It was working for me, but I remember seeing this elsewhere before, so I downloaded the image and opened it in an image editor, and sure enough it was sideways. I've occasionally run across an image that contains some erroneous orientation metadata that confuses some display rendering functions. So I rotated it to the correct orientation and re-uploaded it. When I did that, the image history on Commons showed the one I replaced as rotated sideways.
 * You should see it oriented correctly now on any browser. Clear your browser cache if you still see the sideways one. ~Anachronist (talk) 00:11, 24 February 2021 (UTC)
 * Thanks Anachronist. I can confirm that it is resolved now. -- Varjo Gr  Ay  Jay  14:09, 24 February 2021 (UTC)
 * , Looks good! --- Another Believer ( Talk ) 21:55, 26 February 2021 (UTC)

title: Talk:Rufus Wainwright


text:
Gilbert O'Sullivan

Raymond Edward "Gilbert" O'Sullivan (born 1 December 1946) is an Irish singer-songwriter who achieved his most significant success during the early 1970s with hits such as "Alone Again (Naturally)", "Clair" and "Get Down". His songs are often marked by his distinctive, percussive piano playing style and observational lyrics using word play.

Born in Waterford, Ireland, O'Sullivan settled in Swindon, England, as a child. In 1967, he began pursuing a career in music. Worldwide, he has charted 16 top 40 records including six No. 1 songs, the first of which was 1970's "Nothing Rhymed". Across his career, he has recorded 19 studio albums. The music magazine Record Mirror voted O'Sullivan the top UK male singer of 1972. He has received three Ivor Novello Awards, including "Songwriter of the Year" in 1973.

Early life
Raymond Edward O'Sullivan was born on 1 December 1946 in Cork Road, Waterford, Ireland. He was one of six children. His mother May ran a sweet shop and his father was a butcher with Clover Meats. The O'Sullivans emigrated due to a job offer in England. The family first moved to Battersea, London when Raymond was seven, before settling in Swindon, Wiltshire a year later. Raymond began playing piano here, later explaining: "I come from a working-class background, but we always had a piano, the thinking of my parents was that if one of your kids could play it, you could make some money at it." A period of going to piano lessons was short-lived, as O'Sullivan was not enamoured of music theory and played the pieces by ear instead. Raymond's father died two years after the move to Swindon. O'Sullivan didn't mourn his passing, later stating, "the fact of the matter is, I didn't know my father very well, and he wasn't a good father anyway."

Raymond attended St Joseph's Catholic College before studying at Swindon College, specialising in graphic design. Here, he played with several semi-professional bands including the Doodles and the Prefects, and was most notably a drummer in a band called Rick's Blues, along with Malcolm Mabbett (guitar), Keith Ray (bass) and founder Rick Davies. Davies, who later founded Supertramp, taught O'Sullivan how to play both drums and piano. O'Sullivan's drumming informed his style of piano-playing, which often utilises a distinct, percussive piano pattern. O'Sullivan has explained, "My left hand is hitting the high hat and the right hand is the snare." He started writing songs, heavily influenced by the Beatles as writers and Bob Dylan as a performer.

Career
In 1967, O'Sullivan moved from Swindon to London in pursuit of a career in music. Determined to get a record deal and looking to stand out, he created an eye-catching visual image consisting of a bowl cut, cloth cap and short trousers. O'Sullivan has said his love of silent film inspired the look. He scored a five-year contract with April Music, CBS Records' house publishing company, after coming to the attention of the professional manager Stephen Shane, who also suggested changing his name from Ray to Gilbert as a play on the name of the light opera partnership Gilbert and Sullivan. He was paid an advance of £12 (equivalent to £0 as of 2024), with which he bought a piano. He was signed to CBS Records by the A&R manager Mike Smith, who produced the Tremeloes, the Marmalade and the Love Affair.

His first single was "Disappear", produced by Mike Smith and released in November 1967 credited to the mononym 'Gilbert'. It failed to chart, as did his second single "What Can I Do", released in April 1968. A switch to the Irish record label Major Minor in 1969 yielded a third single "Mr. Moody's Garden", which was again unsuccessful. O'Sullivan then sent some demo tapes to Gordon Mills, the manager of Tom Jones and Engelbert Humperdinck, whereupon O'Sullivan was signed to Mills' newly founded label, MAM Records. Mills reportedly hated O'Sullivan's self-created image, but O'Sullivan insisted on using it initially. O'Sullivan's unique signature look garnered much attention and often saw him compared to the Bisto Kids. O'Sullivan explained his thinking behind his appearance in a 1971 interview: "My mother probably doesn't like Neil Young because she hates the way he looks, his hair and everything. If you can get them interested in the way you look then they tend to like the music. The thing which I'm trying to create is of the thirties; Keaton and Chaplin."

Early success
At the end of 1970, O'Sullivan achieved his first UK top 10 hit with "Nothing Rhymed", which also reached number one in the Netherlands, where it earned O'Sullivan his first gold disc. Over 1971, O'Sullivan scored hits with "Underneath The Blanket Go" (which also reached number one in the Netherlands), "We Will" and "No Matter How I Try", the latter being named "Best Ballad or Romantic Song" at the 17th Ivor Novello Awards in 1972. O'Sullivan released his debut album, Himself, in August 1971. It received a warm critical reception, with O'Sullivan's observational and conversational style of songwriting garnering comparisons to Paul McCartney and Randy Newman. O'Sullivan opted not to tour in promotion of the album, but did however make a number of appearances on British television during 1971, most notably recording an edition of BBC In Concert broadcast 18 December 1971.

In 1972 O'Sullivan achieved major international fame with "Alone Again (Naturally)", a ballad which touches on suicide and loss. The single peaked at no. 3 in the UK but in America spent six non-consecutive weeks at number one on Billboard's Hot 100, selling nearly two million copies. It peaked at no. 2 in New Zealand (during an 11-week chart run) and spent two weeks at number one in Canada (13 weeks in the Top 40); and reached number one in Japan (during a 21-week chart run). In America the single ranked no. 2 (behind Roberta Flack's "The First Time Ever I Saw Your Face") in Billboard's year-end chart, based on both sales and airplay. In 1973 both titles were Grammy-nominated for both Song of the Year and Record of the Year, with Flack winning in both categories. This international success coincided with a new image, with O'Sullivan discarding the appearance he had used since 1967. He unveiled a more modern 'college-like' look in which he often wore a sweater bearing a large letter 'G'. This was a deliberate attempt to prevent "[making] an impact like Tiny Tim" in the US that "would have taken years to shake off," and the subsequent American edition of Himself, which included "Alone Again (Naturally)", featured an updated image of O'Sullivan on the album artwork. O'Sullivan followed up on the success of "Alone Again (Naturally)" with "Clair", which reached no. 2 in the United States on the Hot 100 and no. 1 in the UK, Norway, France, Belgium, Ireland and Canada (14 weeks in the Canadian Top 40). Its parent album (and O'Sullivan's second), Back to Front, spawned a further hit with "Out of the Question", which reached no. 17 in the US and no. 14 in Canada.

O'Sullivan's disc sales exceeded ten million in 1972 and made him the top star of the year. O'Sullivan's success led to his taking part in the BBC's anniversary programme Fifty Years of Music in November 1972. O'Sullivan was ranked by Record Mirror as the number 1 male singer of 1972, and in May 1973, he won an Ivor Novello award for "British Songwriter of the Year."

1973 saw the release of O'Sullivan's third album, I'm a Writer, Not a Fighter, which reflected a new emphasis on rock music and funk influences. Its lead single, the electric keyboard-based "Get Down", reached number one in the UK, Belgium and Germany, no. 7 in both the US and Canada, and no. 3 in the Netherlands. Following "Alone Again (Naturally)" and "Clair", "Get Down" was O'Sullivan's third million-seller, with the RIAA gold disc award presented on 18 September 1973.

O'Sullivan enjoyed nearly five years of success with MAM, a run that included seven UK top 10 singles and four UK top 10 albums; three US top 10 singles and one top 10 album; five Dutch top 10 singles and three top 10 albums; five New Zealand top 10 singles; three Canadian top 10 singles; and seven Japan top 10 singles. By 1974, his sales were decreasing. His fourth album A Stranger In My Own Back Yard, was his first to miss the top five on the UK Albums Chart, charting at no. 9. Its lead single, "A Woman's Place", generated controversy due to its lyric ("I believe / A woman's place is in the home"), seen by some as sexist. It was O'Sullivan's first single since his 1970 breakthrough to miss the top 40 of the UK Singles Chart, reaching a peak of no. 42. His November 1974 single "Christmas Song" reached no. 12 in the UK and no. 5 in Ireland. In June 1975, O'Sullivan had his last top 20 hit, "I Don't Love You But I Think I Like You".

Gilbert released a fifth album with MAM in 1977, Southpaw, but it failed to chart. O'Sullivan discovered his recording contract with MAM Records greatly favoured the label's owner, Gordon Mills. A lawsuit followed, with a prolonged argument over how much money his songs had earned and how much of that money he had actually received. Eventually, in May 1982, the court found in O'Sullivan's favour, describing him as a "patently honest and decent man", who had not received a just proportion of the vast income his songs had generated. They awarded him £7 million in damages (£0 as of 2024). Although he had won, the court battle put his recording career on hold, and he said he was unable to obtain management or a major record label deal.

Later career
In 1980, after a five-year hiatus, he returned to his old record label, CBS.

The first single, "What's in a Kiss?", reached No. 19 in the UK in 1980 and No. 21 in Japan. It was his first UK top 20 hit in five years. Following the release of his subsequent 1980 and 1982 albums, Off Centre and Life & Rhymes, and due in part to the then-ongoing MAM court case, O'Sullivan released no new material between 1983 and 1986. Apart from the single "So What?" in 1990 and a compilation album in 1991, Nothing But the Best, O'Sullivan was absent from the charts until another compilation album, The Berry Vest of Gilbert O'Sullivan, returned him to the UK top 20 in 2004.

O'Sullivan is also noted for his role in bringing about the practice of clearing samples in hip hop music as a result of the 1991 court case Grand Upright Music, Ltd. v. Warner Bros. Records, Inc., in which he sued rapper Biz Markie over the rights to use a sample of his song "Alone Again (Naturally)". He won 100% of the royalties and made sampling an expensive undertaking.

O'Sullivan has continued to record and perform into the 21st century. He enjoys particular acclaim in Japan. His album A Scruff at Heart was released in 2007, featuring "Just So You Know". On 14 July 2008, O'Sullivan released "Never Say Di". He appeared at the 2008 Glastonbury Festival and played London's Royal Albert Hall on 26 October 2009. On 26 August 2010, O'Sullivan announced that he had joined Hypertension, a record company whose artists have included Leo Sayer, Chris DeBurgh, Fleetwood Mac and Gerry Rafferty.

His album Gilbertville was released on 31 January 2011; it featured "All They Wanted to Say", which dealt with the 2001 attacks on the World Trade Center, and his single "Where Would We Be (Without Tea)?". On 19 July 2011, O'Sullivan played live on the BBC Radio 2 Ken Bruce Show. On 26 August that year, the documentary Out on His Own was broadcast by BBC 4 (before by Irish RTÉ). In March 2012, the compilation album Gilbert O'Sullivan: The Very Best Of – A Singer & His Songs entered the UK Albums Chart at No. 12. 2015 saw Gilbert re-emerge on Irish and BBC radio and television. He toured Ireland beginning of June and on 8 June 2015 his album Latin à la G! was released.

On 24 August 2018, O'Sullivan released his 19th studio album, Gilbert O'Sullivan. The album entered the UK Albums Chart at No. 20, his first UK charting studio album in over 40 years.

On 22 July 2022, O'Sullivan released his 20th studio album, Driven, produced by Andy Wright. The album peaked in the UK Albums Chart at No. 26.

In December 2023, councillors of Waterford City and County Council agreed to award O'Sullivan the Freedom of the City & County. He received the honour in person on 27 March 2024.

Personal life
O'Sullivan purposely avoided dating at the peak of his career; he feared that doing so would inhibit his songwriting abilities. In January 1980, O'Sullivan married his Norwegian girlfriend Aase Brekke. Later that year, the first of their two daughters, Helen-Marie, was born. Tara was born two years later.

He currently lives in Jersey.

Album discography

 * Himself (1971)
 * Back To Front (1972)
 * I'm a Writer, Not a Fighter (1973)
 * A Stranger in My Own Back Yard (1974)
 * Southpaw (1977)
 * Off Centre (1980)
 * Life & Rhymes (1982)
 * In the Key of G (1989)
 * Sounds of the Loop (1991)
 * By Larry (1994)
 * Every Song Has Its Play (1995)
 * Singer Sowing Machine (1997)
 * Irlish (2001)
 * Piano Foreplay (2003)
 * A Scruff At Heart (2007)
 * Gilbertville (2011)
 * Latin à la G! (2015)
 * Gilbert O'Sullivan (2018)
 * Driven (2022)

title: Gilbert O'Sullivan


text:
James the Red Engine

James the Red Engine is a fictional anthropomorphic red tender locomotive from The Railway Series children's books by the Reverend Awdry and the TV series adaptation Thomas & Friends. He has a 2-6-0 ("Mogul") wheel arrangement and is engine number 5 on the North Western Railway, the Fat Controller's railway on the Island of Sodor.

James first appeared in The Railway Series in 1946, in the book Thomas the Tank Engine. Two books in the series, no. 3 James the Red Engine and no. 28 James and the Diesel Engines, are dedicated to James.

Prototype and Behind the scenes
James first appeared in The Railway Series in the 1946 book Thomas the Tank Engine. He was named after James Furze, a friend of the publisher's son. He was originally painted black. At the request of the publishers, Awdry dedicated James the Red Engine to the character. James was painted red in this and subsequent books.

James is based on the L&YR Class 28, an mixed-traffic tender engine designed by George Hughes and based on the earlier L&YR Class 27 designed by John Aspinall. According to Awdry, the Class 28s were powerful engines but had a tendency to be nose-heavy, especially when used as relief engines on excursion trains and driven at speed. In the book The Island of Sodor: Its People, History and Railways, Awdry gave a fictional history of the engine. James was built by Hughes as an experiment to see if the nose-heaviness could be counteracted. The locomotive was fitted with larger 5 ft driving wheels and a pony truck, making it into a. (The real Class 28 has 5 ft wheels. ) James is also missing the prominent front sandboxes fitted to the Class 28s. The improvement was not as great as hoped for and after the grouping, the LMS sold James to the Fat Controller's North Western Railway.

James as a model
Awdry had two models of James on his OO gauge model railway. The first, from the 1950s, was based on a 2-6-0 Glasgow and South Western Railway locomotive, the Austrian Goods, designed by Peter Drummond, which is the very same engine that Awdry had originally envisioned James as but changed it due to unknown reasons. Awdry's model was painted red with yellow lining. Despite being professionally made and "a beautiful model", the motor was so unreliable that the loco could not be used for regular services. Awdry later noted that it was sent away in the 1980s for a new motor and chassis and came back "completely transformed".

Awdry's second model of James was based on a 1960s Tri-ang Johnson 3F 0-6-0; a conversion which Hornby themselves would use for the production version of their model of James, several decades later.

James in The Railway Series
James the Red Engine was the third book in the Railway Series by Reverend W. Awdry. It picked up where the previous book, Thomas The Tank Engine, left off, as James was introduced in "Thomas & The Breakdown Train" where the Troublesome Trucks pushed him into a field after his wooden brake blocks caught fire.

James and the Top Hat
The Fat Controller has given James a new coat of red paint, to cheer him up after the accident on his first day, and becomes rather conceited. He lets off steam and accidentally sprays water on the Fat Controller's new top hat. He hurries Edward and the coaches away in panic and initially pulls too far from their first stop station platform. After meeting Thomas again, he focuses enough to move their train over Gordon's Hill, and he and Edward laugh about its comical name origin, which unfortunately leads to James' laughter becoming hiccups, frightening an elderly passenger. After an eventful day, James is content with his success, yet worried about the Fat Controller's response.

James and the Bootlace
The next day, the Fat Controller (still cross over his hat's dampening) threatens to repaint James blue if he continues to cause trouble. An upset James is impatient and rough with the coaches, to where their resistance brings a leak in the brake pipe, which his driver, fireman, and conductor mend with newspaper and a passenger's bootlace, after coercing the only passenger with a bootlace to reluctantly hand it over. Once the hole has been mended, James miserably resolves not to bump coaches as he awaits the outcome.

Troublesome Trucks
After the incident with the coaches, James has been confined to the shed for several days. The Fat Controller lets James out and assigns him a goods train. The trucks try to make him give up when they come to Gordon's Hill, but James keeps on. Eventually, a rusty coupling snaps, and some trucks roll downhill. The conductor stops them and Edward the Blue Engine offers to help, but James prefers to go it alone instead. The trucks seem to realize James will keep trying whatever they do, and finally allow James to reach the top of the hill. After hearing about what happened, the Fat Controller deems James worthy of his red coat.

James and the Express
Gordon the Big Engine boasts to James that he is the only engine who is able to pull the Express. James is resting in the shed the next day when Gordon arrives feeling mournful (he has accidentally been switched to the loop line and had a long, wasted journey). James teases him about it, but a horde of angry passengers arrives and demands refunds. Instead, James pulls the Express and does so well that the Fat Controller allows him to take the Express when Gordon needs a rest. James and Gordon are now the best of friends. Gordon never mentions bootlaces, and the two engines bond over their dislike of trucks.

James in Thomas & Friends
Unlike the books, the TV episode "Thomas and the Breakdown Train" had a red-coloured James from the beginning. For unknown reasons, James also appeared in all episodes before "Thomas and the Breakdown Train" even though this story established him as being a new engine.

Like in the books, James is very proud of his red paintwork and does not like getting dirty. This can often get him into trouble.

James is one of only four characters that appears in every Thomas movie, but only has major roles in four of them.

He is one of the leads of the 2013 movie King of the Railway, in which he, Thomas, and Percy assist in the restoration of Ulfstead Castle and the construction of the Earl of Sodor’s estate.

James is the main antagonist of the 2014 film Tale of the Brave. He pulls a prank on Percy which leads the latter to think there is a monster on the island. They make amends after Percy saves James from a rockslide.

The film The Adventure Begins retells the first seven episodes of the show, with some alterations; most notably, James appears in his original black livery from the second book. In this version, James arrived on Sodor before Thomas and is the engine Annie and Clarabel originally belonged to. Thomas chases after the runaway James but fails to stop him and James crashes into a field. Thomas then gets the breakdown train, has James put back on the tracks, and takes him to the Steamworks. James comes back some time later, now painted in his familiar red, but finds his coaches have been assigned to Thomas' new branch line.

In the 2017 movie Journey Beyond Sodor Henry is prevented from taking a freight train to the mainland, so James is assigned to take his place. James has been teasing Thomas for being stuck on his branch line, so Thomas takes the train to spite him. James volunteers to go find the missing Thomas in the hope of being praised as a hero. After some investigation, he uncovers and is imprisoned in a large steelworks that Thomas had escaped from earlier and is forced to work there. He is eventually rescued by Thomas and a group of misfit experimental engines.

James in Thomas and the Magic Railroad
In the 2000 film, Thomas and the Magic Railroad, James was threatened by Diesel 10 and almost got pushed back into a smelting pit before being teleported out by Mr. Conductor Jr. (portrayed by Michael E. Rodgers). In the beginning, the fly annoying James was a reference to the original Awdry story "Buzz, Buzz".

Susan Roman voiced James in the film. Michael Angelis provided James's voice in the workprint, along with Percy.

James in All Engines Go
In the 2021 reboot, James was brought back as a regular character. However, unlike the original series, he was brought down as a main cast member, now appearing as a supporting character. Much like many of the other characters in the reboot, many of James' design elements and personality were altered to a more engaging dynamic towards the young engines. He does exhibit carelessness with his (often) dropped cargo.

English

 * Susan Roman (Thomas and the Magic Railroad)
 * Michael Angelis (Thomas and the Magic Railroad, original work-prints only)
 * Keith Wickham (UK, Hero of the Rails – Series 20)
 * Kerry Shale (US, Hero of the Rails – Series 18)
 * Rob Rackstraw (US, The Adventure Begins – Series 24, UK; "Tit for Tat" – Series 24)
 * Luke Marty (US, Thomas & Friends: All Engines Go)
 * Tom Dussek (UK, Thomas & Friends: All Engines Go)

Others

 * Katsuji Mori (Japan, Series 1 – Series 8)
 * Masashi Ebara (Japan, Calling All Engines! onwards)
 * Um Sang-hyun (Korea, Series 18 – Series 19)

James in the Guinness Book of Records
A large-scale working replica of James (along with Thomas, Percy, Gordon, Harold and Jack) was created by BBC Visual Effects (UK) for Thomas & Friends: The All Aboard Live Tour. This battery-powered locomotive is listed in the Guinness Book of Records as the largest model railway engine ever built, at 2.64 x 1.5 x 6.52 metres.

"Real life" James
The Mid-Hants Railway repainted one of its engines – a Southern Railway N Class – into the livery of James. The engine retained this colour scheme for many years and participated in The Railway Series golden jubilee celebrations at the National Railway Museum. This engine was the only replica Thomas character to be certified to run on the mainline. On the East Lancashire Railway, unrestored LMS Ivatt Class 2 Mogul No. 46428 has been painted as James the Red Engine.

Japanese Ōigawa Railway's locomotives include five characters from the Thomas & Friends series: Thomas the Tank Engine, Hiro, Percy, James, and Rusty. The locomotives are based at Shin-Kanaya Station.

title: James the Red Engine


text:
User talk:Milanese69

ClockworkTroll 13:36, 11 Oct 2004 (UTC)

Image source
Thank you for uploading Image:MILANO 2012.JPG. Its copyright status is unclear, so it may have to be deleted. Please leave a note on the image page about the source of the image. Thank you. And also Image:MI ATTUALE.JPG--Aqua 09:11, Mar 27, 2005 (UTC)

title: User talk:Milanese69


text:
User talk:Marsvin

ClockworkTroll 13:36, 11 Oct 2004 (UTC)

title: User talk:Marsvin


text:
User talk:Hunry~enwiki

ClockworkTroll 13:36, 11 Oct 2004 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:26, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 13:57, 22 April 2015 (UTC)

title: User talk:Hunry~enwiki


text:
Cooke Locomotive and Machine Works

The Cooke Locomotive and Machine Works, located in Paterson, New Jersey, manufactured steam railroad locomotives from 1852 until it was merged with seven other manufacturers to form American Locomotive Company (ALCO) in 1901.

History
The firm was established in 1852 by former Rogers Locomotive and Machine Works superintendent (and son-in-law of William Swinburne of Swinburne, Smith and Company) John Cooke and former Montreal resident Charles Danforth as the Danforth, Cooke, and Company, as a manufacturer of steam locomotives as well as cotton machinery. The company was renamed Danforth Locomotive and Machine Company in 1865, with Danforth serving as president until 1871, four years before his death in 1875. Cooke succeeded Danforth as president in 1871, continuing in such capacity until his own death in 1882, after which Cooke's sons, John, Frederick, and Charles reorganized the firm as the Cooke Locomotive and Machine Works, and continued operating the company as such until the merger in 1901. In 1901, Cooke and several other locomotive manufacturers merged to form the American Locomotive Company; Cooke's plant becomes the Alco-Cooke Works, and locomotive production continued at the plant until 1926. Approximately 2600 locomotives were built by Cooke from 1852 to 1901, among the most notable engines produced by the firm are the C. P. Huntington, and the Western & Atlantic Railroad "Texas".

Exports
In addition to providing motive power for North American railroads, Cooke has also produced many locomotives for Central and South America as well as other parts of the world. Examples of exported locomotives include two 0-8-2 tank locomotives for the Port Talbot Railway and Docks Company, South Wales, in 1899, as well as Barry Railway's five class K 0-6-2T locomotives the same year. The firm also produced 2-6-2T locomotives for the War Department Light Railways to be used in France during World War I, preserved examples of which can be found on the Froissy Dompierre Light Railway and Ffestiniog Railway.

Preserved Cooke locomotives
The following is a list of preserved locomotives built by Cooke before the ALCO merger in 1901. They are listed here in serial number order.

In addition to the above locomotives, the White Pass and Yukon Route railroad WP&YR owns and maintains a steam-powered snowplow built by Cooke in 1899. This unit is on static display in Skagway, Alaska (see Rotary snowplow for a photo).

The following is a list of preserved locomotives built at the Cooke factory after the ALCO merger.

title: Cooke Locomotive and Machine Works


text:
User talk:Mikeage

 * This is true. Mikeage (talk) 06:43, 13 September 2015 (UTC)

 * Still true, even if I edited something today. Mikeage (talk) 09:34, 28 March 2023 (UTC)

ClockworkTroll 13:37, 11 Oct 2004 (UTC)

Welcome
Hi Mikeage: Welcome to Wikipedia. I have noticed some of your useful contributions to articles relating to Judaism and Israel. Hope you enjoy your stay at Wikipedia. IZAK 08:00, 3 Jan 2005 (UTC)

RCA
See my comments in the RCA talk page and let me know what you think.--Truthaboutchabad 11:34, 1 Mar 2005 (UTC)

Summaries
Sorry bout that! :') It was late, and laziness was setting in. - RoyBoy [ ∞ ] 20:03, 24 Jan 2005 (UTC) (PS: Moving answers from my talk, to the proper page... sorry! :'D)

Another VfD
A VfD I thought you might be interested in:

Votes for deletion/Jewish supremacism

RegardsJayjg

Natan/Nosson
Hello. You're right that he prefers Natan! I just saw the link you put up on his article's talk page. Nevertheless, see my comments at Talk:Natan Slifkin. Thanks, HKT 02:25, 13 July 2005 (UTC)

Israeli Wikipedians
You were listed on the Wikipedians/Israel page as living in or being associated with Israel. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Israeli Wikipedians for instructions. —Simetrical (talk) 19:03, 6 November 2005 (UTC)

Your contact info
Hi Mikeage: You have not enabled your Wikipedia Email feature in your "my preferences" at the top of your user page. Sometimes editors overlook that when it's a useful way of staying in touch with other editors. Best wishes. IZAK 18:25, 27 November 2006 (UTC)

title: User talk:Mikeage


text: Category:Italian explorers

title: Category:Italian explorers


text: User talk:Etrigan

title: User talk:Etrigan


text: Category:Explorers by nationality

title: Category:Explorers by nationality


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Wikipedia:Articles for deletion/Wikipedia the free lunch

Wikipedia the free lunch was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Not encyclopedic, personal opinion. Gerritholl 13:39, 11 Oct 2004 (UTC)

 * Not meant to be; the author raises some excellent points in a place likely to attract the attention of the Big Enchiladas — but Delete. — Bill 13:52, 11 Oct 2004 (UTC)
 * Delete. Non-encyclopedic. --G Rutter 13:56, 11 Oct 2004 (UTC)
 * Gotta go with the non-encyclopedic diagnosis. Delete --Neschek 16:13, 11 Oct 2004 (UTC)
 * Delete. Original research. Also not encyclopedic. --Improv 17:51, 11 Oct 2004 (UTC)
 * Move to User:Faedra/Wikipedia the free lunch. RickK 19:07, Oct 11, 2004 (UTC)
 * Move to Meta or user subpage. —No-One Jones (m) 19:08, 11 Oct 2004 (UTC)
 * Delete, clearly original research. Move to user subpage. [[User:Dpbsmith|Dpbsmith (talk)]] 00:23, 12 Oct 2004 (UTC)
 * Delete. No useful content for the article namespace, some new ideas but mostly old stuff we see far too regularly. See why Wikipedia is not so great; Not much to merge is there? If the author later wishes to move this to a user page or the meta, I'll be happy to provide them with a copy. Andrewa 01:05, 12 Oct 2004 (UTC)
 * Delete. Essay, not encyclopedic.   — Gwalla | Talk 03:18, 12 Oct 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: Category:Italian geologists

title: Category:Italian geologists


text: Category:Geologists by nationality

title: Category:Geologists by nationality


text: Category:Mountain climbers by nationality


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Template talk:History of Switzerland

Road map
Preliminary template for an article series on the History of Switzerland. My intention was to follow about this roadmap:

 * Old Swiss Confederacy: Starting from the Bundesbrief from 1291 cover the history of the independece wars against the Habsburg dynasty. Slow expansion first by including Lucerne, then Zurich, and so on, leading to the "Acht Orte". Then subsequent expansion to the "Dreizehn Orte". Wars against Burgund (Charles the Bold). "Schwabenkrieg" (resulting in the de-facto independency). Should this go until 1536, when Berne occupied the Vaud? 1513 may be a bit an arbitrary date, maybe we should also cover the Battle of Marignano (1515) and related events in the 1520s here.
 * Reformation: Zwingli, the second "Landfriede" (1531) and the subsequent re-establishment of catholizism in many areas. Calvin in Geneva. Also cover the 30 years war in the Grisons (Jürg Jenatsch), which largely was a religious war, too.
 * Ancien Régime: de-jure independency after the Treaty of Westphalia (1648), rise of the Patricians; fourth "Landfriede" in 1712 (final end of religious wars in Switzerland), growing discrepancy between cities and their dependent rural areas (various peasant revolts were suppressed).
 * Napoleonic era may actually be a misnomer. Should cover the Helvetic Republic, French occupation, the mediation act, the restoration following the Congress of Vienna 1815. Rise of the liberal powers. Up to and including the "Sonderbundskrieg".
 * Federal state: Starting with the constitution of 1848. Revision of the constitution 1874.
 * World Wars: Neutrality, military issues, Réduit doctrine. "Geistige Landesverteidigung". Treatment of refugees. Frontists. Also cover the time between the wars. This is probably going to be a controversial article!
 * Modern history: the rest :-) Women's voting rights (1971, separation of the Canton of Jura, refusal to enter the European Union, membership in the U.N....

If we can pack something on economic necessities into these articles, all the better. The Reisläuferei (mercenaries) was an important economic factor until about the 17th century... Always dependent on corn imports. Export of cheese early on (14/15th cent.?) Industrialization, starting with textile factories in St. Gall and watchmaking in the Jura... (late 18th cent) heavy industry in the first half of the 19th century (Von Roll, GF, ...)

Just a few thoughts! Lupo 13:41, 11 Oct 2004 (UTC)

title: Template talk:History of Switzerland


text:
Category:Mountain climbers

 * See also: Category:Rock climbers
 * Mountain climbers are climbers who are notable for their mountaineering

title: Category:Mountain climbers


text:
Talk:Newman–Shanks–Williams prime

Is the M. Newman mentioned in the article Max Newman?  13:41, Oct 11, 2004 (UTC)

 * May well be, but unfortunately, I haven't been able to find a source online that lists the full first names of the paper's authors, so I can't say. -- Schnee 14:26, 11 Oct 2004 (UTC)

 * I would have thought it unlikely. These primes were first described in 1981, when Max Newman would have been in his eighties, and he'd retired in 1964. — Matt Crypto 12:08, 3 January 2007 (UTC)
 * It's not Max Newman, but the question is 2 years old so KF may have lost interest. A simple Google search easily finds "Newman, Morris; Shanks, Daniel; Williams, H.C." PrimeHunter 17:09, 3 January 2007 (UTC)

title: Talk:Newman–Shanks–Williams prime


text: Category:Italian cartographers

title: Category:Italian cartographers


text:
Category:Swiss generals

Note: This category treats "General" as an occupation, not a rank. It therefore also lists senior Swiss military leaders from before 1848, when the rank was introduced in the Swiss Army. The Swiss officers that have held the rank of General are listed in General (Switzerland).

title: Category:Swiss generals


text: Category:Swiss people by occupation

title: Category:Swiss people by occupation


text: Category:Swiss cartographers

title: Category:Swiss cartographers


text: Category:German cartographers

title: Category:German cartographers


text: Category:German geographers

title: Category:German geographers


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Bohuslav Hasištejnský z Lobkovic

Bohuslav Hasištejnský z Lobkovic (German: Bohuslaus Lobkowitz von Hassenstein) (1461 – 11 November 1510) was a nobleman, writer and humanist of the old Bohemian family (later the princes) of House of Lobkowicz. Regardless of his Bohemian roots, he explicitly referred to himself as German.

He was born at Hasištejn Castle, near Kadaň, Bohemia. He studied in Bologna and Ferrara (doctor of law, 1482) and converted from Utraquism to Catholicism there. After 1483, he became provost of Vyšehrad in Prague and between 1490–91 he travelled to the Holy Land and Egypt, earning the nickname "the Czech Ulysses". He was elected the bishop of Olomouc, but he was refused by the Pope. After this, he lived with a few of his writer friends in his 'Tusculum', Hasištejn Castle in north-eastern Bohemia.

Lobkovic was an author of philosophical prose, letters, and verses, imv;including satire on Bohemian national life: Ad sanctum Venceslaum satira (1489). He was a successful essayist and poet and became poeta laureatus. Lobkovic wrote in German and Latin, but never in Czech which was "barbaric" in his eyes. Moreover, he clearly considered himself a German ("Ego me Germanum esse et profiteor et glorior" ― "I openly confess to be a German and am proud of it").

His close friends were Jan Šlechta z Všehrd, a philosopher, Viktorin Kornel ze Všehrd and Racek Doubravský z Doubravy, both of whom were theorists of Bohemian common law. He was the younger brother of Jan Hasištejnský z Lobkovic.

He died in Hasištejn Castle in 1510.

title: Bohuslav Hasištejnský z Lobkovic


text: Category:Geographers by nationality

title: Category:Geographers by nationality


text: Category:German people by occupation

title: Category:German people by occupation


text:
Stallone (name)

Stallone is a given name and a surname of Italian origin, meaning either "stallion" or "cow stable". Notable persons with that name include:

Persons with the given name

 * Stallone Limbombe (born 1991), Belgian footballer

Persons with the surname

 * Frank Stallone Sr. (1919–2011), Italian-American hairdresser, polo enthusiast, writer, and one-time actor
 * Frank Stallone Jr. (born 1950), American musician and actor; son of Frank and Jackie Stallone
 * Jackie Stallone (1921–2020), American astrologer, dancer and women's wrestling promoter
 * Sage Stallone (1976–2012), American musician, actor and film producer/director; son of Sylvester Stallone
 * Sistine Stallone (born 1998), American model and actress; daughter of Sylvester Stallone
 * Sylvester Stallone (born 1946), American actor, screenwriter and film producer/director; son of Frank and Jackie Stallone

title: Stallone (name)


text:
Talk:(Best LIVE)

Correct name
Is the correct name "(Best LIVE)" or "(Best Live)"? -- Basilicofresco  (msg) 10:24, 14 January 2010 (UTC)

title: Talk:(Best LIVE)


text: Talk:Live (James Taylor album)

title: Talk:Live (James Taylor album)


text:
User:AMoll

I'll write a detailed bio when I am not studying frantically from the next test. Some people who patrol Wiki are seriusly full of themselves. In their former lives they were probably librarians who shushed people for talking.

SHORTER COLLEGE MUSIC RULES!

title: User:AMoll


text:
Talk:Bachelor No. 2 or, the Last Remains of the Dodo

<^>v!!This album is connected!!v<^>

 * All song titles serve as redirects to this album, have their own pages, or have been placed at the appropriate disambiguation pages.--Hraefen Talk 20:52, 16 August 2006 (UTC)


text:
Talk:The Doobie Brothers (album)

Fair use rationale for Image:The Doobie Brothers - The Doobie Brothers.jpg
Image:The Doobie Brothers - The Doobie Brothers.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 insure 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) 06:33, 24 January 2008 (UTC)

title: Talk:The Doobie Brothers (album)


text:
Blidworth

Blidworth is a village and civil parish approximately five miles east of Mansfield, Nottinghamshire, England. The population of the civil parish at the 2011 census was 4,457, this dropped to 4,295 in the 2021 census. Its history can be traced back to the 10th century, although many of the current houses were built in the first half of the 20th century to provide housing for workers at Blidworth Colliery (1926–1989). These are mainly in estates north of Dale Lane, known as New Blidworth. The area around Main Street, west of Beck Lane and including the church, is Old Blidworth, containing some of the oldest buildings. Blidworth Bottoms is a hamlet about 0.5 km south of Old Blidworth, while Haywood Oaks is the portion of the village south of Dale Lane and the south eastern rural area of the parish surrounding Haywood Oaks Lane.

Toponymy
Blidworth seems to contain the Old English personal name, Blitha' + worð  (Old English) an enclosure, so 'Blitha's enclosure'.

History and geography
The first recorded reference of Blidworth was in the Domesday Book, a national survey which was executed for William I of England in 1086. It is recorded as Blideworde, its recorded population was five households and the total tax assessed was 1.1 Geld Units. Although this is the first recorded reference of Blidworth, the village is much older and was possibly used by the Romans.

Up to the end of the 19th century it was a farming community with 150 houses clustered around Main Street (Old Blidworth) and 26 farms and three mills, with a population of about 2000. A major change came with the construction of a colliery north of Belle Vue Road in 1921 with the resulting construction of housing for workers. Thus the major part of the population is in an area east of Old Blidworth, between Belle Vue Lane in the north and Dale Lane in the south. Mansfield Road forms the west of this and is the main shopping area. The mine closed in 1989. There is now an industrial estate on Burma Road, north of Belle Vue Lane, as well as a Leisure Centre and the Miners Social Welfare Centre.

Other 20th century industries included factories for the manufacture of shoes, hosiery, textiles and metal products. Much of these industrial areas have been redeveloped and new housing has been constructed around the periphery of the village, with new street names, such as Will Scarlet Close.

Places of worship
There are four places of worship, the C of E parish Church of St Mary of the Purification, Blidworth Methodist Church, Sherwood Forest Community Church and the St Andrew's Mission Hall.

Robin Hood links
According to legend, Will Scarlet is buried in the churchyard of the Church of St. Mary of the Purification. An unmarked grave stands near the iron gates of the churchyard, formed from the original apex of the church tower and other assorted stones, and is generally attributed to the outlaw. As outlaws were not generally buried in churchyards, though, it is more likely that, if he existed, Will Scarlet was buried in one of the much older graves to be found on the same hillside within the boundaries of Sherwood Forest.

Other local legends suggest that Blidworth was the birthplace of Maid Marian, although there is little or no evidence to support these claims.

Blidworth Mill
This Subscription Mill was built c. 1816 as a three-storey brick tower windmill. With 3 pairs of millstones, it was working in 1892 but was dismantled some time during the First World War. It had 4 double patent sails, an ogee cap and an 8-bladed fantail. Millers listed as working the mill include Foster (1842), Edmund Clark (1864 and Thomas Penford (1904). The tower still stands to a height of 26 feet north of Old Blidworth.

One of the post windmills from Nottingham was moved to Blidworth in the 1850s, and was later moved to Hemsworth. A post windmill at Windmill Close, between Mount Pleasant and Belle Vue Lane was recorded in 1842; the owner was John Need and the tenant miller Thomas Blatherwick. A post windmill in Mill Croft, behind the Wesleyan chapel, was worked by miller William Holloway in 1864. It was demolished c. 1878.

Druid Stone
On the outskirts of the village of Blidworth, on farmlands, lies a stone known locally as the Druid Stone (Grid Reference: SK5787-558), a pillar of cemented glacial gravel standing on a base of the Nottingham Castle rock formation (Bunter Pebble Beds). This monumental object is 14 ft high, 84 ft around the base and has a hollow centre large enough for a man to pass through. Though known as the Druid Stone, there is no evidence to suggest that it has ever been used by druids. It is a naturally forming outcrop.

Blidworth Welfare Football Club
Blidworth Welfare were formed in 1926. They have played in the Central Midlands Football League and the Northern Counties East Football League. In 1982, they changed their name from Folk House Old Boys F.C. to their present name.

Blidworth Welfare Band
Blidworth Welfare Band is a brass band with mining heritage, starting in the late 19th century as the Stanton Hill Temperance Band based in Sutton in Ashfield; the band later changed their name to the Stanton Hill Silver Band until the coal industry paid an interest in brass banding in general. An alliance with Teversal, Silver Hill and Sutton Collieries saw a name change for the band, and it became the Teversal Collieries Band until the demise of those mines in the late 1970s, which forced the band to relocate to Blidworth in 1980 and a change of name to the Blidworth Welfare Band.

The band has established itself over the years as an extremely successful contesting band and competes in the Championship Section, with a number of CD recordings to its name.

title: Blidworth