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Mersey Railway

The Mersey Railway was the passenger railway connecting the communities of Liverpool, Birkenhead, England. It is currently a part of the Merseyrail network. It was extended further into the Wirral Peninsula, which lies on the opposite bank of the River Mersey to Liverpool. Both sides of the river were connected via the Mersey Railway Tunnel. The railway opened in 1886 with four stations using steam locomotives hauling unheated wooden carriages; in the next six years the line was extended with the opening of three more stations. Using the first tunnel under the Mersey, the line is the world's oldest underground railway outside London.

Because the steam locomotives created a polluted atmosphere in the tunnel despite the forced ventilation system, many passengers reverted back to using the river ferries making the railway bankrupt by 1900. Recovery came after the railway adopted electric traction in 1903. The Mersey Railway remained independent after the railway grouping of 1923, although it became closely integrated with the electric train services operated by the London, Midland and Scottish Railway over the former Wirral Railway routes after 1938. The Mersey Railway was nationalised, along with most other British railway companies, in 1948.

Origins
Records exist of a ferry service across the River Mersey between Birkenhead on the west bank and Liverpool on the east since the Middle Ages. In 1332 the monks of Birkenhead Priory were granted exclusive rights to operate a ferry; following the dissolution of the monasteries these rights passed through a number of operators eventually to the township of Birkenhead.

It is recorded that Marc Isambard Brunel suggested a road tunnel when designing the Birkenhead docks and from the 1850s a railway tunnel under the Mersey was proposed several times. The Mersey Pneumatic Railway Company received permission for a single line pneumatic railway in the Mersey Railway Act 1866 (29 & 30 Vict. c. cxxxix) but failed to raise the necessary capital. Renamed the Mersey Railway Company, they were given the necessary permissions in the Mersey Railway Act 1871 (34 & 35 Vict. c. cci) for an orthodox two track railway connecting the Birkenhead Railway near their Rock Ferry station through a tunnel under the Mersey to an underground station serving Liverpool. However the company found it difficult to raise the necessary funds until Major Samuel Isaac undertook to build the railway in 1881. He contracted construction to John Waddell, who appointed Charles Douglas Fox and James Brunlees as Engineers.

Construction of the river tunnel started from two 180 ft deep shafts, one on each bank, containing water pumps. Three tunnels were to be dug, one for the two tracks, a drainage tunnel and a ventilation tunnel. A 7 ft diameter ventilation tunnel was dug as the pilot heading. Some 38 million bricks were used for the construction of the main tunnel. When the tunnel was opened, fans on both banks changed the air in the tunnel every seven minutes.

The geology of the riverbed meant that the plans were changed and at the deepest section the drainage and ventilation tunnels combined. The grade on the Liverpool side was increased to 1 in 27. Estimates of the influx of water varied from 5000 impgal to 36000 impgal per minute; after the works were completed the maximum pumped out of the tunnel has been 9000 impgal per minute. There were two pumping stations, Shore Road Pumping Station on the Birkenhead bank near Hamilton Square and Georges Dock Pumping Station on Mann Island on the Liverpool Bank. The railway's workshop was built next to Birkenhead Central; stabling was also provided at Birkenhead Park.

Opening and extensions
The Mersey Railway was formally opened on 20 January 1886 and public services started on 1 February. The route had four new stations: Green Lane, Birkenhead Central and Hamilton Square in Birkenhead and James Street station in Liverpool. Green Lane and Birkenhead Central were below ground level in open cuttings whereas James Street and Hamilton Square were deep underground and accessed by lifts.

In 1888 a branch tunnel to Birkenhead Park station opened, with a connection to the Wirral Railway. This was followed in 1891 by an extension from Green Lane to bay platforms at the Birkenhead Railway's Rock Ferry station, and in 1892 the tunnel was extended from James Street to a new underground station at Liverpool Central.

The railway opened with steam locomotives hauling four-wheeled 27 ft-long wooden carriages, with first-, second- and third-class accommodation provided in unheated compartments. In 1900 in the peak periods trains left the Rock Ferry terminus every minutes and the Birkenhead Park terminus every 15 minutes, giving a train every 5 minutes between Hamilton Square and Liverpool Central. At off-peak times this was reduced to a train every minutes, alternately from the Rock Ferry and Birkenhead Park branches. The scheduled journey time between Rock Ferry and Central was 14 minutes; between Birkenhead Park and Central, 10 minutes.

As well as some through working of carriages from the Wirral Railway at Birkenhead Park, in the summer of 1899 a through service worked from Liverpool to Folkestone Harbour; carriages were taken to Rock Ferry, and there attached to a GWR Paddington express train; the carriages were slipped at Reading before being taken on to Folkestone attached to another train. Connecting ferries and trains allowed Paris to be reached in under 15 hours.

Electrification
The traffic peaked in 1890, when ten million passengers were carried, and then declined. Two years previously the company had been declared bankrupt and receivers appointed, because it was unable to pay the charges on its debt. Steam locomotives running at five-minute headways left a dirty atmosphere in the tunnel that the mechanical ventilation was unable to remove, so many passengers preferred the ferries.

Some other urban railways had been constructed for electric traction: in 1890 the City and South London underground tube had opened with electric traction, followed in 1893 by the more local Liverpool Overhead Railway. Plans for electrification of the Mersey Railway in 1895 were shelved because the company and its investors were fighting in the courts. In 1897 a new board of directors was elected, and in 1898, £500 was released for further expert advice that recommended electrification at a cost of £260,000 (equivalent to £0 in ). By then, the railway had attracted the attention of George Westinghouse, an American in the UK looking for business for his UK works, the British Westinghouse Electric and Manufacturing Co. Ltd, that opened at Trafford Park in 1899. Westinghouse considered the railway would be profitable with electric traction and undertook to fund the project, promising to complete in eighteen months. Electrification was approved by Parliament in the Mersey Railway Act 1900 (63 & 64 Vict. c. cxxxiv), which also terminated the bankruptcy, and in July 1901 the Westinghouse contract was signed.

All electrical equipment was shipped from the US, including power system plant equipment. A power station was built at the Shore Road pumping station and was designed to accommodate the extension of electrification to the Wirral Railway, although that did not occur until 1938. The conductor rails were fed direct, without any distribution. Four-rail 600 V DC electrification was installed, with the positive outer rail set 22 in from the running rail. The new electric multiple units, initially marshalled as 2-car or 4-car sets, had British-built wooden bodies on US bogies. 24 motor cars and 33 trailer cars were provided. The driving positions controlled all the motors on the train by the means of a low voltage control signal.

After inspection by the Board of Trade, the line was approved as fit for traffic on 3 April 1903. The last steam trains ran on Saturday 2 May and the current to the electrified rails was switched on at 3:30 am. At 4:53 am the first electric train arrived at Liverpool Central, and for the Sunday morning trains ran at 3-minute intervals without passengers. Passengers were admitted when the advertised Sunday service started at noon.

The stations were cleaned, whitewashed and electrically lit. A service was provided every three minutes from Liverpool Central to Hamilton Square and journeys were faster: Central to Rock Ferry was eleven minutes, down from fifteen minutes and the Central to Birkenhead Park journey was reduced by two minutes, down to eight minutes.

There was a maximum of four cars per train in 1904, which was raised to five cars in 1909. In 1923, automatic signalling was commissioned at Liverpool Central and in 1927 the island platform was widened, the work being completed in a weekend. The maximum number of cars in a train was raised to six in 1936, after the tunnels at the east end of Liverpool Central had been extended.

Wirral Railway

As a local railway the Mersey Railway remained independent in the 1923 grouping, although the Wirral Railway became part of the London, Midland and Scottish Railway (LMS). The Wirral had authority to electrify its lines, but had not done so, and passengers making through journeys had to change at Birkenhead Park. In 1926 discussions started on electrification and through running. The Wirral section was electrified with a DC third rail system, the Mersey Railway retaining its fourth rail but moving the positive conductor to 16 in from the running rail. The Mersey Railway electric multiple units were modified to run to the Wirral railway, and at the same time heaters and air compressors were added.

In 1938 the LMS introduced new lightweight three car multiple units that were later, under British Rail, to be classified Class 502.

Nationalisation and legacy
In 1948, on nationalisation of the railways, the Mersey Railway became the Mersey section of the London Midland Region. In 1956 these trains were replaced by Class 503 units, similar to the LMS Class 502 design, and the fourth rail removed. The last of the American-designed cars was withdrawn a year later.

A single track loop line was built between 1972 and 1977, and since 1977 trains from James Street have travelled round the loop calling at Moorfields, Liverpool Lime Street and a new platform at Liverpool Central before returning to James Street. The original two platforms at Liverpool Central were reused as part of the Northern Line. The tunnel and railway are still in use today as part of the Wirral Line of the Merseyrail commuter rail network.

Shore Road Pumping Station in Birkenhead was a museum until closure sometime before 2014. Georges Dock Pumping Station on Mann Island in Liverpool is a grade II listed building.

Steam locomotives
For the opening of the line, eight powerful 0-6-4 tank locomotives were obtained from Beyer, Peacock and Company, fitted with condensing apparatus for working in the tunnel. Designated as Class I, a ninth followed within six months. Beyer Peacock also built six 2-6-2T tank locomotives in 1887 (Class II) and three further 2-6-2T (Class III) were built by Kitson and Company in 1892.

The 0-6-4Ts were built with steam and vacuum brakes and steam reversing gear and weighed 67 long ton. The 2-6-2Ts were fitted with vacuum brakes only; those built by Beyer weighed 62+1/2 long ton and Kitson's 67+1/2 long ton.

As electrification progressed, the old rolling stock was advertised for sale. An attempt to sell the 18 locomotives and 96 carriages by auction in June 1903 proved unsuccessful – the auctioneer had to remind the bidders that he was not selling scrap. It was September before the first locomotive was sold; it would take another two years to sell all-bar-one of the locomotives. The last locomotive — which had been retained for working permanent way trains — was sold in January 1908.

The first to be sold was No. 5 Cecil Raikes, which was bought by Shipley Collieries for £750. They came back and bought No. 8 for £650; but not before Alexandra (Newport and South Wales) Docks and Railway had bought all six of the Class II locomotives for £3,450. They became ADR 6–11 (not in order). Alexandra Docks later bought four more locomotives: Three 0-6-4T (Nos. 2, 3 and 6), and one Class III 2-6-2T (No. 16), these becoming 24–22 and 25. All ten ADR locomotives passed to the Great Western Railway in January 1922, and were withdrawn between January 1923 and May 1932.

The other two Class III locomotives were bought by Whitwood Colliery for £1,240.

The last four locomotives (Nos. 1, 7, 9 and 4) were sold to J & A Brown (as their Nos. 5–8) for use on the Richmond Vale railway line in New South Wales, Australia. No. 4 Gladstone had been retained by the Mersey Railway until 1907 for departmental use, but was then replaced by Metropolitan Railway A Class (4-4-0T) No. 61, built by Beyer Peacock. This was replaced in 1927 by an earlier Metropolitan Railway 4-4-0T, No. 7.

Two of the Class I locomotive have been preserved: No. 5 Cecil Raikes is preserved at the Museum of Liverpool; and No. 1 The Major is preserved at the NSW Rail Museum, Thirlmere, New South Wales.

Locomotive-hauled coaching stock
Between 1904 and 1907 thirteen four-wheeled gas-lit coaches were sold to the Liskeard and Looe Railway. Built by the Ashbury Railway Carriage and Iron Company Ltd between 1885 and 1888, the sale price was between £20 and £70 each. In 1912, the six surviving examples were sold on to the Rhondda and Swansea Bay Railway.

Electric multiple units
In 1903 24 motor cars and 33 trailers were provided by Westinghouse. The stock was of an American design, with a clerestory roof and open gated ends. Unheated accommodation was in saloons and the wooden bodies were British built, and the bogies had been made by Baldwin Locomotive Works in America. First- and third-class cars were provided, the first-class seats being of natural rattan and the third-class seats being moulded plywood. The livery was maroon with white roofs and "Mersey Railway" in gold leaf on the upper fascia panels. Air brakes were provided with storage reservoirs that were recharged from static compressors at the terminal stations. The motor cars were powered with Westinghouse motors controlled by the Westinghouse low voltage multiple unit train control system.

An additional four trailers were received in 1908 followed in 1923 by two more motor cars and in 1925 a new five-car train. To allow the introduction of 6-car trains in 1936, ten trailer units were ordered. The later cars did not have a clerestory roof, but any car could work in multiple with any other car.

When the cars were modified to run to the Wirral railway, heaters and air compressors were added. The cars were replaced by vehicles similar to the Wirral Railway units in 1956–57.

Car no. 1, a first-class motor coach, was destroyed in a fire at Derby Litchurch Lane Works, where it had been taken for overhaul in preparation for restoration and preservation.

Preservation
Only two of the Class I locomotive have been preserved: No. 5 Cecil Raikes is preserved at the Museum of Liverpool; and no. 1 The Major is preserved at the NSW Rail Museum, Thirlmere, New South Wales, Australia.

Historic publications

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title: Mersey Railway


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Path (Toronto)

Path (stylized as PATH) is a network of underground pedestrian tunnels, elevated walkways, and at-grade walkways connecting the office towers of Downtown Toronto, Ontario, Canada. It connects more than 70 buildings via 30 km of tunnels, walkways, and shopping areas. According to Guinness World Records, Path is the largest underground shopping complex in the world, with 371600 sqm of retail space which includes over 1,200 retail fronts (2016). As of 2016, over 200,000 residents and workers use the Path system daily with the number of private dwellings within walking distance at 30,115.

The Path network's northern point is the Atrium on Bay at Dundas Street and Bay Street, including a now-closed tunnel to the former Toronto Coach Terminal, while its southern point is Waterpark Place on Queens Quay. Its main north–south axes of walkways generally parallel Yonge and Bay Streets, while its main east–west axis parallels King Street.

There is continuous expansion of the Path system around Union Station. Two towers being built as part of CIBC Square will be linked to the Path system, extending it to the east to cross over Yonge Street by a pedestrian bridge into the Backstage Condominium building (Esplanade and Yonge corner), giving closed access to Union Station, Scotiabank Arena, and other buildings in Toronto's Financial District.

Early pedestrian tunnels
In 1900, the Eaton's department store constructed a tunnel underneath James Street, allowing shoppers to walk between the Eaton's main store at Yonge and Queen streets and the Eaton's Annex located behind the (then) City Hall. It was the first underground pedestrian pathway in Toronto and is often credited as a historic precursor to the current Path network. The original Eaton's tunnel is still in use as part of the Path system, although today it connects Toronto Eaton Centre to the Bell Trinity Square office complex on the site of the former Annex building.

Another original underground linkage, built in 1927 to connect Union Station and the Royal York Hotel, remained an integral part of the Path network for many years until it was replaced by a newer connection between the Royal York Hotel and Royal Bank Plaza, which continues onward to Union Station.

Expansion
The network of underground walkways expanded under city planner Matthew Lawson in the 1960s. Toronto's downtown sidewalks were overcrowded, and new office towers were removing the much-needed small businesses from the streets. Lawson thus convinced several important developers to construct underground malls, pledging that they would eventually be linked. The designers of the Toronto-Dominion Centre, the first of Toronto's major urban developments in the 1960s (completed in 1967), were the first to include underground shopping in their complex, with the possibility of future expansion built in. The city originally helped fund the construction, but with the election of a reform city council, this practice ended. The reformers disliked the underground system, agreeing with Jane Jacobs's notion that an active street life was important in keeping cities and neighbourhoods vital and that consumers should be encouraged to shop on street level stores rather than in malls (whether they be above ground or below); however, the system continued to grow, as developers bowed to their tenants' wishes and connected their buildings to the system. This also converted low-valued basements into some of the most valuable retail space in the country.

The next expansion of the network occurred in the early 1970s with the construction and underground connection of the Richmond-Adelaide Centre office tower with the Sheraton Centre hotel complex.

21st century
Construction of the Path tunnel north from Scotia Plaza through the Bay Adelaide Centre started in the fourth quarter of 2007. Completion of this section closed the last remaining gap in the north–south route through Path that parallels Yonge Street, thus eliminating the need to double back from Bay Street to get between buildings located on the eastern edge of Path.

In 2011, the City of Toronto released a long-term expansion plan for the Path network, developed by Urban Strategies Inc. As part of the expansion plan, there will be 45 new entry points, and the walkway expanded to as long as 60 km when changes are completed.

In August 2014, a major southward expansion of the Path network brought it closer to the Toronto waterfront, with the opening of a covered pedestrian bridge connecting Scotiabank Arena south to RBC WaterPark Place on Queens Quay (crossing the Lake Shore Boulevard / Gardiner Expressway corridor and Harbour Street).

The City of Toronto constructed a 300 m, $65-million tunnel connecting Union Station to Wellington Street, the first publicly owned segment of the 4000000 sqft Path subterranean shopping district. Toronto planners have begun work to guide future Path development and ensure Path link construction is included in basement levels of key new buildings.

The network was particularly hard-hit during the COVID-19 pandemic in Toronto, with Bloomberg News calling the area a "ghost town". The pedestrian system's narrow halls in some locations were noted as a particular challenge, even once downtown employees returned to the office. The Toronto Financial District Business Improvement Area has planned various movement modifications to the space for future use.

In early November 2020, a connection was opened between the Maple Leaf Square complex (via the basement-level Longo's supermarket) and ÏCE Condominiums at York Centre. On December 5, 2020, the new Union Station Bus Terminal was opened within the new CIBC Square complex and connected via a skywalk to the Scotiabank Arena.

Design
Path provides an important contribution to the economic viability of the city's downtown core and is also used to supplement sidewalk capacity in downtown Toronto. The system facilitates pedestrian linkages to public transit, accommodating more than 200,000 daily commuters and thousands of additional tourists and residents en route to sports and cultural events. Its underground nature provides pedestrians with a safe haven from the winter cold and snow, as well as relief from the summer heat and humidity.

Coordination and signage
In 1987, City Council adopted a unified wayfinding system throughout the network. The design firms Gottschalk+Ash International and Muller Design Associates were hired to design and implement the overall system in consultation with a diverse group of land owners, City staff and stakeholders. A colour-coded system with directional cues was deployed in the early 1990s. Within the various buildings, pedestrians can find a Path system map, plus cardinal directions (P (red) for south, A (orange) for west, T (blue) for north, H (yellow) for east) on ceiling signs at selected junctions.

The signage can be hard to find inside some of the various connected buildings. Building owners concerned about losing customers to neighbouring buildings insisted any signage not dominate their buildings or their own signage system. The city relented and the result is the current system. Many complain the system is hard to navigate.

Connected facilities
More than 50 buildings or office towers are connected through the Path system. It comprises twenty parking garages, five subway stations, two major department stores, two major shopping centres, six major hotels, and a railway terminal. The CN Tower, Ripley's Aquarium of Canada, and Rogers Centre are connected via an enclosed elevated walkway, called the SkyWalk, from Union Station, although the walkway does not have indoor connections to these attractions.

 * 1 King Street West
 * 1 Queen Street East
 * 1 York
 * 10 Dundas East
 * 16 York
 * 150 York
 * 2 Queen Street East
 * 19 Grand Trunk
 * 22 Front Street West
 * 25 Lower Simcoe
 * 55 University
 * Atrium on Bay
 * Bay Adelaide Centre
 * Bell Trinity Square
 * Brookfield Place
 * Canadian Broadcasting Centre
 * CIBC Square
 * Citibank Place
 * Commerce Court
 * DBRS Tower
 * Delta Toronto Hotel
 * Design Exchange
 * Dundee Place
 * Exchange Tower
 * EY Tower
 * Fairmont Royal York
 * Federal Building
 * First Canadian Place
 * Four Seasons Centre
 * Harbour Plaza Residences
 * Hilton Hotel
 * Hockey Hall of Fame
 * Hudson's Bay Queen Street
 * ÏCE Condominiums at York Centre
 * InterContinental Toronto Centre
 * Maple Leaf Square
 * MetLife Place
 * Metro Hall
 * Metro Toronto Convention Centre
 * Munich Re Centre
 * RBC Centre
 * RBC WaterPark Place
 * Richmond-Adelaide Centre
 * Ritz-Carlton Toronto
 * Roy Thomson Hall
 * Royal Bank Plaza
 * Scotia Plaza
 * Scotiabank Arena
 * Sheraton Centre Toronto Hotel
 * Simcoe Place
 * Southcore Financial Centre
 * Sun Life Centre
 * TD Terrace
 * Telus Harbour
 * Thomson Building
 * Toronto City Hall
 * Toronto Coach Terminal
 * Toronto-Dominion Centre
 * Toronto Eaton Centre
 * Toronto subway stations:
 * Dundas station
 * Queen station
 * King station
 * Union station
 * St. Andrew station
 * Osgoode station
 * Union Station
 * Union Station Bus Terminal
 * Victory Building
 * Waterpark Place
 * Yonge–Dundas Square
 * Yonge–Richmond Centre

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

title: Path (Toronto)


text:
Talk:Virginia Trioli

== Need to add to Virginia’s Awards. In 2020 Virginia was awarded the Australian Council for Educational Leaders (ACEL) Media Award. This Award recognises significant contribution towards facilitating depth and balance in public debate on educational matters. ==

See above 59.102.55.166 (talk) 01:48, 23 August 2023 (UTC)

title: Talk:Virginia Trioli


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Bil Baird

William Britton "Bil" Baird (August 15, 1904 – March 18, 1987) was an American puppeteer of the mid- and late 20th century. He and his puppets performed for millions of adults and children. One of his better known creations was Charlemane the lion. He and his wife Cora Eisenberg Baird (1912–1967) produced and performed the famous puppetry sequence for "The Lonely Goatherd" in the film version of The Sound of Music. His son Peter Baird was also a puppeteer, and he continued his family's legacy until his own death in July 2004.

He wrote The Art of the Puppet (1965) and provided the puppets for Dark Shadows. Baird also created the expandable nose Peter Noone wore as Pinocchio in the 1968 musical adaptation of the Carlo Collodi story that aired on NBC as a Hallmark Hall of Fame special.

Early life
Born in Grand Island, Nebraska, Baird grew up in Mason City, Iowa. He traced his love of puppets to the moment when his father made him a simple string puppet when he was eight. In 1921, he attended a local performance of the Tony Sarg production of Rip Van Winkle, which cemented his interest. By the time he was 14, Baird was creating his own puppets and giving performances in the attic of his parents' home. In 1928, he helped Tony Sarg create the giant balloons for Macy's Thanksgiving Day parade.

Performance career
A graduate of the University of Iowa and the Chicago Academy of Fine Arts, he began work with childhood idol Tony Sarg in New York City in 1928. Several years later Baird formed his own company, the Baird Marionettes, which performed initially at the Chicago World’s Fair of 1933.

In 1950, Baird and Producer Yul Brynner created a show based on his character Snarky Parker called Life With Snarky Parker, which was a satire of American Westerns. The show featured numerous characters who were previously created by Baird, including "Snarky Parker", the lion "Charlemane", "Flannel Mouse", "Slugger Ryan", a piano-playing rod puppet, along with new characters "Fluffy" and "Nolan", the Villain "Ronald Rodent", the slightly befuddled "Birdie", the seductive "Cuda Bara", the schoolteacher and Snarky's love interest "Butterbelle", and her father "Paw". In 1951, Baird's Marionettes performed some of the roles in the Broadway musical Flahooley, a fantasy about a mass-produced laughing doll who unintentionally threatens the American industrial system. Then, in 1956, Baird's puppets "Gargle" and "Snarky" appeared in Adventures in Numbers and Space, a nine-part series by Westinghouse Broadcasting designed to interest children in mathematics.

Late 1950s—1960s
From 1958 to 1963, Baird's puppets often appeared on an educational show known as Parlons Français (Let's Talk French), which taught young children how to speak French. For this show, Baird created three new hand puppets named "Patapouf", "Lady Graybangs" and "Cliquot", who provided lessons to children while accompanied by Anne Slack, the hostess of the program.

The text of his The Magic Onion play for puppets was first published in Woman's Day in 1961. It is performed still, and features "a beautiful princess and her faithful dog, a wicked magician and his magic onion, a handsome prince, a hungry dragon, and a castle in an enchanted blue forest."

In 1959, Baird helped create Schultz & Dooley, who appeared in advertisements for Utica Club Beer from 1959–1964.

They toured Russia, India, Nepal, Afghanistan, and Turkey, appeared in "The Lonely Goatherd" sequence in the film The Sound of Music (1965), as well as in the ABC-TV 1958 television special Art Carney Meets Peter and the Wolf and Art Carney Meets the Sorcerer's Apprentice, graced many World's Fairs, created commercials for Remington Razors, Wildroot Cream-Oil, Wheaties cereal, Borden Dairy, United Cerebral Palsy, and Young & Rubicam and were part of five Macy's Thanksgiving Day Parades. During the 1964/65 World's Fair in New York City, Baird's Marionettes hosted "The Show-Go-Round", an elaborate musical exhibit in the Chrysler Pavilion.

Opening in 1967, the Bil Baird Marionette Theater at 59 Barrow Street in Greenwich Village presented plays for more than a decade. Among them, Ali Baba, The Wizard of Oz, Pinocchio, Alice in Wonderland, Winnie-the-Pooh, Peter and the Wolf, Davy Jones' Locker, A Pageant of Puppet Variety, Holiday on Strings, People is the Thing That the World is Fullest Of, Bil Baird's Band-Wagon, The Dragon and The Dentist, L'Histoire du Soldat, and The Whistling Wizard and the Sultan of Tuffet.

1970s—1980s
In 1972, Baird created an educational short film called Cartonella which told about the importance of milk, the short was a typical 'Damsel in Distress' story which featured the eponymously named "Cartonella", who was a fortune telling cow. This character would later become one of Baird's most popular characters, even having her own float during the 1974/75 Macy's Thanksgiving Day Parades.

In 1974, Baird married actress Josie Lloyd, 36 years his junior, and they remained together until his death in 1987.

In 1977, Baird temporarily closed down the theater so he could create another show at Busch Gardens: The Old Country titled Once Upon a Dragon, which replaced the Sid and Marty Krofft show The Camelot Revue and was regularly performed at the Reynold's Aluminum Puppet Theater in the Hastings, England section of the park from 1977 to 1978. That show was notable for starting the careers of several other prominent puppeteers. Those performance artists included Martin P. Robinson, who later portrayed "Telly Monster" and "Mr. Snuffleupagus" on Sesame Street; Randy Carfagno, who later created the costumes of the Racing Presidents for the Major League Baseball Team, The Washington Nationals; Jonathan Freeman, who voiced the villain "Jafar" in Disney's 1992 animated feature film Aladdin; and Craig Marin, who after marrying another Baird puppeteer named Olga Felgemacher, formed the company Flexitoon.

After Once Upon a Dragon ended, Baird continued his puppetry work and helped create several characters for commercials such as the "Flavor Fiend" for Bubble Yum, a family of puppets for an ad for the now-defunct Greenwich Savings Bank, a family of dogs and a Goldilocks character for Hartz Flea Tags, a Maid for Drano, Stop-Motion animated Bottles for Desitin Skin Care Lotion and a puppet version of the mascot of RSO Records. Baird and his puppets would soon appear in another special for HBO called "I've Got The World on a String: The First Annual All-Star Puppet Spectacular", which featured famous singers like Rita Moreno & Ben Vereen.

In 1983, Baird performed a puppet version of Igor Stravinsky's L'Histoire du Soldat, which was his last performance before retiring due to severe arthritis.

In 1985, Baird made a brief return in which he performed one of his own plays called "The Dragon and The Dentist".

Death
On March 18, 1987, Baird died at his home in Manhattan at the age of 82 from pneumonia and cancer. Six months after his death, on September 19–20, Baird's children Laura and Peter sold nearly all of the remaining Bil Baird Marionettes at auction. The 800-lot sale was held in New York City at The Greenwich Auction Room located at 110 East 13th Street. Bonnie Bien invited a class of young students to a puppet show during the exhibition. Peter Baird and others from the Bil Baird Troupe entertained the children. Bonnie as the gallery public relations expert worked all summer until Rita Rieff who wrote the New York Times Auction picked up Bonnie's press release for print. Marionettes depicting Elsie the Cow and her family were sold to a New York collector. A group of Rockette figures and caricature puppets of U.S. presidents Franklin Roosevelt and Harry Truman were purchased by a Pennsylvania toy dealer. Another character, "Olly Oilcan" from the 1939 New York World's Fair, sold for $11,000.

Awards and legacy
Baird received many awards and honors during his career, including the Medal of Achievement awarded by the Lotos Club of New York and the Distinguished Alumnus Award from the University of Iowa. He was also honored in 1980 by the Union International de la Marionette and Puppeteers of America at the Kennedy Center in Washington, DC.

In December 1988 Bil Baird's Marionettes played at the Minetta Lane Theatre in New York. The play Pinocchio, from the book by Jerome Coopersmith, was produced by Arthur Cantor, and performed by puppeteers Peter B. Baird, Pady Blackwood, Randy Carfagno, Larry Engler, William Tost and Richard Stephen Weber. Mary Rodgers was the composer; Sheldon Harnick wrote the lyrics. (Playbill Vol.88 No.12).

title: Bil Baird


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Jiří Mahen

Jiří Mahen (born: Antonín Vančura; 12 December 1882 – 22 May 1939) was a Czech novelist, playwright and essayist.

Life
He was born Antonín Vančura, in Čáslav, to an old noble family of the Bohemian Brethren faith. In his grammar-school years he became an anarchist. He later studied linguistics of the Czech and German languages at Prague University. After 1910, he worked as a journalist for Lidové noviny, one of the leading Czech newspapers. In the 1920s, he became the director of Brno Municipal Library. In 1939, due to depression following Hitler's occupation of Czechoslovakia, he committed suicide on 22 May in Brno. Mahenova knihovna (Mahen's Library, Brno City Library) is named after him.

Mahen was the cousin of the novelist Vladislav Vančura.

Work
His important texts are the novels Kamarádi svobody (Friends of Freedom) and Měsíc (The Moon), a novel involving poetism, the plays Mrtvé moře (Dead sea), written in 1917, Jánošík (Janosik), in 1910, and Generace (Generation), in 1921. He was the author of many books of essays, of which Rybářská knížka (Fishermen's Book), written in 1921, is the best known.

title: Jiří Mahen


text: Category:Flamenco styles

title: Category:Flamenco styles


text: Talk:List of Turkish people

title: Talk:List of Turkish people


text: User talk:195.188.216.131

title: User talk:195.188.216.131


text:
George Henry Moore (politician)

George Henry Moore (1 March 1810 – 19 April 1870) was an Irish politician who, in the 1850s, was a co-founder of the Tenant Right League, of the Catholic Defence Association and, as the Member for Mayo in the United Kingdom Parliament, of the Independent Irish Party. Although an advocate of tenant rights, and renowned for his relief efforts during the Great Famine, at the time of his death in 1870 Moore was defending his rights as a landowner against an oath-bound tenant society, the Ribbonmen. He was the father of the novelist George Augustus Moore and of the Fianna Fáil Senator Maurice George Moore.

Family
George Henry Moore was born 1 March 1810 in Moore Hall, Ballyglass, County Mayo, the eldest of three sons born to Louisa Moore (née Browne), granddaughter of John Browne, 1st Earl of Altamont and George Moore (1770–1840), landowner and historian, the son of a wealthy merchant. In the rebellion year of 1798, an uncle, John Moore, was named President of the Government of the province of Connaught in Castlebar by General Humbert during its brief occupation by the French.

The Moores were originally English Protestant gentry but became Catholic when John Moore married a Roman Catholic, Jane Lynch Athy of Galway, and when their son, George, married Katherine de Kilikelly (a.k.a. Kelly), an Irish-Spanish Catholic, in 1765.

Horse racing gentry
Moore was educated in England at St Mary's Catholic preparatory school in Oscott, near Birmingham, before entering Christ's College, Cambridge in 1827. Unable as a Catholic to take a degree, he spent most of his time gambling and playing billiards. Sent to London in 1830 to study law, he soon fell heavily into debt from gambling and so was recalled again to attend to the family estate of 12,000 acres.

From 1834 he traveled abroad, visiting Russia, Syria, and Palestine. On his father's death in 1840 he was recalled again to Mayo where he established a successful racing stable. After his brother Augustus was killed riding at Aintree in the 1845 English Grand National, and before selling his horses, Moore made one last grand wager. He won £10,000 on his own horse in the 1846 Chester Cup. The winnings he was to deploy, in part, for Irish famine relief.

Organiser of Famine relief
During the Great Famine (1845-1852) Mayo was one of the counties worst ravaged by starvation and illness, but none of Moore's tenants starved, nor were any evicted—a fact he was to uphold twice in libel cases against The Times regarding the treatment of tenants and his character. Moore reduced rents: a full remission for any tenant paying £5 per year and 75% remission for those paying under £10 per annum. Together with the Marquess of Sligo and Sir Robert Lynch-Blosse, from the United States he imported 1,000 tonnes of flour for distribution among tenants at half cost. As the famine got worse Moore gave grazing lands to the people and placed others directly under his care on his own estate at Moore Hall. His estate gradually fell into debt, forcing him during 1854 to sell half his property for £5,900.

Catholic Defence, and Tenant Right, MP
Moore ran successfully in Mayo against Irish Repeal candidates in the 1847 general election. On a narrow property franchise he won his seat in Parliament with 504 votes. He tried, and failed, at a Dublin convention to get his fellow Whigs to oppose their leadership at Westminster, the government of Lord John Russell, and protest the laissez-faire approach to the agrarian crisis maintained by Treasury secretary Charles Trevelyan.

In 1851, Moore became chief parliamentary spokesman for the Irish Catholic opposition to the Ecclesiastical Titles Act, an attempt to hamper the restoration in the United Kingdom of the Roman Catholic episcopate. A close friend of Archbishop John MacHale of Tuam, Moore took the leading role in establishing (August 1851) the Catholic Defence Association (CDA). On 28 October 1852, with the support of twenty-six MPs, Moore also established in Dublin the short-lived Friends of Religious Freedom and Equality to call for the disestablishment of the Church of Ireland.

At the same time, Moore cooperated with the Young Ireland er Charles Gavan Duffy, editor of The Nation, in uniting southern, overwhelmingly Catholic, tenant protection societies with northern, largely Presbyterian, tenant-right associations in an all-Ireland Tenant Right League. In the 1852 general election, Moore was one of 48 MPs returned with the League's endorsement. At his insistence, and by prior agreement, they sat as the Independent Irish Party, pledged to support no government that did not both advance tenant rights and revoke the Ecclesiastical Titles Act. Combined with the presence among of many sitting Repeal MPs, the joining of the two platforms assisted the Irish Conservatives and their Orange Order auxiliaries in painting disloyalty to landlords as disloyalty to the Protestant Crown and to the Union. Only one tenant-right MP was returned from Ulster: William Kirk in Newry.

Within six months two of Moore's colleagues William Keogh and John Sadleir broke ranks. Finding that, with a number of other CDA members, they held the balance of power in the House of Commons, they voted for, and accepted offices in, a new Whig-Peelite ministry in return for a commitment on the church question alone. With Duffy and Frederick Lucas, editor of the liberal Catholic journal The Tablet, Moore helped rouse popular indignation, but was opposed by the Roman Catholic Primate, Archbishop Paul Cullen. Moore continued to put pressure on MPs to adopt the independent opposition policy by using the influence of the Tenant League, of which he was chairman during 1856. During the late 1850s he also made repeated unsuccessful attempts to persuade the Young Ireland veteran William Smith O'Brien to re-enter Irish politics and lead the independent party.

In Archbishop Hale and in the local clergy Moore had sufficient clerical support for it to be made an issue in his re-election to Parliament in 1857. Invoking the new Corrupt Practices Act (1854), his Ascendancy opponents persuaded the House of Commons "that Mr. Moore's election had been carried mainly, if not entirely, by the influence of the Roman Catholic priesthood—not the influence of advice, or suggestion, or even of persuasion, but the influence of spiritual intimidation in its most marked and obtrusive form", including "a most unseemly electioneering mandate, signed by "John Archbishop of Tuam," and three Roman Catholic Bishops". He was denied his seat, and replaced in bye-election, unopposed, by Lord John Browne. (Moore was one of nine Irish MPs to be unseated on ground of undue clerical influence between 1853 and 1892).

Moore refused to back Cullen's preferred alternative to the independent opposition, the National Association of Ireland (established 29 December 1864). Instead, with the encouragement of Archbishop MacHale, in 1868 Moore stood again for parliament in Mayo as a Liberal on a platform of tenant right and amnesty for Fenian prisoners. Although he had himself, according to John Devoy, been denied entry into the Irish Republican Brotherhood by James Stephens in 1864, he began conferring regularly with some IRB leaders. In common with John O'Connor Power and other more moderate republicans, Moore apparently desired some form of alliance between the Fenians and tenant-right MPs, with a view to forming a new political movement.

Targeted landlord
Moore died on 19 April 1870, at Moore Hall. He had left his family in London just four days before. In a later biography, his son Maurice revealed that what had brought his father home was not, as reported in the papers at the time, the need to consult local leaders before he introduced a Home Rule bill. Rather, it was the attention Moore and his tenants were receiving from local Ribbonmen.

A few months before his journey back to Ireland, Moore had been forwarded a copy of a note red ink that was being circulated to tenants on the outlying Ballintubber estate of his 12,481 acre property: "IMPORTANT. Notice is hereby given that any person who pays rents to landlords, agents, or bailiffs above that of ordnance valuation will at his peril mark the consequences. By order, Rory ".

Moore was incensed that his public commitment to agrarian reform should count for so little. Shortly before leaving London, in a debate on the second reading of Gladstone's Landlord and Tenant (Ireland) Act, Moore had protested that its concessions to the Three Fs (Fair rent, Fixity of tenure, and Free sale) did not go far enough to check the power of landlords to drive out tenants (old and sick) through remorseless rent increases. In Mayo, during and after the famine, many landlords had made a complete clearance of their tenants and turned their holdings into grazing farms.

Moore concluded the Ballintubber Ribbonmen were simply out to blackmail him. He wrote to the local priest, a fellow protégé of MacHale's, Father Patrick Lavelle declaring that just because as an MP he advocated the rights of tenants did not mean he was going to surrender his rights as a landlord. Those who count upon taking base advantage of his political position "will find that they have mistaken their man". He would not be intimidated and he would evict every tenant who did not pay rent. It would be an act of charity to the poor, Moore wrote, if Father Lavelle would intervene.

Death
As soon as the Easter parliamentary recess began, Moore made his last return to Ireland, arriving on Good Friday, 1870. On Sunday, he attended Easter Mass at the local church in Carnacon. But on Monday, ill, he retired to his bed. He died the following afternoon of a stroke. Father Lavelle administered last rites.

In 1851 Moore had married Mary, daughter of Maurice Blake, a landlord with property in counties Mayo and Galway. They had five children. These included the future writer George Augustus Moore and the future Fianna Fáil Senator, Maurice George Moore. Maurice's support for the Irish Free State prompted the anti-Treaty IRA to burn down the family's ancestral home, Moore Hall during the Irish Civil War in 1923.

title: George Henry Moore (politician)


text:
Péter Nádas

Péter Nádas (born 14 October 1942) is a Hungarian writer, playwright, and essayist.

Biography
He was born in Budapest into a Jewish family,  the son of László Nádas (originally Nussbaum) and Klára Tauber. After the takeover of the Hungarian Nazis, the Arrow Cross Party on 15 October 1944, Klára Tauber escaped with her son to Bačka and Novi Sad, but returned to the capital directly before the Siege of Budapest. Péter Nádas survived the siege together with his mother in the flat of his uncle, the journalist Pál Aranyossi.

Even though his parents were illegal Communists during World War II and involved with the Communist administration later on, as well, they had both their sons—Péter and Pál—baptized in the Reformed (Calvinist) Church of Pozsonyi Street. His mother died of an illness when he was 13. In 1958, his father—head of department in one of the ministries, slandered with accusations of embezzlement, then exonerated by the court of all charges—committed suicide; Péter Nádas became an orphan at 16. Magda Aranyossi became the guardian of the two children.

Between 1961 and 1963 Péter Nádas studied journalism and photography. He worked as a journalist at a Budapest magazine (Pest Megyei Hírlap) from 1965 to 1969. He also worked as a playwright and a photographer. Since 1969 he has been a freelancer.

In 1990 he married Magda Salamon (with whom he had been living since 1962). In 1984 they moved to a small village in western Hungary, Gombosszeg, where they have resided ever since, though he also has a residence in the Castle District of Buda.

In 1993, he was elected member of the Széchenyi Academy of Literature and Arts.

Since the early 1970s, he has frequently spent time in Berlin, Germany, attending lectures at Humboldt University or reading in the Staatsbibliothek. He has been a fellow of the Wissenschaftskolleg zu Berlin, Institute for Advanced Study. In 2006, he was elected a member of the Akademie der Künste, Berlin. He enjoys a high reputation in Germany.

Works
After publishing volumes of short stories, he published his first novel The End of a Family Story in 1977.

He published his second novel, A Book of Memories in 1986. It took Nádas twelve years to write this book. The epigraph of this novel is from the Gospel according to John: "But he spoke of the temple of his body" (John, 2.21). In this novel, Nádas describes the world as a system of relations linking human bodies to each other. This book earned Nádas comparisons to Proust.

He published his latest novel, the three-volume Parallel Stories (I: The Mute Realm, II: In the Very Depth of the Night, III: The Breath of Freedom) in 2005. This novel is a multitude of independent stories that melt into one single narrative. It took Nádas eighteen years to complete this book. The novel has been described as "a virtuoso combination of nineteenth-century high realism with the experimentalism of the nouveau roman", while "the real narrative is that of bodies' actions on one another, their attraction and desires, their mutual memories" (Gábor Csordás). The plot is constructed around the histories of two families: one—the Lippay-Lehrs, who are Hungarian, the other—the Döhrings, who are German. These two main threads link irregularly up to one another via specific events or figures.

Nádas' other novels include Lovely Tale of Photography, Yearbook, On Heavenly and Earthly Love, and A Dialogue with Richard Swartz. Death is a recurrent theme in Nádas' work, particularly in Own Death, based on his experience of clinical death.

His writing has been described as intellectual, detailed, strong, innovative, and demanding. He is the winner of the Würth-Preis für Europäische Literatur in 2014. A volume of interviews with Péter Nádas, by Zsófia Mihancsik (Nincs mennyezet, nincs födém) was published in 2006.

Awards
He has received numerous awards, including
 * 1989 Prize for Hungarian Art, Hungary.
 * 1991 Austrian State Prize for European Literature, Austria.
 * 1992 Kossuth Prize, Hungary.
 * 1995 Leipzig Book Award for European Understanding, Germany.
 * 1998 Vilenica International Prize for Literature, Slovenia.
 * 1998 Prix du Meilleur Livre Étranger (Prize for the Best Foreign Book), France.
 * 2003 Franz Kafka Prize, Czech Republic.
 * 2014 Würth-Preis für Europäische Literatur, Germany.

He has also been nominated for the Nobel Prize.

title: Péter Nádas


text:
Francis William Newman

Francis William Newman (27 June 1805 – 4 October 1897) was an English classical scholar and moral philosopher, prolific miscellaneous writer and activist for vegetarianism and other causes.

He was the younger brother of John Henry Newman. Thomas Carlyle in his life of John Sterling called him a "man of fine attainments, of the sharpest-cutting and most restlessly advancing intellect and of the mildest pious enthusiasm." George Eliot called him "our blessed St. Francis" and his soul "a blessed yea".

Early life
Newman was born in London, the third son of John Newman, a banker, and his wife Jemima Fourdrinier, sister of Henry Fourdrinier. With his brother John Henry, he was educated at Ealing School. He matriculated at Worcester College, Oxford in 1822, where he obtained a double first class and graduated B.A. in 1826. He was elected fellow of Balliol College in the same year.

During his undergraduate days, his father's bank having failed, he was able to complete his degree by relying on financial support from his older brother John Henry. Early in his student period, however, lodging as he did with his brother, he disagreed enough on established religion to feel, at least as he expressed it in a late autobiographical work, that there was a breach in their relationship. He never graduated M.A., normally at Oxford a pure formality, since he shortly acquired religious scruples about signing as required the 39 Articles.

In 1827, Newman went to Delgany, County Wicklow, where for a year he tutored the sons of Edward Pennefather, There he fell under the influence of Pennefather's brother-in-law, the Rev John Nelson Darby, one of the nascent group of Plymouth Brethren, who he describes in Phases of Faith as "the Irish Clergyman".

Conscientious scruples respecting the ceremony of infant baptism then led him to resign his fellowship in 1830.

Missionary
Newman then took another position, in the family of Henry Parnell, 4th Baronet Parnell. An obituary of Edward Cronin, a Catholic convert widowed in 1829, suggests a Bible study group as origin of the sequel. Newman had recently been rejected by Maria Rosina Giberne, whom he had been courting for seven years, and had been helping his brother with parish work at Littlemore.

Shortly, in September 1830, Newman left Ireland with a party bound for Baghdad. They intended to join the independent faith mission of Anthony Norris Groves, who was working there with John Kitto and Karl Gottlieb Pfander. The party included John Vesey Parnell, who was its financial backer with John Gifford Bellett, Edward Cronin, and others. The journey, guided by the early views of Darby, ended badly. Newman's letters written home during the period of his mission were collected and published in 1856. There are other accounts, by the Brethren historian William Blair Neatby, and by Henry Groves, son of Anthony Norris Groves.

In 1833, Newman returned to England, via Tehran, with Kitto, arriving in June. He intended to find additional support for the mission: but rumours of unsoundness in his views on the doctrine of eternal punishment had preceded him.

Academic
Finding himself looked upon with suspicion by erstwhile evangelical colleagues, including Darby, Newman gave up on his vocation of missionary. He became classical tutor at the non-sectarian Bristol College, which existed 1831–1841 at Park Row, Bristol.

In 1840, he became classics professor at Manchester New College, the dissenters' college lately returned from York, at the time linked to London University. In 1846 he moved to become a professor of Latin at University College, London, where he remained until 1869.

During his tenure there, Newman produced a translation of the Iliad in 1856 that was notable for having come under heavy criticism from English poet and literary critic Matthew Arnold, which infamously led to a bitter quarrel between the two in 1860 and resulted in Arnold's famous series of essays on translation, On Translating Homer.

Views
Newman once described himself as "anti-everything". Wilfrid Meynell commented that Newman was as a "deist, vegetarian, anti-vaccinationist, to whom a monastery is even as a madhouse." Literary critic Lionel Trilling described Newman as a "militant vegetarian, an intransigent anti-vivisectionist, an enthusiastic anti-vaccinationist."

"The perfection of the soul, he said, lay in its becoming woman. He believed in woman's right to vote, to educate herself and to ride astride". He sought to make life rational in all things, including clothing. He wore an alpaca tailcoat in summer, three coats in winter (the outer one green), and in bad weather, he wore a rug with a hole cut for his head. When it was muddy, he wore trousers edged with six inches of leather.

Christian and secularist belief
As a young man, Newman was a fervent evangelical, associating with Walter Mayers and Thomas Byrth. At Oxford he was acquainted with radical Calvinist evangelicals, such as the circle around John Hill (1786–1855) of St Edmund Hall. In 1827 he encountered Benjamin Wills Newton of Exeter College, a future Plymouth Brethren founder, and Joseph Charles Philpot of his own college, who was his predecessor in the Pennefeather household in Dublin, much impressed by Darby.

Newman returned from Baghdad in 1833 a deist. He remained throughout life a believer in a theism, which has been described as "versatile". He had a believer's baptism in 1836 at Broadmead Chapel. He often attended both Unitarian and Baptist religious services, but was agnostic on many aspects of Christian doctrine.

In London of the 1840s Newman associated with the radical group comprising also William Henry Ashurst, William James Linton, William Shaen, James Stansfeld, Peter Alfred Taylor, mixing Unitarians and freethinkers. Harriet Martineau wrote to William Johnson Fox in 1849 about the "religious state of the world", saying "I am in the midst of the F Newman set of friends", mentioning also Bonamy Price's praise for Newman.

The liberal theological movement to which Newman belonged was hailed by George Jacob Holyoake, founder of British secularism. It equally received heavy criticism. The Anglican Clerical Journal, edited by Henry Burgess, wrote in 1854 of the "openly destructive volumes" of Newman and Theodore Parker. In that year, Newman published Catholic Union: Essays Towards a Church of the Future, as the Organization of Philanthropy.

Journalism and controversy
Newman wrote, anonymously, a favorable review of Vestiges of the Natural History of Creation for the first issue in 1845 of the Prospective Review, a journal edited by James Martineau, John Hamilton Thom and two other Unitarian ministers in the north of England. The content is considered to reflect the influence on Newman at this time of Baden Powell, in the area of science and religion.

With Martineau and others such as James Anthony Froude and Edward Lombe, he was one of the unorthodox but "respectable" backers when John Chapman took over the radical Westminster Review in 1851. The embattled Newman was a figure of controversy, particularly with Henry Rogers and his The Eclipse of Faith, or, A Visit to a Religious Sceptic of 1852, to which Newman replied. He was supported in the Westminster Review by a sympathetic article of 1858, "F. W. Newman and his Evangelical Critics", by Wathen Mark Wilks Call, that classed him as an "honest doubter". Considering the reception of ten books by Newman from the 1850s, Call (writing anonymously) concluded that many of his opponents "failed in candour, courtesy, generosity, and conscientiousness."

Newman himself published in the Westminster Review the provocative "Religious Weaknesses of Protestantism" in 1859. Circulation dropped, but Edward Henry Stanley stepped up with financial support. One of those offended was Henry Bristow Wilson, who thought it anti-Christian. He was one of the seven authors of Essays and Reviews (1860), which argued for a different version of liberal theology; among the other authors, Baden Powell was clearly influenced by Newman's views, while there is evidence that Mark Pattison took Phases of Faith to heart.

Returning to the topic at book length, Newman published The Religious Weakness of Protestantism in 1866. He was slow to drop the sola scriptura doctrine of Darby. Over time he developed arguments against it, under the headings of Bibliolatry and bigotry.

He went on to contribute 11 articles in the early 1870s to Fraser's Magazine, edited by Froude.

Social purity movement
Newman was both a supporter of a radical individualism and opponent of a centralised state; and an ethicist who opposed free love, and was concerned with urban libertinism and prostitution. In 1869 he became involved in the opposition to the Contagious Diseases Acts. In 1873 he stood his ground, while chairing a meeting against the Acts in Weston-super-Mare, confronting disruptive protesters.

In his lectures of the 1850s on political economy, Newman had commented on the "population doctrine" of Thomas Malthus. While he did not contest it in the abstract, in his view, the practical applications of the doctrine had been "deplorably and perniciously false."

An opponent of birth control, Newman put a case that sexual excess was a danger to women's health. The Moral Reform Union, launched in 1881 and commended by The Englishwoman's Review, published Newman's book 1889 book The Corruption Now Called Neo-Malthusianism.

Vegetarianism

Newman joined the Vegetarian Society in 1868, and was President of the Society from 1873 to 1883. He was opposed to the dogmatic ideas of raw foodism and objected to the disuse of flavourings and salt. He commented that "the number of dogmatic prohibitions against everything that makes food palatable will soon ruin our society if not firmly resisted." In 1877, Newman criticized a raw food book of Gustav Schlickeysen.

He made an associate membership possible for people who were not completely vegetarian, such as those who ate chicken or fish. From 1875 to 1896, membership for the Vegetarian Society was 2,159 and associate membership 1,785.

Newman did not like the term "vegetarian" because it implied someone who ate only vegetables. Instead, he preferred the Greek term "anti-creophagite" or "anti-creophagist" (anti-flesh eater). This idea was not supported by other members of the Society, as few people knew what the term meant. He used the phrase "V E M" diet (vegetables, eggs, milk). Newman consumed dairy and eggs. In 1884, a hostile review of his book Essays on Diet commented that he "is no vegetarian himself in the strict acceptation of the word, for he takes milk, eggs, butter, and cheese." Newman believed that abstinence from meat, fish and fowl should be the only thing the Vegetarian Society advocates. Some members believed that Newman was not strict enough. However, under Newman's presidency the Society flourished as income, associates and membership numbers increased.

In the 1890s, Newman converted to a pescetarian diet, and consumed white fish.

Vaccination
Newman was an anti-vaccinationist and supported the Anti-Compulsory Vaccination League. He carried over arguments, against following the advice of a "medical clique", that he had used against the Contagious Diseases Acts. In 1869, an article in The Lancet journal criticized Newman for holding this opinion and tried to convince him to withdraw his support for the League.

One of Newman's opponents in the vaccination controversy was Henry Alleyne Nicholson (Harry), whom he had tutored, and the son of his good friend John Nicholson. He declined to answer Henry's pamphlet.

Land reform

 * The Land as National Property: With Special View to the Scheme of Reclaiming it for the Nation Proposed by Alfred Russel Wallace (1886)

Newman was quoted by James Platt as stating that "the ownership of land is a monstrous despotism".

During the 1870s, Newman supported Matthew Vincent's scheme for acquiring land to provide smallholdings for agricultural labourers.

Family
Newman was married twice, firstly on 23 December 1835 to Maria Kennaway (died 1876). She was the second daughter of Sir John Kennaway, 1st Baronet, and a Plymouth Sister. They had met at Escot House in 1834. Francis's mother Jemima was at the end of her life — she died in spring 1836 — but welcomed Maria to the Newman family home. John Henry Newman found that unacceptable. By 1840 the brothers were more reconciled, at least in correspondence.

Maria's sister Frances married Edward Cronin in 1838.

The couple had no children. Under the will of John Sterling (died 1844), Francis became guardian of his orphaned son Edward Conyngham Sterling. Edward (Teddy) went to live with the Newmans in Manchester; for a while his younger brother, John Barton Sterling was there also − their sisters went to their uncle Anthony Coningham Sterling. Edward Sterling was an artist, and married in 1868 Bertha Stone, a suffragist, daughter of Frank Stone. Born in 1831 on Munro Plantation, St Vincent, he died in 1877. He had a house built in Sheffield Terrace, London, in 1876, by Alfred Waterhouse.

Secondly, Newman married Eleanor Williams on 3 December 1878.

Death
After his retirement from University College, Newman continued to live for some years in London, subsequently removing to Clifton, and eventually to Weston-super-Mare, where he died in 1897. He had been blind for five years before his death, but retained his faculties to the last.

Newman's funeral address was given by John Temperley Grey. It contained the comment that he was "a saint in the very thick of life's battle."

Legacy
Newman is listed on the south face of The Reformers' Memorial in Kensal Green Cemetery in London.

Karl Marx quoted from Newman's "Lectures on Political Economy", given at Bedford College in Capital, Volume III, p. 595.

Works
Newman studied mathematics and oriental languages, but wrote little until 1847. He is credited with the Weierstrass definition of the gamma function (1848, in reciprocal form).

Linguistic
As listed in the Dictionary of National Biography.

 * A Collection of Poetry for ... Elocution, 1850
 * Homeric Translation in Theory and Practice, 1861; a reply to Matthew Arnold.
 * The Text of the Iguvine Inscriptions, 1864
 * A Handbook of Modern Arabic, 1866
 * Translations of English Poetry into Latin Verse, 1868
 * Orthoëpy ... Mode of Accenting English, 1869
 * Dictionary of Modern Arabic, 1871, 2 vols.
 * Libyan Vocabulary, 1882
 * Comments on the Text of Æschylus, 1884
 * Supplement ... and Notes on Euripides, 1890
 * Kabail Vocabulary, 1887

Translations or adaptations into Latin:

 * (In the preface Newman describes himself as "taking only the general idea from Defoe".)
 * (In the preface Newman describes himself as "taking only the general idea from Defoe".)

Religion
Prominent were:

 * History of the Hebrew Monarchy (1847; 1853); intended to introduce the results of German scholarship and Biblical criticism.
 * The Soul (1849; 3rd edit. 1852) This work made a favourable impression on Charlotte Brontë.
 * Phases of Faith (1850; 1852), autobiographical, detailing the author's passage from Calvinism to theism.
 * Theism, Doctrinal and Practical, 1858

Others listed in the Dictionary of National Biography:

 * On the Relation of Free Churches to Moral Sentiment, 1847
 * Thoughts on a Free and Comprehensive Christianity, Ramsgate [1865]
 * The Religious Weakness of Protestantism, Ramsgate, 1866
 * On the Defective Morality of the New Testament, Ramsgate, 1867.
 * The Bigot and the Sceptic, Ramsgate [1869]
 * James and Paul, Ramsgate, 1869
 * Anthropomorphism, Ramsgate, 1870
 * On the Causes of Atheism [1871]
 * The Divergence of Calvinism from Pauline Doctrine, Ramsgate, 1871
 * The Temptation of Jesus, Ramsgate [1871]
 * On the Relation of Theism to Pantheism, and on the Galla Religion, Ramsgate, 1872
 * Thoughts on the Existence of Evil, Ramsgate [1872]
 * On the Historical Depravation of Christianity, 1873
 * Ancient Sacrifice, 1874
 * Hebrew Theism, 1874
 * The Two Theisms [1874]
 * On this and the other World [1875]
 * Religion not History, 1877
 * Morning Prayers, 1878; 1882
 * What is Christianity without Christ? 1881
 * A Christian Commonwealth, 1883
 * Christianity in its Cradle, 1884; 1886
 * Life after Death? 1886; 1887
 * The New Crusades; or the Duty of the Church to the World, Nottingham, 1886
 * Hebrew Jesus: His true Creed, Nottingham, 1895

Posthumous was

 * Mature Thought on Christianity, 1897, edited by George Jacob Holyoake.

Social and political
As listed in the Dictionary of National Biography.

 * A State Church not Defensible, 1845; 1848
 * On Separating ... Church from State, 1846
 * Appeal to the Middle Classes on ... Reforms, 1848
 * On ... Our National Debt, 1849
 * Lectures on Political Economy, 1851
 * The Ethics of War, 1860
 * English Institutions and their ... Reforms, 1865
 * The Permissive Bill, Manchester, 1865
 * The Cure of the great Social Evil, 1869; first part reprinted as On the State Provision for Vice, 1871; second part reprinted, 1889
 * Europe of the near Future, 1871
 * Lecture on Women's Suffrage, Bristol [1869]
 * Essays on Diet, 1883
 * The Land as National Property [1886]
 * The Corruption now called Neo-Malthusianism, 1889; 1890
 * The Vaccination Question, 5th edit. 1895

Other

 * Physiological Arguments in Favor of Vegetarianism. The Herald of Health, 1875.
 * Contributions chiefly to the Early History of Cardinal Newman (1891), considered at the time deficient in fraternal feeling.
 * Physiological Arguments in Favor of Vegetarianism. The Herald of Health, 1875.
 * Contributions chiefly to the Early History of Cardinal Newman (1891), considered at the time deficient in fraternal feeling.

title: Francis William Newman


text:
Genesis (Genesis album)

Genesis is the twelfth studio album by English rock band Genesis, released on 3 October 1983 by Charisma and Virgin Records in the UK and by Atlantic Records in the US and Canada. Following the band's tour in support of their 1982 live album Three Sides Live, Genesis took an eight-month break before they regrouped in the spring of 1983 to record a new album. It is their first written and recorded in its entirety at their studio named The Farm in Chiddingfold, Surrey, and the songs were developed through jam sessions in the studio with nothing written beforehand. Hugh Padgham returned as their engineer.

Genesis was the group's greatest commercial success at the time of release, becoming the band's third straight album to reach  on the UK Albums Chart. It also reached No. 9 on the US Billboard 200, where it sold over 4 million copies. Five singles were released between 1983 and 1984; "Mama" was the lead single and remains the highest charting Genesis single in the UK, reaching. While "Mama" stalled on the US charts, follow-up single "That's All" reached  there and became the band's first US top 10 hit. The band toured the album in 1983 and 1984, recordings from which formed the concert video Genesis Live: The Mama Tour. In 1985, the album received a Grammy Award nomination for Best Rock Performance by a Duo or Group with Vocal and "Second Home by the Sea" was nominated for Best Rock Instrumental Performance. In 2007, the album was re-released with new stereo and 5.1 surround sound mixes.

Background
In October 1982, the Genesis line-up of drummer/singer Phil Collins, keyboardist Tony Banks, and guitarist/bassist Mike Rutherford, with live drummer Chester Thompson and live guitarist Daryl Stuermer, wrapped their two-month tour of North America and Europe in support of the band's third live album, Three Sides Live. They had also performed a one-off gig titled Six of the Best with original Genesis frontman and singer Peter Gabriel and former guitarist Steve Hackett to raise funds for Gabriel's world music festival WOMAD after it ran into financial trouble. Genesis then entered a period of inactivity, during which the band pursued their solo projects.

Writing and recording
In the spring of 1983, the band reconvened at their studio, named The Farm in Chiddingfold, Surrey, to start work on a new studio album, their first since Abacab (1981). Genesis became their first album written, recorded, and mixed in its entirety at the studio room; previously they had to write in an adjoining space. Having the group work in their own space without the additional pressure of booking studio time and fees resulted in a more relaxed environment. They were joined by engineer Hugh Padgham, who had also worked on Abacab, but this time carried out production duties themselves with Geoff Callingham offering technical assistance. Rutherford recalled an initial period of slow and sluggish progress, but after a particularly productive session on the third day they had "two or three" songs worked out, which increased their interest and excitement towards the album and in performing the new material on stage. Before the sessions began, the group considered the idea of Banks or Rutherford taking on a lead vocal on the album, but opted out as they had developed material with Collins's voice in mind. Banks said that he and Rutherford take a more prominent role in the backing vocals on Genesis than previous albums.

Banks explained the album was the result of the group's decision to "write an album and record it in one go, from start to finish". The group considered their strongest material had been put together collectively, so they decided to make an entire album in such a way as opposed to developing someone's pre-arranged ideas. Before, each member would contribute fully or partially arranged songs, which restricted development or suggestions from the other members. This time tracks came about through jamming and improvisations in the studio that were recorded onto tape, ensuring the band remained unified and kept songs fresh. Banks noted that this made recording more exciting and spontaneous. This collaborative effort marked a return for Genesis crediting each member for writing the album as opposed to listing individual credits, which they had not done since The Lamb Lies Down on Broadway (1974). The collaborative effort also had an influence on the album's title as the group were unable to come up with a suitable name, so they used Genesis to emphasise the fact that it was written collectively.

The main keyboards that Banks used on the album are the Prophet 10, Synclavier, an E-mu Emulator, a Yamaha CP-70 electric grand piano, and an ARP Quadra on "Mama". At one point on the album, a sample from the soundtrack to 2001: A Space Odyssey (1968) is used. Collins said: "You play a chord and a half of it's going at half the speed and part at twice the speed, sounds beautiful." Collins plays on a Simmons electronic drum kit.

Songs
Genesis displays the group moving towards shorter, more straightforward, and radio friendly songs. Rutherford said that the band had gone as far as they could with their progressive and art rock direction that they had adopted since the early 1970s and wanted to write and record in a more relaxed approach as previously, the band were more driven to present what they had to offer. Banks considered the music, and overall sound of Genesis, something that the band had longed for many years prior, specifically its more aggressive edge. He described side one as the "main act", while side two has the "character pieces".

"Mama"
"Mama" originated during a group jam session where Rutherford was experimenting with a Linn LM-1 electronic drum machine fed through a gated reverb and a Mesa Boogie amplifier, and "turned up incredibly loud" to the point of amplifiers jumping off the studio floor. Collins was influenced to go for a vocal that resembled John Lennon's style on his cover of "Be-Bop-a-Lula" on the song's verses. His laugh was influenced by the 1982 song "The Message" by hip hop band Grandmaster Flash and the Furious Five, which features a similar sound. Padgham had brought the single to the band and upon hearing it, Collins did the laugh during the subsequent improvisation session for "Mama", which the band liked and wished to use in the song. The group had doubts as to whether Collins could recreate the laugh on stage, but he had no problems.

When it came to picking a song as the album's lead single, Rutherford expected Genesis manager Tony Smith and record label staff to pick another track than "Mama", but said "full marks to them, they agreed we should go with something that was a bit different". Rutherford later rated "Mama" as one of the best songs on the album, and was pleased with its commercial performance after the band found singles chart success with a song that represented what Genesis "were all about" at the time. During one session, the band had a koto in the studio, which was recorded through the E-mu Emulator and used as a sample for the song's percussion effect, partly because Banks had tried other options and could not get another sound to fit.

Other songs
"That's All" originated from Banks's simple piano riff, which was followed by a drum pattern that instantly gave off a mood that the band wanted to develop further. Each member cited the Beatles as an influence for the song; Collins said his drumming was in tribute to the style of their drummer, Ringo Starr, one of his drumming influences. The organ solo is played using a preset on the Synclavier imitating a Hammond B-3 organ, despite the reverse seen in the song's music video. Banks's riff came about from taking a sample in the E-mu Emulator and playing two notes of it simultaneously, which generated a new one.

"Home by the Sea" tells the story of a burglar who breaks into a house only to find it is haunted by ghosts, who capture him and then force him to listen to their life stories. Collins had repeated the phrase "home by the sea" while putting down dummy vocals at a time when Banks was writing lyrical ideas, and used the phrase to conjure up the story. The song originated with the band playing along to their Linn drum machine, during which Banks and Rutherford devised a guide theme on the keyboard and guitar, respectively, and Collins a vocal outline. With the guide parts laid out, the band then had a format as to its mood and how the song would take shape and developed it into a complete track. When the three were happy with what came out from it, they re-recorded the song individually onto tape with Collins replacing the Linn drum tracks with his own.

The former track segues into "Second Home by the Sea", a mostly instrumental piece developed from a group improvisation that began with Collins playing a drum riff which Banks and Rutherford liked and joined in. The working title was "Heavy Simmonds", a reference to Collins' playing. Banks said the group spent around two hours jamming on the idea on one day, followed by a second jam of equal length on the next. They then took the parts from both jams they liked best and organised them into one cohesive arrangement, which required them to re-learn what they had put down to record it as one piece. Banks said the loose idea behind the instrumental section was to represent the former lives of the ghosts. The track ends with a reprise of "Home by the Sea".

"Illegal Alien", with lyrics from Rutherford, is about illegal immigrants and their attempts to cross the border into the United States for a better life. Collins aimed for a more adventurous style of drumming and went through a number of different styles, noting what he ended up playing was perhaps more than what the song called for. The chosen style was "that basic rock-and-roll part-two and four on the snare, one and three on the bass. That's what made the tune work". It opens with sound effects of car horns and telephones that Banks played on his E-mu Emulator sampler, which he found particularly exciting to record and incorporate into the music. Collins felt more pleased with his drumming on "Mama" and "Illegal Alien" than on the band's more intricate tracks such as "Los Endos" from A Trick of the Tail. Banks denied any racist implications the song appeared to have towards Mexicans, but said "it is a tongue-in-cheek thing" and in fact more sympathetic towards immigrants.

"Silver Rainbow" has lyrics written by Banks, who wrote about people being senseless when they are in love. Collins described them as "romantic" and "lush". Its working title was "Adam" because it had a rhythm that the group felt resembled something by singer Adam Ant, and the band thought a lyric that matched the "juvenile" music would fit it best.

"It's Gonna Get Better" features a keyboard introduction that Banks sampled from an album of classical music for cello, following a failed attempt to use it to obtain a quality string sound on his keyboard. He then played four notes simultaneously using the same sample that unexpectedly created a sound of interweaving harmonies, which he kept and used.

Cover art
The cover art was designed by English artist Bill Smith, who had also produced the artwork on Abacab (1981). The front photograph originates from shapes from his one-year-old son's shape sorter toy that were left on the carpet after he had gone to bed.

Release
Genesis was released on 3 October 1983 and distributed by Charisma and Virgin Records in the United Kingdom and by Atlantic Records in the United States. It reached No. 1 on the UK Albums Chart for one week from 15 October 1983 during a 51-week stay on the chart, and re-entered the chart for a total of 15 weeks between 1984 and 1987. The album peaked at No. 9 on the Billboard 200 during a 49-week stay. In the United Kingdom, the album reached Gold certification by the British Phonographic Industry on the day of release for shipment of 200,000 copies. In December 1983, the album reached Platinum certification and, in October 1987 reached double Platinum, the latter for selling 600,000 copies.

Four singles from the album were released between August 1983 and June 1984. A 12-inch single was released with longer versions of "Mama" and "It's Gonna Get Better", the edit for the latter containing an extra verse and chorus.

Genesis filmed promotional music videos for "Mama" and "Illegal Alien", both of which were filmed back to back on the same film set.

Critical reception
In his feature article on the band and the album in a September 1983 edition of Sounds, writer Bill Black described Genesis as "an at times frustrating cocktail of the sassy songwriting" that Collins' solo albums apparently brought into the band's songs, "spiced with tantalizing reminders" of the band's more progressive and art rock past. He was critical of "It's Gonna Get Better", summarising it as "pure formula" and compared its backtracked keyboard sound to "cosmic Elgar", but rated "Mama" as "savage as you're likely to get with post Gabriel Genesis" and a notable departure from their earlier songs. The Kerrang! reviewer determined that for this album Genesis "have traded technical complexity and ingenuity for an altogether more stunning simplicity", making "a Genesis album for people who normally hate Genesis" and "great music for the masses".

In his retrospective review for AllMusic, Stephen Thomas Erlewine criticised the album for lacking coherency, but found that a majority of the tracks are outstanding, "balancing such sleek, pulsating pop tunes as 'That's All' with a newfound touch for aching ballads." He also praised the band completely redefining themselves as a pop group.

In 1985 the album received a Grammy Award nomination for Best Rock Performance by a Duo or Group with Vocal while "Second Home by the Sea" was nominated for Best Rock Instrumental Performance.

Mike Rutherford referred to this album as one of his favourite Genesis albums.

Track listing
All music written by Tony Banks, Phil Collins, and Mike Rutherford. Lyricists specified below.

"It's Gonna Get Better" contains a sample of the opening cello part of a ballet suite written by Aram Khachaturian.

Personnel
Genesis
 * Mike Rutherford – guitars, bass, backing vocals
 * Phil Collins – drums, vocals, percussion
 * Tony Banks – keyboards, backing vocals

Production and artwork
 * Genesis – producers
 * Hugh Padgham – producer, engineer
 * Geoff Callingham – technical assistance
 * Tony Smith – manager
 * Geoff Banks, Steve Jones, Dale and Clair Newman, Andy Mackrill, Jo Greenwood and all at Hit & Run Music – Without whom department
 * Bill Smith – sleeve design
 * Chris Peyton – sleeve adaptation (for The Redroom)

title: Genesis (Genesis album)


text:
Talk:Genesis (Genesis album)

Miscellanea
I've removed the following statement from the article: "The numbers on the blocks are the same as the numbers they correspond to on the track list page." My main beef with this is that I count 10 shapes on the album cover, and there are only 8 tracks on the album. A reference for this would help. Robotman1974 09:15, 25 December 2006 (UTC)

 * I'm not sure how to "reference" something like this, but I for one can verify that it's true. If you haven't seen the track list page for this album, click here:

 * http://g-ec2.images-amazon.com/images/G/01/ciu/d6/30/e001225b9da0611a5149e010.L.jpg

 * As you can see, there is a track number printed on each shape, as well as a '10' on the star shape next to the production credit. The Shape-O toy has the same exact numbers printed on their corresponding blocks.  Perhaps someone else who owns both the toy and the album can confirm this?  Jphillst 22:25, 27 December 2006 (UTC)

 * I was mistaken. The statement doesn't refer to the album cover. Robotman1974 22:55, 27 December 2006 (UTC)

 * I have taken the liberty of changing the last sentence of the introduction to adequately and accurately identify the product. It is not from the game "Perfection", as written before. It is, as debated above, the Shape-O toy ball. Kagurae (talk) 22:37, 23 March 2009 (UTC)

Fair use rationale for Image:Genesis83.jpg
Image:Genesis83.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) 22:02, 2 January 2008 (UTC)

Fair use rationale for Image:Genesis83.jpg
Image:Genesis83.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) 22:23, 13 February 2008 (UTC)

Fair use rationale for Image:Genesis83.jpg
Image:Genesis83.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) 06:40, 26 February 2008 (UTC)

wrong informaton
The shapes on the album are not from tupperware Shape-O, but the Game Perfection —Preceding unsigned comment added by RVaccaro (talk • contribs) 04:50, 20 December 2009 (UTC)

Tour section
Seems too long and excessively detailed compared to the rest of the article. 123.243.37.236 (talk) 07:05, 18 January 2011 (UTC)

 * All of the [Phil Collins fronted] Genesis album articles include a similar Tour section, and I am personally pleased when they include a setlist, as this shows which songs were dropped/reintroduced over the years and which parts of which songs were included in the various medley's. Interested readers are generally probably already familiar with the subject but would like to see this encyclopaedic detail.

 * 6 of the 8 album tracks have their own articles, which balances the length of the Tour section, in my opinion. Gandru (talk) 12:36, 18 January 2011 (UTC)

Home By The Sea
It's obviously about an old people's home and told from the perspective of someone losing their memory. Ghosts? If there are any, it's a metaphor for those the person has lost or thinks they have lost. 2A00:23C8:3D0E:F701:58B7:81F6:4672:3C03 (talk) 08:19, 11 May 2023 (UTC)

title: Talk:Genesis (Genesis album)


text:
Weierstrass theorem

Several theorems are named after Karl Weierstrass. These include:
 * The Weierstrass approximation theorem, of which one well known generalization is the Stone–Weierstrass theorem
 * The Bolzano–Weierstrass theorem, which ensures compactness of closed and bounded sets in Rn
 * The Weierstrass extreme value theorem, which states that a continuous function on a closed and bounded set obtains its extreme values
 * The Weierstrass–Casorati theorem describes the behavior of holomorphic functions near essential singularities
 * The Weierstrass preparation theorem describes the behavior of analytic functions near a specified point
 * The Lindemann–Weierstrass theorem concerning the transcendental numbers
 * The Weierstrass factorization theorem asserts that entire functions can be represented by a product involving their zeroes
 * The Sokhatsky–Weierstrass theorem which helps evaluate certain Cauchy-type integrals

title: Weierstrass theorem


text:
User talk:Martin Hampl~enwiki

ClockworkTroll 14:47, 11 Oct 2004 (UTC)

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Renamed
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title: User talk:Martin Hampl~enwiki


text: Category:Centenarians

title: Category:Centenarians