text:
Duke (album)

Duke is the tenth studio album by English rock band Genesis, released on 28 March 1980 on Charisma Records. The album followed a period of inactivity for the band in early 1979. Phil Collins moved to Vancouver, Canada, in an effort to salvage his failing first marriage, while Tony Banks and Mike Rutherford recorded solo albums. Collins returned to the UK after his marriage ended and wrote a significant amount of material, some of which was used for Duke and some was later reworked for his first solo album, Face Value. Duke contained a mix of individually written songs and tracks that evolved from jam sessions in mid-1979, while recording took place at the end of the year. The break in activity rejuvenated the band, and they found the album an easy one to work on.

Duke was positively received by music critics, who praised the album for bridging the band's progressive rock-oriented past, such as the closing ten-minute "Duke's Travels"/"Duke's End" suite, with their more pop rock-oriented, commercially accessible direction, as displayed on the hit singles "Turn It On Again", "Duchess", and "Misunderstanding". It reached No. 11 in the US, and became their first album to reach No. 1 in the UK. It has since been certified Platinum in both countries.

Background
By 1978, Genesis were a trio of lead singer and drummer Phil Collins, keyboardist Tony Banks and guitarist/bassist Mike Rutherford. They had survived the departure of original frontman Peter Gabriel and guitarist Steve Hackett and released the album ...And Then There Were Three..., which included the top ten single "Follow You Follow Me". The group were still touring successfully, and enjoyed the songwriting collaborations between the three of them. They decided to take a break before writing and recording a new album, which would be largely group-written in a rehearsal room, without many pre-conceived ideas.

The group's touring schedule had put particular pressure on Collins, whose marriage was at risk of collapse due to him being away from home frequently. His wife, Andrea, had warned him that if he committed himself to the full ...And Then There Were Three... Tour, she would not be there when he returned. Collins, however, was convinced that Genesis were on the verge of an international breakthrough and that his work with the band would pay dividends in the future. By the end of 1978, Andrea had decided to move to Vancouver with their children. Realising that his marriage was more important than the band, Collins held a meeting with Banks, Rutherford and manager Tony Smith. He said he was moving to Vancouver to try and rebuild his family, and that the group would have to accommodate this. In an interview for Sounds, Collins said, "I went off for two months to try and sort things out ... I was never going to leave the band. It was just that if I was going to be living in Vancouver then we'd have had to organise ourselves differently." He also noted that the individual members of his side project Brand X were geographically dispersed.

Banks and Rutherford suggested the band take an extended hiatus, hoping Collins would save his marriage and that the band could work with him in Vancouver. Banks recorded his solo album A Curious Feeling at Polar Studios in Stockholm with Genesis touring drummer Chester Thompson and singer Kim Beacon, while Rutherford also recorded his first solo album, Smallcreep's Day, at the same studio. In April 1979, Collins returned to the UK after the attempt to salvage his marriage failed. With time to spare before working on the next Genesis album, he gigged with Brand X, and began work on demo tracks for what became his first solo album Face Value at his home in Shalford, Surrey. As well as playing piano and synthesizers, he had recently picked up a Roland CR-78 drum machine and become interested in the possibilities of electronic drums.

Writing and recording
In autumn 1979, Banks and Rutherford moved in with Collins in Shalford to start rehearsals on Duke. Collins had written a large number of songs, but he felt many of them would not suit Genesis, while Banks and Rutherford were short of material having just recorded their solo albums. The three decided each member should contribute two of their own songs for the band to work on. Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Don't Ask". The remainder of the songs were written together in rehearsals. Banks later regretted not choosing Collins' "In the Air Tonight" for the album. His track "Cul-de-Sac" became a problem for Collins to get into as its overall style and lyrical content no longer interested him, and realised that he should have kept the song for his solo output. "Please Don't Ask" is a song Collins wrote during his divorce from his first wife. Biographer Ray Coleman said the song is "a searing mixture of a love letter and a lament for the loss of his children". Collins recalled Banks and Rutherford chose to include the song as it had a Beach Boys feel.

The group found the writing process easier and more enjoyable than ...And Then There Were Three..., which was primarily songs written in advance individually by the members. Rutherford summarised his time writing songs for Duke as "getting back to the basic stage of ideas being worked on jointly". Banks reasoned much of the band's refreshed attitude was down to not having worked together in a while, which resulted in good ideas being put forward, something that he said had not happened for some time. Collins felt the band interacted "as a group much better ... there's definitely a side to us coming out which wasn't on the last album; the playing side". Rutherford would later describe the writing process for the album, alongside the one for Abacab, as a "rethink" of Genesis' approach, refocusing their output to group writing and improvisation. In contrast to earlier Genesis albums, most tracks were short with the exception of the ten-minute "Duke's Travels"/"Duke's End" suite that closed the album. The group went to Polar Studios to record the album, starting on 12 November 1979, and recording up to the end of the year. As with several earlier albums, production duties were shared by the band and regular co-producer David Hentschel. Collins used the Roland CR-78 drum machine for "Duchess"; the first time he used one on a Genesis song.

The cover art was drawn by French illustrator Lionel Koechlin and taken from his book L'Alphabet d'Albert, published in 1979. The band liked his work and decided to use it as the cover, but Collins maintained the character depicted is neither the album's titular character nor related to any song on it.

The "Duke Suite"
"Behind the Lines" was the first song arranged for the album and "Duchess" came about from rhythms that Collins had played on his set of drum pads. In its original form, "Behind the Lines", "Duchess", "Guide Vocal", "Turn It On Again", "Duke's Travels", and "Duke's End" were one 30-minute track that told a story of a fictional character named Albert which had a working title of "Duke". The group chose this name because the fanfare melodies on "Behind the Lines" and "Duke's End" conjured an image of royalty. The band decided against sequencing the tracks this way on the album, partly to avoid comparisons to their 23-minute track "Supper's Ready" from Foxtrot, but also to have certain segments of the suite, such as "Duchess" and "Turn It On Again", released as singles. The six tracks were performed live on the album's supporting tour with Collins introducing it as "The Story of Albert". "Turn It On Again" was originally a short connecting piece in the middle of this medley, but the band enjoyed playing it so much, they decided to double its length and make it more of a standout track. It came from a piece that Rutherford discarded from Smallcreep's Day and a separate piece from Banks that they joined together. The group considered placing the band-written songs on side one and the individually written tracks on the other, but this was rejected. Rutherford described the final running order as "a very balanced album".

Release
Duke was released in the US on 24 March 1980 and in the UK on 28 March. It was the band's greatest commercial success at the time of its release; it spent two weeks at No. 1 on the UK Albums Chart and peaked at No. 11 on the US Billboard 200. The album spawned three singles; "Turn It On Again" reached No. 8 in the UK and No. 58 in the US; "Duchess" reached No. 46 in the UK; "Misunderstanding" reached No. 42 in the UK and No. 14 in the US. Duke was certified Platinum by the British Phonographic Industry on 3 July 1980 and by the Recording Industry Association of America on 11 March 1988.

Critical reception
Duke received a mostly positive reception from music critics. In his review for Rolling Stone, David Fricke noted that "Turn It On Again" is "vibrant rock & roll" and thought that "Man of Our Times", "Duchess", "Duke's Travels", and "Duke's End" "possess a refreshing urgency". Fricke points out the band's losses without Gabriel and Hackett in the line-up, yet summarised Duke as "comforting: a reassurance that Genesis aren't for an exodus yet." Sounds' Hugh Fielder gave the album four stars out of five, enjoying the opening of "Behind the Lines" and considering Collins's vocals to be "more convincing than ... before". He felt the first side was better than the second, and criticised some lyrics, but concluded "no Genesis fan could be disappointed". The Los Angeles Times Steve Pond described the album's music as "identifiably Genesis, but it is toned-down" and "a more confident and successful album than ...And Then There Were Three...". He criticised the album as inconsistent with a lack of "melodic invention" on side one, but thought "Duke's Travels" and "Duke's End" were "one of the best and most consistent pieces of music that band has made in some time".

In a retrospective review, AllMusic's Stephen Thomas Erlewine felt Duke was the Genesis album that "leaped into the fray" of pop music but retained "a heavy dose" of progressive rock with the "Duke" suite. Erlewine thought the album comes off "a little bombastic" at times, with "Misunderstanding" and "Turn It On Again" being the two tracks that "showcase the new version of Genesis at its absolute best".

Tour
Genesis supported the album with a 78-date tour across Europe and North America, between 17 March to 30 June 1980. They were joined by drummer Chester Thompson and guitarist Daryl Stuermer. As the group had not embarked on a full scale UK tour since 1977, the tour began with a 40-date trek across the country, which saw all 108,000 available tickets sold within hours of going on sale. A 40-minute excerpt from the performance at the Lyceum Ballroom in London was broadcast on The Old Grey Whistle Test and released as a bonus feature on the 2007 reissue of Duke. Recordings from the tour were released on Three Sides Live (1982), Genesis Archive 2: 1976–1992 (2000), and BBC Broadcasts (2023).

Reissues
A digitally remastered version of Duke was released on CD in 1994 on Virgin in Europe and Atlantic in the US and Canada. The CD included the album's original booklet, artwork and lyrics. It was reissued again in 2007 as part of the Genesis 1976–1982 box set, which included a new stereo and 5.1 surround sound mix and a DVD of bonus features including band interviews, music videos, live performances and tour programs.

Track listing
All songs written by Tony Banks, Phil Collins and Mike Rutherford except where noted.

Additional tracks
Additional songs recorded during the Duke sessions:

Personnel
Genesis
 * Tony Banks – keyboards, backing vocals, 12-string guitar, duck
 * Mike Rutherford – guitars, bass guitar, bass pedals, backing vocals
 * Phil Collins – lead vocals, drums, drum machine, percussion, duck

Production
 * David Hentschel – backing vocals, production, audio engineering
 * Genesis – production
 * Dave Bascombe – assistant engineering
 * Ray Staff – mastering
 * Lionel Koechlin – cover
 * Bill Smith – art direction
 * Recorded at Polar Studios, Sweden
 * Mixed at Maison Rouge, London
 * Mastered at Trident Studios, London

title: Duke (album)


text:
The Last Juror

The Last Juror is a 2004 legal thriller novel by John Grisham, first published by Doubleday on February 3, 2004.

Plot introduction
The story is set in the fictional town of Clanton, Mississippi from 1970 to 1979. Clanton is also the venue for John Grisham's first novel A Time to Kill which was published in 1989. Some of the characters appear in both novels with the same occupation and characteristics. Although A Time to Kill was published 15 years before The Last Juror, it took place in 1985 (on the first page of Chapter 3, it notes the date as Wednesday, May 15), which is a year after Grisham formed the idea for A Time to Kill, his first novel, and began writing it. Therefore, the characters who appear in both novels, such as Lucien Wilbanks and Harry Rex Vonner, have matured in A Time to Kill. Harry Rex Vonner also appears in the novel The Summons, published in 2002, as an adviser of the protagonist Ray Atlee.

Some references in the book are clearly hinting at things known to readers of A Time to Kill. For example, in 1970 most blacks in Ford County don't take part in elections - taking for granted that since whites are the great majority in the county, no black candidate would have chance of being elected to local office. However, as A Time to Kill makes clear, a decade later a black Sheriff would be duly elected, with the overwhelming support of blacks and whites alike.

The novel is divided into three parts. The first covers the trial of Danny Padgitt, the second focuses on Willie adjusting to life in Clanton, and the third includes the main events, the murder of the jurors.

Plot
In 1970, a 23-year-old college dropout named Willie Traynor realizes that his dreams of becoming a Pulitzer-winning journalist will never come true. He moves to Clanton, Mississippi for an internship at the local newspaper, The Ford County Times. However, the aging editor, Wilson Caudle, drives the newspaper into bankruptcy through years of neglect and mismanagement. Willie spontaneously decides to buy the paper for $50,000, using money borrowed from his wealthy grandmother, and becomes the editor and owner of the Times.

Soon afterwards, Danny Padgitt, a member of a notorious local family, brutally rapes and murders a young widow, Rhoda Kassellaw. When Traynor publishes a front-page photo of the blood-spattered Padgitt being led into jail, readership increases. However, Willie is accused of yellow journalism and pre-judging Padgitt. Later, Willie runs a human interest story about Callie Ruffin, a local black woman whose seven children (among eight) all gained doctorates and teaching positions in various universities. In the process of researching the story, Willie becomes a close friend of Callie and her family.

In the process of jury selection for Padgitt's trial, Callie becomes the first black person to serve on a Ford County jury. Though far from enthusiastic about the prospect of having to pass a death sentence, Callie - who had been active of the Civil Rights Movement - does not shirk her civic duty. In court, Padgitt openly threatens to kill each of the jurors if he's convicted. But though the jury convicts Padgitt, they are divided on whether to sentence him to death row, so he is sentenced to life imprisonment at the Mississippi State Penitentiary. Unconfirmed rumors persist that Hank Hooten, the deputy prosecutor in the case, had been the lover of the victim - which, if true, would constitute a conflict of interest. In the ensuing years, as the Times becomes highly successful and steadily increases circulation, Willie keeps an eye on Padgitt. He campaigns against the extremely favorable conditions which his family procured for him in prison. However, Padgitt is paroled after nine years. Immediately after his return to Clanton, two of the former jurors are killed by a sniper rifle and fear spreads through the county. Callie's children and neighbors organize to guard her day and night. The Padgitt family offers alibis as to Danny's whereabouts during the murders. This is taken with great skepticism, but with no tangible proof to the contrary, the authorities hesitate to take action.

Callie reveals that the victims were jurors who voted against sentencing Padgitt to death. A third juror - who also opposed a death sentence - narrowly escapes a bomb sent through the mail. The resulting public uproar forces the authorities' hands, and a warrant is issued for Padgitt's arrest. Against expectations, Padgitt surrenders to police. During his bail hearing, however, Padgitt is shot and killed by Hooten, who is hiding in the ceiling. Hooten barricades himself in the courthouse tower and, after a short standoff, commits suicide. It is revealed that Padgitt - though guilty of his original crime - was innocent of the murders. Willie discovers that Hooten has indeed been involved with Rhoda Kassellaw, and sought revenge against Padgitt and the three jurors who voted against his death sentence.

A big newspaper chain, extending operations throughout the South, becomes interested in purchasing the Times. Willie sells the paper for $1.5 million, but his satisfaction is marred when Callie dies of a heart attack. The book ends with Willie writing her obituary.

Characters in The Last Juror

 * Joyner William "Willie" Traynor - the narrator, protagonist, and editor of the local newspaper, The Times.
 * Calia "Miss Callie" Harris Ruffin - a black woman with eight children, seven of whom have Ph.Ds. She is selected for jury duty at the Padgitt trial. She and Traynor share an unlikely friendship.
 * Baggy Suggs - an alcoholic reporter for The Times.
 * Wiley Meek - photographer for The Times.
 * Danny Padgitt - a member of the notorious Padgitt family. He rapes and murders Rhoda Kassellaw but is given parole after only nine years in prison.
 * Lucien Wilbanks - defense lawyer for Danny Padgitt.
 * Harry Rex Vonner - a lawyer who befriends Willie, helping him with various legal and moral issues throughout the novel.
 * Sam Ruffin - eighth child of Calia Ruffin. He had an affair with a married white woman and is afraid to return to Clanton.
 * Rhoda Kassellaw - the victim of Danny Padgitt.
 * Judge Loopus - the judge at the Padgitt trial.
 * Ernie Gaddis - prosecution lawyer at the Padgitt trial
 * Hank Hooten - another lawyer at the Padgitt trial. He is rumoured to have had a relationship with Rhoda Kassellaw before her death. He later goes insane, killing two jurors and Danny Padgitt.

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

title: The Last Juror


text:
Talk:Duke (album)

Fair use rationale for Image:Duke80.jpg
Image:Duke80.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 Wikipedia articles 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 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 uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 03:28, 3 June 2007 (UTC)

Bring Out Your Dead WT citation
Can the author provide a citation for the association of the working title "Bring Out Your Dead" to be for "Man of Our Times"? I find none anywhere but here, and additionally have a source indicating that it is the WT for "Evidence of Autumn"... the b-side test pressing of "Turn it on Again" is titled "Bring Out Your Dead" and plays "Evidence of Autumn."

http://www.backstageauctions.com/catalog/auction_item.php?unid=10682&catunid=458&prodpa=0

Mpoloukhine (talk) 21:34, 14 May 2010 (UTC)

I've edited it to reflect the source info for now as there is no source to substantiate the previous info. If the author has a source or clearer evidence, let that engender a discussion on the topic.

Mpoloukhine (talk) 22:37, 14 May 2010 (UTC)

American Psycho
I don't know if this is bad or not, but the first bit of the article after the ToC is just a paraphrase of what Patrick Bateman says in American Psycho before he has sex with some prostitutes to the tune of "Sussudio".

98.118.70.249 (talk) 00:00, 12 June 2010 (UTC)

Man of our Times
The article says that "Man of our Times" is about "emotional turmoil". I'm curious: What does everyone else think this song is about? It sounds like an upbeat song to me (musically and lyrically). I think its about how everyone in society is doing something wrong and has wrong values, but this Man of our Times is really a hero and how we should be more like him. Let me know what you think it's about. -67.235.30.29 (talk) 20:35, 19 June 2010 (UTC)
 * Also, regarding the "emotional turmoil" quip, it also says "Alone Tonight is about emotional turmoil. I do agree with that. -67.235.30.29 (talk) 20:36, 19 June 2010 (UTC)

Neo-Progressive Rock?
Hello, I have erased "Neo-Progressive" from the "genre" section, because in 1980, it just didn't exist "neo-progressive", it was just the last act of the progressive rock of the 1970's, and the transition to "adult" rock of the 1980's. — Preceding unsigned comment added by 89.140.206.171 (talk) 07:39, 18 December 2012 (UTC)

Quack!
The "duck" on the sleeve note credits has perplexed me for ages. According to this site, it's a duck call being fed into a synth, but anyone could have written that (and got it wrong, or got confused). Does anyone have a more reliable source? Ritchie333 (talk) (cont)  09:22, 19 June 2015 (UTC)

, why are you removing "duck" from the credits (with no edit summary or conversation here so I can't tell what your rationale is) when longstanding convention prefers to report directly what's on the sleeve notes, in order to stop "my layout of the credits is better than yours" arguments. Ritchie333 (talk) (cont)  20:04, 31 December 2015 (UTC)

 * There is no such convention, longstanding or otherwise. See WP: WikiProject Albums/Album article style guide for guidelines on the best way to do personnel credits for albums.--Martin IIIa (talk) 22:44, 26 January 2016 (UTC)

 * That only tells you about formatting, nothing about what to actually list. My experience (eg: from a lot of the Beatles and Pink Floyd album articles at least) is that everyone has their "favourite" way of listing instruments (The Dark Side of the Moon has had many reverts back and forth), and generally nothing except the sleeve notes is actually verifiable as being correct. Nobody died because a sleeve note listed "percussion" instead of "drums". Now, if somebody has got a source that shows what a "Duck" is, great, let's have it. Ritchie333 (talk) (cont)  23:03, 26 January 2016 (UTC)

 * You said "layout", which means formatting, not content. Incidentally, it's odd that you reference the Beatles albums, since the articles on their recordings make more use of non-sleeve-note sources for their credits than any other articles on Wikipedia. Anyway, the trouble with just blindly listing whatever the sleeve notes say is that sleeve notes sometimes contain errors, confusing terminology (e.g. harmonica credited as "harp"), and worse, outright jokes. That's why on Airborne (Curved Air album) we have Stewart Copeland credited for playing drums, even though the sleeve notes credit him as playing "heavy artillery", not drums. Sometimes you have to use your common sense.
 * In this particular case I think keeping the "duck" credit is correct. I've heard the bit about it being a duck call fed into a synth myself, and though unfortunately I can't remember the source, I remember it being a trustworthy one (in the conventional sense, not necessarily reliable by WP standards). Moreover, it doesn't seem like the sort of thing someone would make up. However, if we don't come up with a reliable source to explain within the article what "duck" refers to, you can bet there will be more editors removing it from the credits under the assumption that it's a joke - and the worst part is, we can't say they're really wrong to do so.--Martin IIIa (talk) 12:37, 28 January 2016 (UTC)

 * @Ritchie333 and Martin IIIa:It looks like someone else removed "duck" from the credits, possibly assuming that it was a joke. Also, (and I'm not trying to be irrelevant) I have this album on CD and not on ANY of the tracks do I hear any "duck-like" sounds or anything that sounds even REMOTELY like a duck, despite listing "duck" on the sleeve notes. But then again, if a duck call were fed into a synth I don't think it would really sound very "duck-like." I don't know this for certain, I'm just being a know-it-all who's heard other sounds fed into a synth that don't sound the way they would when heard on their own. Original research on my part.--Kevjgav (talk) 10:48, 26 June 2016 (UTC)

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Duke album tour
SO, I am trying to get a tour Wikipedia page made for the Duke album, and I am needing some help with it. Was the tour notable? comment added by Genesis8792 (talk • contribs) 13:35, 27 March 2020 (UTC)

title: Talk:Duke (album)


text:
User talk:Cokalerie

Translation
Welcome! I see you signed up as a French-to-English translator. There is a big backlog of articles needing translation from French (the biggest such backlog we've got) at Translation into English. If you'd like to sign up to take on one of these, it would be very welcome. If you have any questions about the process, feel free to ask me. -- Jmabel | Talk 17:38, Oct 21, 2004 (UTC)

title: User talk:Cokalerie


text: User talk:67.171.97.147

title: User talk:67.171.97.147


text:
Talk:John Lambert (general)

Date and place of death
Encyclopædia Britannica (1911) says:
 * On the Restoration he was exempted from danger of life by an address of both Houses to the king, but the next parliament (1662) charged him with high treason. Thenceforward for the rest of his life Lambert remained in custody in Guernsey. He died in 1694.

The more recent http://www.britannica.com/eb/article-9046943
 * born autumn 1619, Calton, West Riding, Yorkshire, Eng. died March 1684, St. Nicholas Isle, off Plymouth, Devon

So as other sources listed in the article agree with www.britannica.com it looks as if the 1911 got it wrong. --Philip Baird Shearer 17:37, 2 October 2005 (UTC)

Sections
The sections template was originally added to the Article page on 01:58, 29 July 2006 by the IP address 68.39.174.238. I moved it here because it is an editorial suggestion and not an aid to the reader of the article --Philip Baird Shearer 09:43, 3 September 2006 (UTC)

 * Editorial suggestion templates normally go on the main article page, and the discussion page for sections specifically notes this as proper practice. I've moved it back. Matchups 03:16, 15 December 2006 (UTC)

Poetic License
I don't think that this sentence is suitable: "Lambert's role in the Civil War and Commonwealth is now largely forgotten" at the beginning of the 'legacy' section. It seems like a particularly large article for somebody who has been forgotten. MC 14:58, 21 April 2007 (UTC)

A different John Lambert
Removed references to John Lambert, captin (sic) of the third batalian (sic) 3rd royal australian regiment sydney Littlst (talk) 11:20, 16 December 2007 (UTC)

Addition: Lambert said "the best of men are but men at the best" ?
I was reading a book called "VIES IMAGINAIRES" authored at 1896 by Marcel Schwob. In there is a quote allegedly (by John Aubrey) said or used by general Cambert (instead of Lambert in my translated copy probably by typo). After a internet research a found that the quote itself comes from John's Aubrey letter to Anthony Wood dated 15 June 1680. The letter is in start page of aubrey's Lives of eminent men, there is a publication in books.google.com in a collective vol.

Published in pages 197-201 (the quote is mentioned in page 199).

http://books.google.com/books?id=bvkHAQAAIAAJ&pg=RA1-PA199&img=1&zoom=3&hl=en&sig=ACfU3U0GICwavVM6kmmL4iMy-LpgejgFcg&ci=102%2C1164%2C710%2C83&edge=0

I think that the quote should be added to this page!

Miklaf (talk) 16:34, 28 September 2010 (UTC)

Hmmm... very interesting quote, but it could be said of Lambert as opposed to by him, using the other version of one meaning the individual making the comment. Still, I think it should definitely be included either here or on wikiquote. Well spotted! CFury194.9.188.22 (talk) 16:23, 29 October 2010 (UTC)

title: Talk:John Lambert (general)


text:
Kile

Kile is a TeX/LaTeX editor to edit TeX/LaTeX source code. It runs on Unix-like systems including Mac OS X and Linux, as well as Microsoft Windows via the KDE on Windows initiative, with the Qt and KDE libraries installed.

Name and Pronunciation
Kile means tickle or wedge in Norwegian, the native language of some of the Qt developers. As such, its proper pronunciation is /kiːlə/ and not /kaɪl/.

Features
Kile has many useful features needed to edit TeX/LaTeX source code, such as:

 * Compile, convert and view your document with one click.
 * Auto-completion of (La)TeX commands
 * Templates and wizards make starting a new document very little work.
 * Easy insertion of many standard tags and symbols and the option to define (an arbitrary number of)	 user defined tags.
 * Inverse and forward search: click in the DVI viewer and jump to the corresponding	LaTeX line in the editor, or jump from the editor to the corresponding page in the viewer.
 * Finding chapter or sections is very easy, Kile constructs a list of all the chapter etc.	in your document. You can use the list to jump to the corresponding section.
 * Collect documents that belong together into a project.
 * Easy insertion of citations and references when using projects.
 * Flexible and smart build system to compile your LaTeX documents.
 * QuickPreview, preview a selected part of your document.
 * Easy access to various help sources.
 * Advanced editing commands.

title: Kile


text:
British Gazette

The British Gazette was a short-lived British state newspaper published by the government during the General Strike of 1926.

One of the first groups of workers called out by the Trades Union Congress when the general strike began on 3 May were the printers, and consequently most newspapers appeared only in truncated form. In order to propagate the government's point of view His Majesty's Stationery Office decided to produce an official publication printed on the presses of the Organisation for the Maintenance of Supplies. Chancellor of the Exchequer Winston Churchill, a former journalist, was appointed the paper's editor and wrote much of its material.

The Gazette first appeared on the morning of 5 May. It was highly condemnatory of the strike and was open that it had no editorial independence. The TUC produced its own newspaper, the British Worker (subtitled Official Strike News Edition), however they were unable to match the government's ability to produce and distribute the Gazette, with the Gazette circulation rising as high as 2,000,000. From issue 4, the masthead contained the invitation "Please pass on this copy or display it". The Gazette ran to only eight editions before the strike collapsed; the last edition, on 13 May 1926, had the headline "General Strike Off".

On 7 July 1926, at the end of a debate in Parliament on whether to grant the money to pay for the British Gazette, Churchill responded to Labour MP A. A. Purcell's speculation about what would happen in future general strikes with the words "Make your minds perfectly clear that if ever you let loose upon us again a general strike, we will loose upon you (pause) another British Gazette!" The statement drew laughter and applause from both sides and defused some of the lingering political tension in the debate.

title: British Gazette


text:
Cardwell

Cardwell may refer to:

Australia

 * Cardwell, Queensland

United States

 * Cardwell, Missouri
 * Cardwell, Montana
 * Cardwell Hall, Kansas State University

Canada

 * Cardwell Parish, New Brunswick

People

 * Alvin B. Cardwell (1902–1992), American physicist
 * Dale Cardwell (born 1962), American consumer advocate and journalist
 * Don Cardwell (1935–2008), American baseball player
 * Edward Cardwell (1787–1861), English theologian
 * Edward Cardwell, 1st Viscount Cardwell (1813–1886), 19th Century English politician and Secretary of State for War
 * John Edwin Cardwell, British missionary in China
 * Joi Cardwell (born 1967), musician
 * Joshua Cardwell (1910–1982), Northern Ireland politician
 * Lloyd Cardwell (1913–1997), American football player
 * Louis Cardwell (1912–1986), English footballer
 * Paul Cardwell (born 1958), British advertising executive
 * Richard H. Cardwell (1845–1931), American lawyer and politician
 * Steve Cardwell (born 1950), Canadian ice hockey player
 * Vicki Cardwell (born 1955), Australian squash player

Things

 * Cardwell Reforms of the British army
 * Cardwell (federal electoral district), a former Canadian federal electoral district

title: Cardwell


text:
Monck

Monck may refer to:

People

 * Adrian Monck (born 1965), English academic, writer and journalist
 * Sir Arthur Monck, 7th Baronet (1838–1933), British Member of Parliament
 * Charles Monck (disambiguation), several people:
 * Charles Monck (1678–1751), Irish MP for Newcastle and Inistiogue
 * Charles Monck, 1st Viscount Monck (1754–1802), Irish nobleman
 * Charles Monck, 3rd Viscount Monck (1791–1849), Irish nobleman
 * Charles Monck, 4th Viscount Monck (1819–1894), Governor General of Canada
 * Sir Charles Monck, 6th Baronet (1779–1867), English nobleman
 * Chip Monck (born 1939), American lighting designer and emcee at the 1969 Woodstock Festival
 * Christopher Monck, 2nd Duke of Albemarle (1653–1688), English statesman and failed soldier
 * Francis Ward Monck (born 1842), British clergyman and spiritualist medium who was exposed as a fraud
 * George Monck, 1st Duke of Albemarle (1608–1670), English soldier and naval officer
 * Henry Monck, 1st Earl of Rathdowne and 2nd Viscount Monck (1785–1848), Irish nobleman
 * Jack Monck (born 1950), British musician
 * Mary Monck (1677?–1715), Irish poet
 * Nicholas Monck (c. 1610–1661), Bishop of Hereford
 * Thomas Monck (1570–1627), English Member of Parliament
 * Walter Nugent Monck (1877–1958), English theatre director
 * William Henry Stanley Monck (1839–1915), Irish astronomer and philosopher

Other uses

 * Monck (electoral district), a historic electoral district in Canada
 * Monck Provincial Park, British Columbia, Canada
 * HMS Monck, British Royal Navy ship or shore establishment
 * Viscount Monck, a title in the Peerage of Ireland

title: Monck


text:
Trevi

Trevi may refer to:

Places in Italy

 * Trevi (rione of Rome), one of the official rioni or districts of the modern city of Rome
 * Trevi, Umbria, a comune in Perugia province
 * Trevi di Terni, a frazione of Terni, in Perugia province
 * Trevi nel Lazio, a comune in Frosinone province

Other uses

 * TREVI, an internal security group formed by the European Council
 * Trevi Fountain, a famous fountain in Rome
 * Lancia Trevi, an automobile
 * Gloria Trevi, born Gloria de los Ángeles Treviño Ruiz, February 15, 1968 in Monterrey, Nuevo León, a Mexican singer and songwriter
 * The Trevi Collection, 14th episode of the American television series Kolchak: The Night Stalker

title: Trevi


text:
Čoček

Čoček (çyçek/qyqek; Serbian and чочек, romanized: čoček; кючек; Romanian: sistemul) is a musical genre and dance that emerged in the Balkans during the early 19th century. It features prominently in the repertoire of many Romani brass bands.

Čoček originated from Ottoman military bands, which at that time were scattered across the region, mostly throughout Serbia, Bulgaria, Macedonia and Romania. That led to the eventual segmentation and wide range of ethnic sub-styles in čoček. Čoček was handed down through the generations, preserved mostly by Roma minorities, and was largely practiced at village weddings and banquets.

Čoček is especially popular among the Muslim Roma and Albanian populations of Kosovo, South Serbia and Macedonia. When Tanec first came to America in 1956, they performed čoček as a Muslim woman's dance, "Kjupurlika" from Titov Veles.

The kyuchek, as a common musical form in the Balkans (primarily Bulgaria and Macedonia), is typically a dance with a time signature; two variant forms have the beats divided 2-2-2-3 and 2-2-3-2. (This latter meter is sometimes referred to as "gypsy 9".) Roma musicians living in areas of the former Yugoslavia have broadened the form to include variations in and.

In the international folk dance community, čoček is danced to many melodies. Dances in the čoček genre include Jeni Jol and Sa Sa.

Jazz composer and musician Dave Brubeck was influenced by čoček-type tempos. For example, "Blue Rondo à la Turk", from the Time Out album, was written following a and  pattern.

title: Čoček


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Dysart, Fife

Dysart (Dìseart) is a town and former royal burgh located on the south-east coast between Kirkcaldy and West Wemyss in Fife, Scotland. Dysart was once part of a wider estate owned by the St Clair or Sinclair family. They were responsible for gaining burgh of barony status for the town towards the end of the 15th century.

The first record of the town was made in the early 13th century, its initial role being to settle civil matters between the church and landowners. During the middle of the 15th century, trade with the Low Countries began for salt and coal exportation. In the 16th and 17th centuries, trade expanded to the Baltic Countries. Dysart acquired two nicknames: "Salt Burgh" and "Little Holland" as a result.

Following the sudden decline of the town's harbour caused by the closure of the Lady Blanche Pit, the town was amalgamated into the royal burgh of Kirkcaldy under an act of parliament in 1930. Urban clearance during the 1950s and 1960s saw large parts of the historic town demolished for new housing. Demand from the town's residents meant that part of the historic town — most notably the 16th-century and the 18th-century houses of Pan Ha' opposite the harbour — were salvaged and preserved for future generations.

History
The name of the town derives from the Scottish Gaelic, dìseart, meaning "a hermitage or religious retreat", which itself was a loan-word from the Latin, desertum, meaning "a desert or deserted place". This is most likely linked to Saint Serf, who lived as a hermit in a cave in the area in the 8th century.

Prior to the 16th century, little is known about the history of the town. The earliest record of the town's existence is a document about a papal decision between Dysart Kirk and Dunfermline Abbey in 1220. Another record followed in 1245, this time about the reconsecration of Dysart Kirk undertaken by David de Bernham of St Andrews. The initial role of the town, like many communities in Scotland, was to serve the church and landowners by resolving civic matters and dealing individually with property issues.

The first port has been said to date as far back as 1450. This helped the export of coal and salt with the town's trading partner, the Low Countries. A man-made harbour was eventually built, but could only be used at low tide with limited space. The damage caused by the jetty which was commonly known as the "east haven of Dysart" temporarily cut short the function of the east pier in the mid-17th century. The harbour was later extensively rebuilt in 1829-31 with the assistance of Robert Stephenson, to include an inner basin with a nearby quarry at the harbour head and an extension of the east pier which would be raised and pointed southwards.

During the 16th and 17th centuries, the town went through hard times with many residents, particularly skippers, being killed in the wars of covenanting (1644–1645) and the five-year occupation of Oliver Cromwell between 1651 and 1656. However, the salt trade prospered between the town and its two trading partners – Netherlands and the Baltic Countries with production thriving between 1570 and 1630. Subsequently, the town was given two nicknames: salt burgh (for the salt industry keeping the fish fresh for export) and later Little Holland (for the Dutch influence in Dysart's buildings inspired by the shipowners who went there). The first coal pit in the town - known as Lady Blanche - opened towards the end of the 16th century. Two new pits – Frances and Randolph – would follow by the middle of the 17th century as coal began to succeed in the salt trade. Meanwhile, the harbour was revived with the imports of wine and spirits being sent to other harbours at Leith, Dundee and Perth. The town's prosperity declined in the late 17th century and by 1715 the disrepair of the harbour was noted. Food shortages resulting from the export trade led to the town becoming a centre of the 1720 food riots, with estimates of 1,000 to 2,000 protestors on the streets and troops being overpowered and disarmed.

In the 1920s, the owners of the harbour, the Earl of Rossyln's Coal Company, put pressure on the town council to deepen the harbour for use of larger ships. The council was plunged into financial ruin after the coal company refused to pay for the work in excess of £500. Many ships went instead to Buckhaven and Methil, where they received a quicker turnaround than in Dysart. The closure of the uneconomic Lady Blanche Pit in 1929, proved to be the end of the town's coal trade from the harbour. The lack of revenue from Dysart's harbour forced the town to merge with Kirkcaldy under a private act of parliament in 1930.

Dysart Golf Club (now defunct) was founded in 1897. The club and course closed at the time of WW2.

Today, Dysart is considered to be a north-eastern suburb of Kirkcaldy and the village forms one of 48 conservation areas in Fife. Important landmarks in the village include the Dutch influenced houses on Pan Ha'; the six-storey St Serf's Church Tower; Dysart Tolbooth and the Francis Collery gearhead which is situated on the northern boundaries. An £11 million pound scheme has been started by The Townscape Heritage Initiative (THI) and Conservation Area Grants Scheme (CARS) to regenerate Dysart over a period of five years, due to be completed in 2014. This will include repairing historic buildings and structures such as Dysart Tolbooth and Dysart Harbour as well as providing new housing and meeting environmental needs.

Church
The pre-Reformation church in Dysart was dedicated to St Serf and was close to St Serf's Cave where he supposedly lived as a hermit. It was under command of the Collegiate Church of St Mary in St Andrews. A replacement church was built in 1802.

A second Free Church was built in 1874 designed by Campbell Douglas.

Parish ministers: Robert Danielston (1560–1565); Andrew Forester (1565–1574); George Scott (1574–1582); John Young (1582–1584); Thomas Wood (1584); William Murray (1584–1616); William Nairn (1616–1630); James Wilson (1643–1661); John Robertson (1661–62); John Anderson of Balram (1663–1707); David Pitcairn (1708–1757); Patrick Muirhead DD (1757–1807); his son George Muirhead (1807–1816); Peter Brotherston (1816–1828); David Murray (1828–1850); William Muir (1850–1864); James Simpson (1865–1901) blind; John Waugh Gibson, second charge (1865–1906); Hugh Menzies (1907–?).

Governance
The Sinclair or St Clair family have held the position of feudal superiors or barons of the burgh of the estate of Dysart since 1407. They were responsible for gaining Burgh of barony status towards the end of the 15th century. Royal burgh status in the town has long been disputed. A main reason for this being the area was a commercial background. A missing charter was only confirmed in a charter granted by James VI in 1587. However the title was indeed granted to Dysart in 1594 with the honour of having a seat in the parliament. A dispute between the St Clair family and the town inhabitants about the right to use the moorland resources was referred to the Convention of Royal Burghs in 1694 and was resolved only in 1718.

Originally St Serf's Church was the meeting place of the town council, until this moved to Dysart Town House in 1877. The provost and town council met at this location once a week right up to the time of the loss of royal burgh status, when the town was amalgamated into Kirkcaldy in 1930. The town's former coat of arms was represented by an oak tree. This stood for the memory of the three trees planted in Dysart wood for the three Sinclair brothers. According to the tale, one night in the woods, the brothers were robbed and then killed each other. The site of Dysart Wood is most probably Ravenscraig Park.

Landmarks
The whole of Dysart is a conservation area. This was designated by the former Kirkcaldy District Council (KDC) on 8 May 1978. Dysart Tolbooth on the High Street, erected in 1576, is the centrepiece of Dysart's historic buildings. This was once used as a public weigh-in and measures house; guards house and eventually a prison built as an extension in 1617. The building was also known to keep explosives. When this was occupied by Oliver Cromwell's troops in 1651, one of them accidentally dropped a match into a barrel of gunpowder (which was abandoned by a Dysart merchant) causing the roof to be blown apart. The upper part of the building was rebuilt between 1733 and 1734 with an ashlar bell-chamber and a stone ogile roof. The neighbouring Dysart Town Hall was once used as the meeting place for the provost and town council.

Other significant landmarks in the town include the 16th and 18th century painted dwellings on Pan Ha'; the six-storey St Serf's church tower and the harbour. Pan Ha', or to give the full title, Pan Haugh, means low-lying ground of the salt pans - hence the expression, "to carry saut to Dysart". Many of the houses have been restored by the National Trust for Scotland between 1968 and 1969 under the "little houses scheme". During the restoration of the former Bay Horse Inn at Pan Ha', once the residence of a son of Lord Sinclair, two renaissance painted ceilings were discovered and are still retained by Historic Scotland. The Duke of Holstein visited the Sinclair house in 1598.

St Serf's church tower on Shore Road dates from around 1500, is considered to be one of Scotland's finest examples of a battlemented church tower. This is the only remaining part of St Serf's Church, which was abandoned in 1802 and largely cleared away for the building of Shore Road in 1807.

The red headgear of the Francis Colliery is a landmark marking the northern boundaries of the town.

Dysart House, formerly the seat of the Earl of Rossyln, overlooks the harbour. The earliest section of the house is the south range built for General James St Clair between 1755 and 1756, for which it is believed that the Adam Brothers provided the chimney pieces and the design. The house was extended between 1808 and 1814 to include new rear wings. The three-storey harbourmaster's house in the grounds of the harbour dates from around 1840. Originally known as the shore house, this was used to store cargo from incoming ships, before being used by the harbourmaster. Today, the house is home to the headquarters of the Fife Countryside and Coast Trust and also has a bistro, shop and provides internet access.

Notable residents

 * Robert Beatson
 * Lady Angela Forbes
 * Rev George Muirhead
 * John Pitcairn
 * William Pitcairn
 * Sir Norman Walker
 * William Wallace (mathematician)
 * John McDouall Stuart, explorer

title: Dysart, Fife


text:
Escom AG

Escom AG (stylized in uppercase; previously Schmitt Computer Systems) was a German computer company, best known in Germany, the Netherlands, United Kingdom and the United States as the successful purchaser of Commodore International and the Amiga trademarks in 1995.

Escom was founded by Manfred Schmitt of Darmstadt, West Germany as the computer division of his music company in 1986. It became a separate company in 1991. In 1993, it became a publicly traded company, and it grew rapidly, controlling 11.2% of the market of German PCs by 1994.

During 1992 and 1993, a British operation was set up with a distribution and assembly base in Irvine, North Ayrshire and a small number of retail stores. These followed the model established in Germany, with small town centre shops which would customise PCs to order, rather than the out of town superstores and mail order businesses which dominated the market in the United Kingdom.

In February 1995, Escom's retail presence on the high streets of the United Kingdom suddenly expanded massively, when it took over many branches of the Rumbelows electrical chain, which were being sold off by Rumbelows owner Thorn EMI. Also in April 1995, Escom bought Commodore International for US$14 million, primarily to get the Commodore and Amiga brand names.

Escom was one of two companies to bid for the Commodore and Amiga Brand names and assets. They won the bidding process against Dell and Creative Electronics International. Many other companies were involved in the buyout but did not bid such as Commodore UK and Samsung. It started using the Commodore name on computers sold in Europe, and established a separate division for Amiga related technologies.

The company grew too quickly, however, and lost 185 million German Mark that year. With no bailout from its shareholders, the company declared bankruptcy on 15 July 1996, and was liquidated. The Commodore trademarks were purchased the following year by Tulip Computers, while the remaining trademarks, together with the full set of patents, copyrights and other intellectual property, were acquired by Gateway 2000.

title: Escom AG


text:
Abacab

Abacab is the eleventh studio album by English rock band Genesis, released on 18 September 1981 by Charisma Records. After their 1980 tour in support of their previous album, Duke (1980), the band took a break before they reconvened in 1981 to write and record a new album. Abacab is the first Genesis album recorded at The Farm, a recording studio bought by the group in Chiddingfold, Surrey. It marked the band's development from their progressive roots into more accessible and pop-oriented songs, and their conscious decision to write songs unlike their previous albums.

Abacab enjoyed a mostly positive reception from critics and was a commercial success for the band, becoming their second No. 1 LP on the UK Albums Chart and their first to reach the top ten of the US Billboard 200, peaking at No. 7. Genesis released four singles from the album, the most successful being "Abacab" and "No Reply at All". The album was certified gold in the UK and double platinum by the Recording Industry Association of America for selling two million copies in the US. The Abacab Tour visited North America and Europe in 1981, recordings from which formed most of their 1982 live album and concert video Three Sides Live. Three tracks left off the album were released on the EP 3×3. The album was reissued with a new stereo and 5.1 surround sound mix in 2007.

Background
In June 1980, the Genesis line-up of drummer and singer Phil Collins, keyboardist Tony Banks, and guitarist/bassist Mike Rutherford, with touring drummer Chester Thompson and guitarist and bassist Daryl Stuermer, wrapped their 1980 tour of the United Kingdom and North America in support of their tenth album, Duke (1980). Following a period of rest, in November 1980 the band bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new private rehearsal and recording facility. In the process of remodelling the building into a studio, the trio reconvened in the farm house to write and rehearse new material, which initially took place in the living room, and they started recording the album in March 1981 once the studio was operational. Abacab marks the first Genesis album that was recorded in England since A Trick of the Tail (1976). The success of Collins's debut solo album Face Value (1981) had gained momentum by the recording stage; Banks claimed it did little to alter the sound or style of Abacab or the relationship towards him or Rutherford as they had been friends for a long time.

Recording
Genesis recorded Abacab in 14 weeks, and they typically worked between 12 and 14 hours a day while making it. The new studio environment had a productive effect on the writing process and the band had enough material for a double album, but they discarded one hour of music because they considered the songs were too similar to their past albums. Though the band did not alter the way in which they approached the songwriting for Abacab, Banks said a conscious effort was made by the group to avoid "Genesis cliches" such as using tambourines during a chorus, reprises, extended solos, lengthy instrumental passages, and keeping melodies simple, which signalled further changes in their direction. Because of this, Banks considered Abacab to be the least technical Genesis album at the time of its release. Rutherford said the omission of songs that were too familiar to what they had done previously was required to avoid Genesis becoming a caricature of itself, and so the change in direction was therefore necessary. He picked the songwriting periods for Duke and Abacab as a "rethink" of Genesis' approach. Collins said the group adopted what they had done for Duke and took it further for Abacab, specifically with group improvisational jams and writing with the aid of electronics such as a drum machine. The home studio allowed the group to stop working on a track if a rehearsal failed to produce any desired results and switch to another, which was not possible at a professional facility due to the limited time available.

The band's shift in direction was also underlined in their production with the departure of producer and engineer David Hentschel, who had worked with them since 1975. He was replaced by Hugh Padgham, who had worked with Collins on Face Value and former Genesis singer Peter Gabriel's third solo album which featured Collins on drums. Gabriel's track "Intruder" features a gated reverb effect on Collins's drums that Banks and Rutherford liked, and wanted Padgham to do the same on Abacab. The album marked the first time Genesis produced an album on their own, with Padgham credited as engineer. The decision to bring the drums to the forefront of a song caused Banks to change his usual approach of writing and playing, which he found exciting. The band praised Padgham's fresh approach to recording; Banks recalled the attractive ideas he had for recording drums and his lack of knowledge in handling keyboards gave Banks the freedom to explore and obtain sounds that interested him. The band considered Abacab an album that closely represented their natural live sound. The band would produce different mixes of finished songs and selected the one they all liked best.

Songs
Abacab is formed of nine tracks, six of which are group written with the remaining three solely credited to one of each member: "Me and Sarah Jane" is from Banks, "Man on the Corner" by Collins, and "Like It or Not" by Rutherford. The group decided to have the album consist mostly of collective songs as they thought such tracks became the strongest on Duke.

Side one
"Abacab" is titled after the order of sections of music the group had for the song, which at one point spelled "ABACAB". Rutherford said that the final version of the track is not the "ABACAB" order at all, "it's like 'Accaabbaac'." The song developed from a group jam session that had them playing along to a looped electronic drum track until the tape they were using to record on ran out.

"No Reply at All" is a rhythm and blues style track that features the Phenix Horns of the American band Earth, Wind & Fire. This marked the first instance of Genesis using outside musicians for one of their tracks since a string section was used on their debut album, From Genesis to Revelation (1969). The band wanted to emulate the brass keyboard sound that was used on some parts on Duke, and Collins had used the Phenix Horns on Face Value and suggested to Banks and Rutherford that they use them for the track. Collins thought the horns was a good move to "suddenly jar people and take them off automatic pilot" from the predictable ideas they had considered Genesis to be. Their involvement created some initial reservations from Banks, but he grew to enjoy the track by the time it was complete. In rehearsal, Banks played a drum machine while Rutherford and Collins played a guitar and drum part, respectively, and played until they found ideas and sequences that worked. Collins had the idea of writing a song that The Jackson 5 would have wanted to record, and direct the band in a direction that they never had before. Collins wrote the lyrics.

"Me and Sarah Jane" originated from takes that the group had recorded from as early as the second day of recording.

"Keep It Dark" tells the story of a man who gets taken to a surreal and peaceful alien planet but does not tell anyone as he thinks no one would believe him. Its original working title was "Odd", and became a favourite for Banks. It features the band taking two bars of a drum pattern previously recorded and playing the song on top of it.

Side two
"Dodo"/"Lurker" features lyrics written by Banks, who included a riddle in "Lurker" that had fans wondering what the answer is. In a 1997 interview, he said: "There is no real solution [...] It was a bit of a joke [...] I honestly didn't really have a specific idea in mind."

Banks described "Who Dunnit?" as a "real one-off piece". Featuring drums, guitar, and a Prophet-5 analogue synthesiser, he obtained the track's distorted keyboard sound by changing its presets as he played the notes. He pushed Collins and Rutherford to record what ideas he had for the track, to which Collins wrote a lyric. The band improvised on top of the track for 30 minutes, which was cut into a three-minute arrangement. Padgham wanted the drums on the track to sound loud and exciting, and not like typical drum recording sounds of the 1970s. Rutherford played the drums alongside Thompson during live performances of the song on the album's tour. While the group were deciding the final track listing for Abacab, Atlantic Records president Ahmet Ertegun believed "Who Dunnit?" should be included. At one point, Genesis considered releasing "Who Dunnit?" as a single.

Additional songs
Among the songs that were left off the album were three that were picked for release on Genesis's second EP, 3×3. This contained "Paperlate", "You Might Recall", and "Me and Virgil", which were included on the international edition of their third live album Three Sides Live, both released in 1982. Two other songs, "Naminanu" and "Submarine", originally part of a four-song suite with "Dodo"/"Lurker", were released as B-sides on the album's singles.

Artwork
The cover was designed by English artist Bill Smith, who recalled that the group were difficult to work with as "they only ever knew what they didn't like". He first presented the band with portfolios from various illustrators, but the group did not find anything that they liked from them. Rutherford took Smith's sketchbook and spotted an abstract design initially made for a book, which featured an arrangement of torn inch-long pieces of paper from a Pantone swatch of colours with squiggly black lines. The band chose it as the cover, and Smith reproduced it in four different colour schemes with an embossed finish. The band liked all four, and thought it would have an effective presentation on shop displays. Three of the designs had a limited print, after which their label Charisma Records selected the original montage to remain in stock. Smith recalled the difficulty in persuading Genesis manager Tony Smith and staff at Charisma that "these tiny scraps of coloured paper" was to be the album's cover, but he was successful from having the group's backing and noted it became "his best paid job ever." Genesis allowed Smith to retain the copyright to his work. In a contrast to previous Genesis albums, the sleeve is absent of lyrics. Banks reasoned this to reducing the emphasis on the words, which he thought had been overdone on previous albums, in order to make them a greater part in the album's overall sound.

Release
Abacab was released on 18 September 1981 in the United Kingdom by Charisma Records and 24 September 1981 in the United States by Atlantic Records. It was simultaneously released in four different colour schemes.

In 2007, Abacab was remastered with a new stereo and 5.1 surround sound mix and bonus features as part of the Genesis 1976–1982 box set.

Critical reception
In a review for Melody Maker, reporter Paul Colbert thought the album was the band's least consistent and therefore, least predictable in three years. He recognised a "heavy PC [Phil Collins] twist to the sound" on "Man on the Corner" and "No Reply at All", but "he does not have it all his own way". Colbert, however, thought Genesis had produced "a couple of Frankensteins" such as the latter half of "Abacab", which he deemed "unstructured" and "uninspired" compared to their past instrumentals. He named "Keep It Dark" and "Who Dunnit?" as "the most exciting and innovative music" the band had produced for several years, and concluded with the album is "by far more promising" than Duke or ...And Then There Were Three.... Ken Kubernik of the Los Angeles Times wondered if the success of Collins's solo album Face Value was an influence on the group, to which he replied, "Yes and no." He praised the album for its "thick, resonant instrumental passages, quaint imagery in the lyrics, and superb production", but "beneath the surface are some new wrinkles in the trademark Genesis sound", noting a reduction in harmonies for more simple vocals and Collins's drum sound replacing Banks's keyboards as their "vortex". Kubernik did, however, praise Collins's vocals.

Jim Bohen for Daily Record recognised Abacab had largely taken its direction from Collins's Face Value with its structure based around a "a huge, booming drum sound". He noted the instrumentation is less restrained than previous Genesis albums. "Who Dunnit?" was described as "an Ian Dury like tongue-twister", yet deemed "Dodo/Lurker", "Like It or Not", and "Another Record" as "less noteworthy". Bohen concludes, however, that the album "drags this trio of art-rockers into the 80s at last". A positive review was published in The Pittsburgh Press by Pete Bishop. He named Abacab a "state-of-the-art" album and picked "Abacab" and "No Reply at All" as particularly good tracks despite Collins's vocals not being "the world's strongest". Bishop said "Who Dunnit?" was the album's only "dud", yet believed overall the album would please Genesis fans. An uncredited review in The Coshocton Tribune in Ohio predicted the album would be Genesis's first top ten album in the US due to its similarity to Face Value, but rated it ahead of "the dreary Duke".

David Fricke of Rolling Stone praised the album for shedding the "ivory-tower artistry" of their previous albums, turning to sparse arrangements and "highly rhythmic interplay" and drawing inspiration from popular contemporaries such as XTC and The Police. In his retrospective review for AllMusic, critic Stephen Thomas Erlewine echoed this sentiment with greater emphasis, declaring "Duke showcased a new Genesis... but Abacab was where this new incarnation of the band came into its own." He also argued that although the album is far richer in pop hooks and accessibility than the band's previous works, at its heart Abacab "is truly modern art rock, their last album that could bear that tag comfortably."

Tour
Genesis toured Abacab with a European and North American tour between September and December 1981. The tour marked the first appearance of the Vari-Lite automated lighting system in which Genesis invested $1 million towards its development. Recordings from shows in New York City, Uniondale, New York, and Birmingham, England were included in the band's third live album, Three Sides Live, and the same-titled concert video, both released in 1982.

Track listing
All music written by Tony Banks, Phil Collins, and Mike Rutherford, except where noted. All songs arranged and performed by Genesis. Lyricists specified below.

Additional tracks
Additional songs recorded during the Abacab sessions can be found on other releases:

Personnel
Credits are adapted from the album's sleeve notes.

Genesis
 * Tony Banks – keyboards
 * Phil Collins – drums, vocals
 * Mike Rutherford – guitars, basses

Additional musicians
 * EWF Horns – horns on "No Reply at All"
 * Thomas "Tom Tom 84" Washington – horn arrangements on "No Reply at All"

Production
 * Genesis – producers
 * Hugh Padgham – engineer
 * Bill Smith – album cover
 * Chris Peyton – sleeve adaptation (for The Redroom)
 * Carol Willis – project coordination
 * Tony Smith – manager

title: Abacab


text:
Franciscan Monastery of the Holy Land in America

The Franciscan Monastery of the Holy Land in America is a Franciscan complex at 14th and Quincy Streets in the Brookland neighborhood of Northeast Washington, D.C. Located on a hill called Mount Saint Sepulcher, and anchored by the Memorial Church of the Holy Sepulcher, it includes gardens, replicas of various shrines throughout Israel, a replica of the catacombs in Rome, an archive, a library, as well as bones of Saint Benignus of Armagh, brought from the Roman catacombs and originally in the cathedral of Narni, Italy.

History
The Very Reverend Charles A. Vassani (1831–1896) established the U.S. Commissariat of the Holy Land in 1880, in New York City. It was from this location that Rev. Vassani and Father Godfrey Schilling, O.F.M. (1855–1934) began to plan to build a "Holy Land in America" and a Holy Sepulcher. They envisioned building on a high hill on Staten Island, overlooking the entrance to New York's harbor. These plans were later dropped. Eventually the plans changed to a wooded hilltop in Brookland, Washington, D.C. In 1897, Fr. Godfrey purchased the McCeeney Estate in Brookland in order to found a monastery and church.

The six Brothers lived in the abandoned McCeeney house. After purchasing the site, Fr. Schilling visited the Holy Land and took measurements and photographs of the Holy Sites. In February 1898, ground was broken, and the cornerstone was laid on the Feast of St. Joseph.

Construction of the holy shrines, gardens, and Rosary Portico continued for several years. The Church was consecrated in September 1924, on the twenty-fifth anniversary of its dedication.

In January 1992, the "Franciscan Monastery and Memorial Church of the Holy Land" was listed on the National Register of Historic Places.

In 2022, the Archdiocese set the site as the sole designated location for Sunday celebration the Tridentine Mass within the city of Washington.

Architecture
The Memorial Church of the Holy Sepulcher was designed by the architect Aristide Leonori. The cornerstone was laid in 1898 and construction completed in 1899. The church's design alludes to the Church of the Holy Sepulchre in Jerusalem. Its floor plan loosely resembles the fivefold Jerusalem cross. It was also built in the neo-Byzantine style, resembling Hagia Sophia in Constantinople. Some Romanesque influences were added to the design.

The Rosary Portico designed by John Joseph Earley surrounds the church. It contains fifteen chapels depicting the mysteries of the Rosary. Each chapel contains plaques bearing the Hail Mary in nearly two hundred ancient and modern languages. The Rosary Portico resembles the Cloister of St. John Lateran in Rome and Saint Paul's Outside the Walls. Various Christian symbols from the catacombs decorate the facade.

Attached to the Church is the neo-Romanesque Monastery. The Monastery grounds contain replicas of shrines in the Holy Land, a Lourdes grotto, and a replica of the Porziuncola.

Many artists and architects have contributed to the development of the site.

Library and Archives
The Library and Archives contain various materials on the Holy Land and the early development of the monastery, monastery life and a large collection of vestments.

Organ
A Lively-Fulcher organ was installed in 2003 which replaced the Henry Pilcher Sons Opus 1481. There are monthly recitals.


text:
Talk:Abacab

Fair use rationale for Image:Abacab.jpg
Image:Abacab.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 Wikipedia articles 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.

If there is other 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 uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 17:06, 31 May 2007 (UTC)

So....Who Dunnit?
It appears that the page I created for the song "Who Dunnit?" has been completely deleted, with the Wikipedia editors debating that "Who Dunnit?" did not deserve a page, as it was "never released as a single" and is "not a notable song". Huh??? I've also noticed that the other "Abacab" songs that were *also* not released as singles, such as "Like It Or Not," have also had their pages deleted as well.

Since when did Wikipedia create this stupid, ridiculous, idiotic rule that only "notable" songs and songs that were released as singles can have Wikipedia pages? This is absolutely absurd! You're saying that only songs released as singles matter? Are you guys actually gonna wipe out *every single page* for every song on Wikipedia that wasn't released as a single? You have got to be kidding me....

I have contributed several things to Wikipedia in the past, and you have accepted them, and I thank you for that. You have also removed a few of my contributions too, but up until now I have been willing to accept the occasional differences. But to wipe out my entire page for "Who Dunnit?", along with the other non-single "Abacab" tracks, on the basis that these songs weren't released as singles, and therefore, are "not notable" and must be deleted from Wikipedia, is totally the last straw for me. The notion that only songs released as singles deserve a Wikipedia page is absolute bull---t. You guys at Wikipedia desperately need to rethink this ridiculous policy about what makes a song "notable".

And that's it for me.AL9000 (talk) 23:23, 28 February 2009 (UTC)

 * I agree 110% with what you say... unfortunately, as of right now there is nothing anyone can do about it. CarpetCrawler (talk) 05:10, 18 March 2009 (UTC)

Articles for deletion/Like It or Not
The AFD about this article was closed as a redirect leaving the option to merge open. Please review the article text and merge whatever material is appropriate. - Mgm|(talk) 10:06, 22 April 2009 (UTC)

Pop
After Wind and Wuthering, which is arguable their last progressive rock record, pop is more than accurate to describe every subsequent release. I'm not saying that progressive rock should be deleted, but pop rock should be added, so I'll do that. Revan ltrl (talk) 22:34, 23 March 2010 (UTC)

Meaning and origin?
Has this word any meaning, and what's it's origin? Abacab sounds like adding 'cab' from cabinet after ABBA a popular group of the seventies! — Preceding unsigned comment added by 98.254.64.146 (talk) 00:03, 15 June 2011 (UTC)

 * I can't remember where I read it, but as I recall, in some interview or book the band members said that while they were writing the song, they labeled sections 'A', 'B', 'C' and that ABACAB was one of the arrangements. They liked the sound of it, so they kept it as the title even though the song was later rearranged to a different order. I see this is already in the article as referring to a radio interview. MFNickster (talk) 23:26, 28 August 2011 (UTC)

Apparent contradiction.
There seems to be a contradiction between the “Background and recording” & the “Working titles for the album” sections. In the former section it states : ... "Naminanu" and "Submarine", appeared as B-sides on the "Abacab" singles, but were originally intended to be part of "Dodo/Lurker", where the order would have been "Naminanu/Dodo/Lurker/Submarine". However, in the latter section the proposed track listing clearly shows : ... German I & II (Dodo/Lurker) 07:28 ; Sub (Submarine) 04:21 ... ;  Vocal 3/4 (Naminanu) 03:55 ... - which is correct? Gwladys24 (talk) 20:36, 14 September 2012 (UTC) I meant to add, when played in sequence it's clear to me that the information in the “Working titles for the album” section is correct. Gwladys24 (talk) 22:48, 14 September 2012 (UTC)

"Lurker" Riddle
The article states that Tony Banks has explained the riddle in "Lurker" as largely meaningless. However, Scott McMahan, in the Genesis Discography, available on the Internet since 1993 and long a comprehensive source for all band-related materials, insists that the answer to the riddle is a Submarine ....which, of course, is the name of a B-side, that -- as Gwladys24 asserts above in "Apparent Contradiction" was part of a long suite of tracks once joined together. I'm convinced that this is indeed the case, but as I don't know how to cite properly, I will leave it to others to have a look at this. 67.214.29.186 (talk) 01:51, 29 August 2018 (UTC)DrChainsaw77

Genre
I've again removed an undefined "ref" tag from the "Genre" list in the infobox. A ref tag that doesn't actually create a reference is not, of course, a reference.

A couple of links were added, and I removed those, too. One linked to an aggregation site with a brief capsulte review (about 175 words) that didn't describe the album as "progressive". Another was at a progressive music site, but the review there didn't describe the album as progressive, either. An album reviewed by a progressive music site doesn't necessarily mean the album is actually progressive.

I've alos marked "pop rock" with a citation needed targ as it is not referenced. It would be great to provide a list of generes for this album, but they must be properly referenced. -- Mikeblas (talk) 23:26, 17 October 2020 (UTC)

Publish Date
Curiously, my the back of my physical CD (CBRCD 102) claims:

(P) 1978 Virgin Records (C) 1978 Charisma Records

In the inlay booklet they are (C) 1981. 199.203.68.10 (talk) 10:10, 14 May 2024 (UTC)

title: Talk:Abacab


text:
ICEE

ICEE may refer to:

Conferences
International Conference on Environmental Ergonomics organized by the International Society of Environmental Ergonomics
 * International Conference on Electrical Engineering organized by the International Association of Engineers
 * International Conference on Emerging Electronics organized by the IEEE
 * International Conference on Emission Electronics organized by the IEEE
 * Fourth International Conference on Environmental Education (ICEE), an environmental conference held in Ahmedabad, India in November 2007
 * International Conference on Environmental Enrichment organized by the volunteer organization Shape of Enrichment, Inc.
 * Fourth International Conference on Environmental Education

Companies and other organizations

 * The Icee Company - The Icee Company (previously Western Icee and Icee USA) is an American beverage company located in La Vergne, Tennessee, United States.
 * The Innovation Cluster for Entrepreneurship Education of the Erasmus+ Programme
 * The Institute for Community and Economic Engagement at the University of North Carolina at Greensboro
 * The International Committee for Exhibitions and Exchanges of the International Council of Museums

Other uses

 * The Innovation, Collaboration and Exchange Environment of the Defence Research and Development Canada government agency
 * Instrument Concepts for Europa Exploration of the Europa Multiple-Flyby Mission (also known as the Europa Clipper)
 * Ice-E, a character originating in the video game Undertale, and reappearing in its successor Deltarune

title: ICEE


text: Category:Copa América

title: Category:Copa América


text:
Russian Army (disambiguation)

Russian Army may refer to:

 * Russian Armed Forces
 * Russian Ground Forces
 * Imperial Russian Army, the army of the Russian Empire
 * Russian Army (1917), Russian army in the interim period between the fall of the Russian Empire and the Bolshevik revolution
 * Russian Army (1919), White Army during the Russian Civil War under command of Admiral Kolchak
 * Russian Army (1920), White Army during the Russian Civil War under command of Pyotr Wrangel
 * Red Army, the army of Soviet Russia and Soviet Union
 * Russian Liberation Army

title: Russian Army (disambiguation)


text: User talk:66.155.200.129

title: User talk:66.155.200.129


text:
Ethiopia national football team

The Ethiopia national football team (Amharic: የአትዮጵያ ብሔራዊ እግር ኳስ ቡድን), nicknamed Walia, after the Walia ibex, represents Ethiopia in men's international football and is controlled by the Ethiopian Football Federation, the governing body for football in Ethiopia. The team has been representing Ethiopia in regional, continental, and international competitions since its founding in 1943. The Walias play their home games at Addis Ababa Stadium located in the capital city of Addis Ababa. .

Ethiopia was one of only three teams (along with Egypt and Sudan) to participate in the inaugural Africa Cup of Nations in 1957. It won the competition in 1962, while it was also the host. However, success has been elusive since the end of the 1960s. Under coach Sewnet Bishaw, the team qualified for the 2013 Africa Cup of Nations after a 31-year absence.

Early history
Ethiopia has a long football tradition and was among the pioneers of international competition in Africa, playing its first international match in 1947, defeating French Somaliland 5–0. The EFF joined FIFA in 1952, and was one of the founders of the Confederation of African Football in 1957. The team took part in the inaugural African Nations Cup in 1957, where it finished second. In 1959, Ethiopia entered the 1962 World Cup qualifiers for the first time and faced Israel in the second round after a bye. The team lost both games; and with an aggregate score of 2–4 was knocked out of the competition.

The team won the African tournament on home soil, in 1962. Nine countries entered the competition, including the reigning champions, the United Arab Republic, meaning for the first time a qualification tournament was required. As with previous tournaments, the finals only included four teams. The United Arab Republic, as holders, and Ethiopia as hosts, qualified automatically meaning each needed to play only one game to reach the final. Ethiopia won the tournament for the first time after extra time in the final against the United Arab Republic. Mengistu Worku and Badawi Abdel Fattah were joint top-scorers, both with three goals each, but the award itself was given to Worku because his team had won the title. This was the greatest feat ever achieved by the Ethiopian National team, and the only African Cup of Nations title it has ever won. Luciano Vassalo was the team's captain, and the coach was Ydnekatchew Tessema.

In the 1963 African Cup of Nations, they finished fourth, after losing the third place battle against the United Arab Republic. The 1965 edition was even more of a disappointment for Ethiopia, as the national team was eliminated in group phase by Tunisia and Senegal, finishing at the bottom of the group, with only one scored goal.

The next African Cup of Nations was the 1968 edition. Again, but this time on home soil, the team finished in fourth place after losing to the Democratic Republic of the Congo in the semi-finals, and losing the third place match to Ivory Coast 0−1. But two years later, the team went through a real disaster, as they finished at the bottom of the group phase, with a goal difference of 3–12. The worst was yet to come for Ethiopia as they did not qualify for the 1972 African Cup of Nations at all, losing to Kenya in the qualifying tournament with a 0–3 aggregate. Almost the same thing happened for the 1974 African Cup of Nations. This time, they were eliminated by Tanzania.

Ethiopia hosted the Nations Cup tournament in 1976, but failed to progress to the final four, finishing third in the group, behind Guinea and Egypt. In 1977, they played Mauritius in the qualifiers for the 1978 African Cup of Nations. After a 4–2 win on aggregate, they had to play Uganda. After a 0–0 draw from the first match, Uganda won the second match, 2–1, and progressed to the final tournament. They also missed the 1980 African Cup of Nations. Until 2013, Ethiopia last qualified for the tournament in 1982, under coach Mengistu Worku, legendary former player. They failed to make it past the group stage.

Earlier success in CECAFA Cup (2001–2007)
In the 2001 CECAFA Cup, Ethiopia beat Zanzibar 5–0 and tied 1–1 with Rwanda B to advance to the quarterfinals against Burundi. After a 2–2 tie in regulation, they beat Burundi 5–4 in penalty kicks. Ethiopia went on to beat Rwanda A 1–0 in the semi-finals and Kenya 2–1 in the finals to win the championship for the first time since 1987. Because of their success in 2001 with Asrat Haile at the helm, Ethiopia jumped 17 spots in FIFA rankings from 155th to 138th. Despite their success, the EFF chose to replace Asrat with German coach Jochen Figge in August 2002.

In the 2002 CECAFA Cup, Ethiopia failed to qualify past the group stage of the competition; they lost all four of their games against Zanzibar, Uganda, Somalia, and Rwanda. In 2003 CECAFA Cup, Ethiopia withdrew just before the start of the tournament. The competition only had six participating countries with Burundi, Djibouti, Somalia, and Tanzania also choosing not to participate. The EFF fired Figge in May 2003, even though the team had won two games and was second in their group in the 2004 African Cup of Nations qualifiers. Then assistant coach, Asrat was appointed interim coach. Ethiopia failed to qualify by 3 points with a loss in the final game in Guinea. Asrat was soon replaced by Seyoum Kebede whose tenure with the "Walias" was also short lived. The next challenge was the 2004 CECAFA Cup in Addis Ababa. There were 9 teams in regional tournament: Burundi, Zanzibar, Rwanda, Ethiopia, Tanzania, Sudan, Kenya, Uganda and Somalia. Ethiopia was led by captain Zewdu Bekele, and again by coach Asrat who was recalled to the position a mere two weeks before the beginning of the tournament. After defeating Burundi, tying with Rwanda and beating Tanzania, and Zanzibar, the team advanced to the semi-finals for the first time since 2001. Ethiopia advanced to the championship after a dramatic nail-biting penalty shootout with Kenya. The team went on to beat Burundi 3–0 and win the 2004 CECAFA Cup on 25 December 2004. That night, people all across Addis Ababa sang and danced in the streets.

The Ethiopian national team was the champion of the same CECAFA Cup competition again in 2005, in Kigali, Rwanda. This time coached by Sewnet Bishaw—after a 0–0 draw with Uganda and a 3–1 victory over Sudan—Ethiopia thrashed Djibouti in a 6–0 victory. They then went on to beat Somalia 3–1. Semi-finals saw Ethiopia whip Zanzibar 4–0, with Fikru Tefera scoring a hat-trick. In the final match, Andualem Negusse's goal allowed Ethiopia to take the cup again with a 1–0 win over Rwanda.

The Ethiopian team did not fare as well in the next three appearances at the CECAFA Cup. At the 2006 CECAFA Cup in Addis Ababa, Ethiopia lost to Tanzania but beat Djibouti and Malawi in the group stage to advance to the quarterfinals against Zambia. They lost 0–1 with a very late goal by Zambia's Jonas Sakuwaha in the 87th minute of the game. On 6 December, a CECAFA emergency committee made the extraordinary decision to have the match replayed because referee Issa Kagabi (Rwanda) supposedly had whistled the end of the match prematurely. Zambia announced they would refuse to play Ethiopia again. CECAFA secretary general Nicholas Musonye—not present at the emergency committee meeting—threatened that he'd cancel the entire tournament should match be replayed. Ethiopian Football Federation declined to have the match replayed and graciously withdrew from the tournament.

At 2007 CECAFA Cup, Ethiopia suffered a 1–3 loss to Zanzibar and a hard-fought 0–0 draw with Sudan in which they failed to produce a goal despite star Fikru Tefera's call up. This was enough to eliminate Ethiopia from the tournament.

Suspension and reinstatement (2008–2009)
In the 2008 African Cup of Nations qualifiers, Ethiopia finished bottom of their group after losing their last two games.

In July 2008, a FIFA Emergency Committee decided to suspend the Ethiopian Football Federation (EFF) due to their failure to comply with the road map to normalize the federation agreed upon in February 2008 by FIFA, CAF and EFF. The road map was established in Feb 2008 following the dismissal of the country's football federation president Ashebir Woldegiorgis by the countries authorities. One of the main points of the road map was the organization of an "extraordinary general assembly" to deal with the "motion of dismissal". In addition, the EFF offices were to be handed over to the recognized leadership of the federation.

The suspension of the EFF came into force on 29 July 2008, the day on which the federation had officially been notified of its suspension. Ethiopia played four group level matches in 2010 FIFA World Cup qualification before FIFA announced the immediate suspension of the Ethiopian Football Federation. On 12 September 2008, FIFA excluded the Ethiopian team from the 2010 World Cup qualifiers and the results of their matches were cancelled. Ethiopia's exclusion from the World Cup also led to their exclusion from the Africa Cup of Nations. While it was not clear if the team was also explicitly excluded from the 2010 Africa Cup of Nations, their failure to complete the remaining fixtures effectively eliminated them from the tournament because the 2010 FIFA World Cup qualification was also used to determine the qualification for 2010 Africa Cup of Nations. The team also missed the 2008 CECAFA Cup due to this suspension.

In July 2009, the EFF was reinstated after organizing the extraordinary general assembly and electing new leaders as instructed by FIFA. FIFA's executive committee had voted a month before to lift the suspension so long as that EFF organized and chaired an elective general assembly. FIFA confirmed that it was satisfied with the election.

Continued troubles (2009–2011)
At the 2009 CECAFA Cup, Ethiopia defeated Djibouti 5–0, but lost 0–1 to Zambia and 0–2 to Kenya, thus finishing third in the group and getting eliminated from the regional tournament.

At the 2010 CECAFA Cup, in Tanzania, Ethiopia was in Group C with Uganda, Kenya and Malawi. After the 1–2 loss to Uganda, Ethiopia beat Kenya 2–1 and came to a 1–1 draw with Malawi. Next opponent was Zambia, and Ethiopia won 2–1 by two goals. In semi-finals however, they lost to Ivory Coast 0–1. In the third-place battle to follow, they lost 3–4 to Uganda to come in fourth place in the tournament. Tournament's star players and goal scorers were Shimelis Bekele of Awassa City and Oumed Oukri of Defence Force. The team had exceeded fans’ expectations by reaching the semi-final stage.

In April 2011, the Ethiopian Football Federation fired national coach Iffy Onuora – just 9 months after he took charge of the Ethiopian national football team. Ethiopian Football Federation cited disciplinary grounds for his dismissal just a month after the team's 4–0 defeat at the hands of the Nigerian Green Eagles in Group B of the 2012 Africa Cup of Nations qualification in Abuja. The Ethiopian national team had played 11 matches during coach Onuora's tenure, winning 4, drawing in 1 and losing 6 matches. The team scored 12 goals and conceded 21 goals in those matches.

In May 2011, the EFF appointed former Zimbabwe and Namibia manager Tom Saintfiet as coach in place of Iffy Onuora. However, Tom Saintfiet left his job as Ethiopia's national soccer coach after just five months, citing "broken promises" as the reason for his departure. Saintfiet had been in charge for three 2012 African Cup of Nations qualification matches, including a 2–2 draw with Nigeria that contributed to the Super Eagles missing out on 2012 Africa Cup of Nations.

2013 African Cup of Nations
In the qualification for the 2013 Africa Cup of Nations, Ethiopia tied 1–1 with Benin after a goalless draw in the first leg at home to progress to the last round of qualification because of the away goals rule. In the last round of qualification, Ethiopia again won on the away goals rule after a 5–5 draw in aggregate score against Sudan. This qualified Ethiopia to the Africa Cup of Nations for the first time in 31 years.

2014 World Cup qualification
With a 5–0 aggregate victory over Somalia, Ethiopia joined South Africa, Botswana and Central African Republic (CAR) in Group A. Ethiopia drew 1–1 with South Africa away from home and beat CAR at home 2–0 to top the group after the first two games. They beat Botswana twice, 1–0 on 22 March 2013 at home in Addis Ababa and 2–1 on 7 June in Botswana. However, the 7 June win was later awarded to Botswana by a score of 3–0 after it was discovered that Ethiopia fielded an ineligible player. Still, they beat South Africa 2–1 at home on 16 June and secured Ethiopian advancement to the third round after beating CAR away in their final match, which was considered as a historic achievement for the country. The team eventually was eliminated by Nigeria with two defeats in the Third Round, though it remains as the best performance ever by Ethiopia in any World Cup qualification.

Results and fixtures
The following is a list of match results in the last 12 months, as well as any future matches that have been scheduled.

Coaching history

 * Caretaker manager are listed in italics.

 * Edward Virvilis (1950–1954)
 * 🇦🇹 Georg Braun (1954–1956)
 * Jiří Starosta (1959)
 * Slavko Milošević (1961)
 * 🇪🇹 Yidnekatchew Tessema (1961–1962)
 * Slavko Milošević (1962)
 * 🇪🇹 Yidnekatchew Tessema (1963)
 * 🇭🇺 Ferenc Szűcs (1968–1969)
 * 🇪🇹 Luciano Vassalo (1969–1970)
 * 🇪🇹 Adamu Alemu (1970)
 * Peter Schnittger (1974–1976)
 * 🇪🇹 Mengistu Worku (1977–1978)
 * 🇪🇹 Mengistu Worku (1980–1982)
 * 🇪🇹 Tilahun Tesfaye (1984)
 * 🇪🇹 Mengistu Worku (1987)
 * Klaus Ebbighausen (1987–1989)
 * 🇪🇹 Kassahun Teka (1992–1993)
 * 🇪🇹 Gebregiorgis Getahun (1993)
 * 🇪🇹 Kassahun Teka (1994–1995)
 * 🇪🇹 Seyoum Abate (1996)
 * 🇪🇹 Oko Idiba (1997)
 * 🇪🇹 Kassahun Teka (1997)
 * 🇪🇹 Seyoum Abate (1998–2000)
 * 🇪🇹 Asrat Haile (2001)
 * 🇩🇪 Jochen Figge (2002–2003)
 * 🇪🇹 Asrat Haile (2003)
 * 🇪🇹 Seyoum Kebede (2003–2004)
 * 🇪🇹 Asrat Haile (2004)
 * 🇪🇹 Sewnet Bishaw (2004–2006)
 * 🇪🇹 Seyoum Abate (2006)
 * 🇫🇷 Diego Garzitto (2006–2007)
 * 🇪🇹 Tesfaye Fetene (2007)
 * 🇪🇹 Tsegaye Desta (2007)
 * 🇪🇹 Abraham Teklehaymanot (2008–2010)
 * 🏴 Iffy Onuora (2010–2011)
 * 🇧🇪 Tom Saintfiet (2011)
 * 🇪🇹 Sewnet Bishaw (2011–2014)
 * 🇵🇹 Mariano Barreto (2014–2015)
 * 🇪🇹 Yohannes Sahle (2015–2016)
 * 🇪🇹 Gebremedhin Haile (2016)
 * 🇪🇹 Ashenafi Bekele (2017)
 * 🇪🇹 Abraham Mebratu (2018–2020)
 * 🇪🇹 Wubetu Abate (2020–2023)
 * 🇪🇹 Daniel Gebremariam (2023)
 * 🇪🇹 Gebremedhin Haile (2023–present)

Current squad
The following players were called up for the 2026 FIFA World Cup qualification matches against Sierra Leone and Burkina Faso on 15 and 21 November 2023.

Caps and goals correct as of 21 November 2023, after the match against Burkina Faso.

Recent call-ups
The following players have been called up for Ethiopia in the last 12 months.

 * Notes
 * PRE = Preliminary squad/standby.
 * INJ = Not part of the current squad due to injury.
 * SUS = Player is suspended.
 * RET = Retired from international football.

Records

 * Players in bold are still active with Ethiopia.

Honours

 * Africa Cup of Nations :
 * [[File:Med 1.png]] Champions (1): 1962
 * [[File:Med 2.png]] Runners-up (1): 1957
 * [[File:Med 3.png]] Third-place (1): 1959
 * Fourth-place (2): 1963, 1968
 * CECAFA Cup :
 * [[File:Med 1.png]] Champions (4): 1987, 2001, 2004, 2005
 * [[File:Med 3.png]] Third-place (2) 2000, 2015
 * Fourth-place (2) 1995, 2010

title: Ethiopia national football team


text:
Talk:Mulled wine

Netherlands: regional phenomenon?
I've never heard of any kind of mulled wine being made in The Netherlands. The only kind of mulled wine I ever heard of is (German and Austrian) Glühwein. We also never drink something special during Sinterklaas. This Bisschopswijn must be either something regional or something from old times. --Zom-B (talk) 06:32, 6 January 2015 (UTC)
 * You're kidding, right?
 * http://www.thedutchtable.com/2014/12/bisschopswijn.html
 * http://www.zelfmaakrecepten.nl/bisschopswijn/
 * https://www.catholicculture.org/culture/liturgicalyear/recipes/view.cfm?id=1121
 * http://wijnbloggers.nl/sinterklaas-en-bisschopswijn%E2%80%AC%E2%80%AC%E2%80%AC/
 * http://www.dutchnews.nl/features/2015/11/ten-things-you-need-to-know-to-celebrate-sinterklaas/
 * 46.254.186.36 (talk) 12:16, 14 December 2015 (UTC)

 * ✅ additional references has been added to this section. Bisschopswijn is definitely a variety of mulled wine in the country, so this issue is now closed. --Kyral (talk) 10:38, 21 December 2015 (UTC)

title: Talk:Mulled wine