text:
User talk:Jpdn~enwiki

Hello and welcome to Wikipedia!

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Image:001-000115.004.jpg
Greetings. Thanks for uploading Image:001-000115.004.jpg to Wikipedia. Unfortunately, the image's license is not free because of the restriction on reproduction and is incompatible with Wikipedia's license. Can you obtain terms compatible with Wikipedia's license from the copyright holder? —Tkinias 01:43, 27 Dec 2004 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:58, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 14:37, 22 April 2015 (UTC)

title: User talk:Jpdn~enwiki


text:
Marcel Laurendeau

Marcel Laurendeau is a politician in Manitoba, Canada. He was a member of the Manitoba legislature from 1990 to 2003, representing the Progressive Conservative Party of Manitoba in the south-end Winnipeg riding of St. Norbert.

Laurendeau began his political career at the municipal level, having been elected to the Winnipeg City Council in 1988 (replacing John Angus, who had been elected to the provincial legislature). He was himself elected to the provincial legislature in the provincial election of 1990, defeating Liberal Angus by 117 votes. For the next five years, Laurendeau was a backbench supporter of Premier Gary Filmon.

He was briefly kidnapped in his car in 1992, and subsequently called for greater security on the legislative grounds. In 1993, he supported Jean Charest's bid for the leadership of the Progressive Conservative Party of Canada.

Laurendeau was re-elected in the provincial election of 1995, defeating Liberal challenger Val Thompson by 527 votes. He was named Deputy Speaker on May 23, 1995, and held this position for the entirety of the parliament which followed.

The Progressive Conservatives were defeated in the provincial election of 1999, although Laurendeau himself was re-elected with an increased majority. The social-democratic New Democratic Party overtook the Liberals for second place in this cycle, as Marilyn Brick came within 670 votes of defeating Laurendeau. Laurendeau served as opposition House Leader in the following parliament.

The NDP's strong showing in 1999 was regarded as surprising in some circles, as the party has not traditionally had a strong electoral base in south Winnipeg. The NDP targeted St. Norbert in the 2003 election, with the result that Brick beat Laurendeau in a rematch, 3355 votes to 2610. After his defeat, he joined the Arbitration and Mediation Institute of Manitoba.

Laurendeau supported Stockwell Day for the leadership of the Canadian Alliance party in 2000. He ran unsuccessfully for the St. Norbert seat on Winnipeg City council in 2005.

In 2010, he left the Conservatives claiming that the party had become too right wing. He switched to the Liberal Party and ran as that party's candidate in the 2011 provincial election for his old riding of St. Norbert. Laurendeau finished third with 883 votes behind Dave Gaudreau of the NDP and Karen Velthuys of the Progressive Conservatives.

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

title: Marcel Laurendeau


text:
Talk:Christina Wodtke

Untitled
For a January 2004 deletion debate over this page see Votes for deletion/Christina Wodtke

Could somebody explain what the external link has to do with the subject of this article? RickK 23:06, Oct 4, 2004 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Christina Wodtke. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120621224237/http://www.boxesandarrows.com/person/9-cwodtke to http://boxesandarrows.com/person/9-cwodtke

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title: Talk:Christina Wodtke


text:
Wikipedia:Administrator Activity Proposal

Introduction
There are currently 326 sysops on Wikipedia. Of those, at about 09:00 UTC on 5 October 2004: "Last active" means last used their account in a way which set its "touched" flag.
 * 226 were last active in 2004-10
 * 87 on 05
 * 86 on 04
 * 27 on 03
 * 19 on 02
 * 14 on 01
 * 66 were last active in 2004-09 (3 bureaucrats, 3 developers)
 * 8 were last active in 2004-08
 * 4 were last active in 2004-07 (one a bureaucrat)
 * 2 were last active in 2004-06
 * 1 was last active in 2004-05
 * 2 were last active in 2004-03 (one a bureaucrat)
 * 2 were last active in 2004-01
 * 3 were last active in 2003-(10-12)
 * 1 was last active in 2003-06
 * 4 were last active in 2003-04 (may be a conversion artifact)

Objective
Many in the community believe that having inactive administrators is not good but not everybody; see the Rationale section below for details. As such, this proposal is put forward as a means to ensure that sysops will stay active.

 * The sysops affected by the three month part of the policy are identified below. Please indicate which of them you believe this policy would cause to stay active. Jamesday 19:34, 5 Oct 2004 (UTC)

Existing policy
There has been a policy that admin accounts are "de-admined" after six months' inactivity with the understanding that adminship will once again be granted upon request of the account holder. This policy was formulated specifically to address the possible security problem posed by stolen passwords.

However, this policy has not been followed consistently, perhaps in part because the software only permits "stewards" to "de-admin" someone, and "stewards" are few in number.

Rationale
Please feel free to edit this section if you come up with any more reasons. Some of the reasons cited for not having inactive admins are as follows:
 * If a user wants to contact an admin, Special:Listadmins becomes useless if it's full of admins who are inactive. This is a real problem, not a hypothetical one.
 * Of those active at 09:00 on 5 October, 208 had visited on the 5th, 4th or 3rd. If you want a response within that time, the failure rate for a message left at the start of the 3rd, 57 hours ago, would be about 36%. Removing the sysops last active in June and earlier would reduce that to 32%, a minimal difference. If you accept a week as an acceptable time, 251 had been active on 9-28 or more recently, giving a failure rate of 23%. Approaches which are likely to be more effective than this one include:
 * Sorting Special:Listadmins by time of last activity, an easy programming change to make which places the most recently active admins at the top of the list (note that this need not be strictly ordered so that every single admin is ordered by the minute and second of the timestamp of the last edit; instead, it could be grouped by time category, as in "edited in last month", "edited two months ago", etc.). In addition, put a notice at the top of the page explaining that the list is ordered by period of last activity and explaining to newbies that they should probably contact admins near the top in order to increase the probability of receiving a rapid reply. This still leave an element of chance, which can be addressed by...
 * Providing a contact a sysop feature, with a way to say that you have accepted responsibility for replying.
 * It gives misleading statistics when people report that we have 300 admins.
 * If all admins who were last active in June or earlier were removed the count would be 311. A cut off of about 33 days would be required to go below 300. This proposal would not reduce the count to below 300.
 * People who have been away for a long period of time are not going to be aware of the policies. There is nothing wrong with saying they should be around for a month or more before reapplying for adminship. This period of reacquainting themselves with the new rules will prevent issues occurring from them breaking those rules.
 * This sounds like an excellent reason for providing a refresher reading list to admins who return, before routinely and automatically restoring their capability.
 * Some feel we currently have too many admins, and are probably overly opposing in their RfA votes because of this. Removing the inactive people would give a better idea of how many admins we really have.
 * 4.2% of admins would be removed if the three month involuntary part of this proposal was fully accepted, none of the eligible candidates responded and all away notices were ignored. Have you ever rejected an otherwise qualified applicant because there were 4% too many admins? 1.5% won't be immediately restored to sysop capability on request, the rest left some sort of away indication somewhere (and maybe others I don't know about). The data provided earlier says how many admins we have who have been active within speicified time periods.
 * Admins are supposed to be trusted by the community. People no longer involved with the project are not even known by the community, much less trusted by them.
 * These are the admins last active more than 3 months ago: User:Zoe, User:Khendon *, User:Jake Nelson *, User:Vicki Rosenzweig *, User:LittleDan. Six or more months: User:Optim (also a bureaucrat) *, User:Vancouverguy *, User:Salsa Shark, User:Mirwin, User:Efghij, User:Someone else, User:Notheruser, *, User:WojPob, User:LC. * indicates known to have given an away notice of some sort. How many of these are not trustworthy, based on either a look at their contributions and/ or memory of their conduct? Is it useful to cause the community to take the time to reconsider these as fresh candidates? Looking at their contributions, would you reject any of them?
 * Keeping every admin even after they are inactive gives the impression that adminship is something so special it can never be removed.
 * At present two admins have been inactive for one year or more, none shown as having been absent for more than 18 months.

Some of the reasons cited for having inactive admins are as follows:

 * It can currently be difficult to find a user with admin functions. Reducing the numbers of such users will make it even more difficult. Inactive users are generally contactable by email.
 * If a user wants to contact an admin, Special:Listadmins becomes useless if it's full of admins who are inactive. This is a real problem, not a hypothetical one and will not be solved by this proposal since admins may be inactive not because they have left the wiki but rather because they are in a different timezone or are otherwise occupied at the time they are needed. A far better solution to this problem would be the institution of an online administrator page on which admin users could update when they came online and went offline.
 * Some feel we currently have too few admins. Removing the inactive people would reduce the number even more, since inactive people can still be contacted by email. We need more admins (ie trusted users) -- not fewer.
 * Admins are supposed to be ordinary users who have can be trusted to use some of the more destructive functions of the wiki. Inactivity does not make them less trustworthy. They are trustworthy whether the current community knows them to be trustworthy or not.
 * Keeping every admin even after they are inactive gives the impression that adminship is something so ordinary that we don't care whether it is removed or not.

Activity of Administrators

 * 1) Any administrator who has knowingly made a contribution to Wikipedia five months or less prior to the current date shall be known as active.
 * 2) Any administrator whose last contribution has been made more than five months prior to the current date without previously relating their knowledge that they would not be contributing during this period shall be known as inactive.
 * 3) Any administrator who knows in advance that they will be unable to contribute for a period of five months or more may state this; in so doing this the administrator shall be known as away.

Actions Taken with Respect to Inactivity Relating to Administrators

 * 1) Any administrator found to be inactive shall be contacted. If no response is received, two more reminders shall be sent out, four and six weeks from the initial reminders. If the administrator does not respond within eight weeks of the initial reminder or is otherwise demonstrably unable or unwilling to respond, their sysop access shall be temporarily removed. If the sysop does not return within two months from this date, their access shall be considered to be permanently removed.
 * 2) Any administrators declaring themselves to be away shall temporarily have their sysop access removed.

Reinstatement of Sysop Access

 * 1) An administrator who has their sysop access removed due to previously being inactive should, if they wish to regain their sysop access, file an application as though they had never been a sysop (i.e. via RFA) if and only if they have been declared inactive more than one month previous.
 * 2) An administrator who has their sysop access removed due to previously being away, or who has been inactive and has been desysopped for less than one month, should, if they wish to regain their sysop status, inform a bureaucrat, after which their sysop access will be reinstated.


text:
Mona Bone Jakon

Mona Bone Jakon is the third studio album by singer-songwriter Cat Stevens, released in April 1970 on the Island Records label in the United Kingdom and on A&M in the United States and Canada.

Overview
After a meteoric start to his career, surprising even his original producer at Deram Records with the hit singles "I Love My Dog", "Matthew and Son", and "I'm Gonna Get Me a Gun", Stevens' debut album, Matthew and Son, began charting. However, after the pressure for a repeat album of the same calibre, Stevens, considered a young teen sensation, was overwhelmed by a new lifestyle as well as the demands of writing, recording, performing, publicity appearances, and touring. His second album was a commercial failure and in the autumn of 1968, he was hospitalized, with a diagnosis of tuberculosis and a collapsed lung. For over a year, while recovering, Stevens virtually disappeared from the British pop scene. Mona Bone Jakon is notable not only for his return but for the emergence of a very different artist. The album sold slowly (at first) but over time has been certified Gold for sales/shipments of more than 500,000 copies in the United States.

Background
During his hospital-dictated year of bedrest, Stevens began writing a catalogue of songs to fill far more than his next album. After his recovery, he negotiated out of his contract with Deram Records and worked with former Yardbirds bassist Paul Samwell-Smith on a stripped-down sound. In contrast to his first two albums, these new songs were sparse arrangements. They were played on acoustic guitars and keyboards and accompanied by a smaller backing band, consisting of three other performers: second guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns—and on one song, "Katmandu", Peter Gabriel on the flute. Samwell-Smith also produced the album and brought Stevens a high-fidelity sound that was not as present on his previous releases. Samwell-Smith was one of the early producers in rock to push the lower bass frequencies more prominently into the mix in an attempt to keep up with the new audiophile generation, which was embracing larger home speakers and high-end phonographic cartridges. Stevens began to make the transition from pop musician to a folk-rock performer when the term "singer-songwriter" was just being coined.

The songs themselves were darker in tone: the madrigal-inspired ballad "Lady D'Arbanville" elevated the tragedy of a lost lover (in this case, Stevens' former girlfriend Patti D'Arbanville) to that of a deceased one and "Trouble" was a plea to stave off death. There were also lighter songs: "Pop Star" showcased Stevens' dramatic change in voice by satirising the triviality of celebrity.

Though "Lady D'Arbanville" would reach No. 8 on the British charts, Mona Bone Jakon was only a modest success upon its initial release. The album attracted attention, however, in the wake of the commercial breakthrough of its follow-up, Tea for the Tillerman, and with the inclusion of three of its songs ("Trouble", "I Wish, I Wish", and "I Think I See the Light") in Hal Ashby and Colin Higgins's 1971 black comedy, Harold and Maude.

Origin of title
According to a 1972 interview with Stevens, the inspiration for the title was a name he created to describe his penis: "'Mona Bone Jakon' is another name for my penis. It's the name I give it. It's not some sort of secret vocabulary, it's just something I made up."

Journalist Robert Chalmers reiterated this point for a 2003 interview with Yusuf Islam for The Independent on Sunday when he wrote: "When [Stevens] re-emerged in 1969, he had more than 40 new songs and released three triumphant albums in 15 months on Chris Blackwell's Island label: Mona Bone Jakon (his pet word for penis), Tea for the Tillerman and Teaser and the Firecat."

The symbolism of the cover artwork was related to Stevens' original intended title for the album, The Dustbin Cried the Day the Dustman Died.

Critical reception
In a contemporary review for The Village Voice, music critic Robert Christgau gave the album a B+, noting that "this one has a nice post-creative trauma feel, intimate and sensitive. Recommended to singer/songwriter specialists." Later, he revised his review to a B− and expressed a newfound dislike for the songs "Lady D'Arbanville", "Trouble", and "I Wish, I Wish".

In a retrospective review, Allmusic's William Ruhlmann gave it four out of five stars and called it "a group of simple, heartfelt songs played in spare arrangements on acoustic guitars and keyboards and driven by a restrained rhythm section". He added that "Stevens' craggy voice, with its odd breaks of tone and occasional huskiness, lent these sometimes sketchy songs depth".

Personnel

 * Cat Stevens – acoustic guitar (all tracks), keyboards (tracks 1, 2, 4, 5, 7, 8, 10) , lead vocals (all tracks) , congas (track 6) , percussion (track 10)
 * Alun Davies – acoustic guitar (tracks 1–5, 7, 10), backing vocals (tracks 3–5, 7, 10)
 * John Ryan – double bass (tracks 1–3, 5, 8), bass guitar (tracks 4, 7) , backing vocals (track 3)
 * Harvey Burns – drums (tracks 1, 2, 4, 5, 7), percussion (track 3)
 * Peter Gabriel – flute (track 8)
 * Del Newman – string arrangements (tracks 1, 2, 11)
 * Paul Samwell-Smith - backing vocals (tracks 1, 3–5, 7, 11), vocal sound effect (track 10)

Production

 * Producer – Paul Samwell-Smith
 * Engineer – Michael Bobak
 * Mixing – Paul Hicks
 * Supervisor – Bill Levenson
 * Coordinator – Beth Stempel
 * Mastering – Ted Jensen
 * Design – Roland Young, Mike Diehl
 * Illustrations – Cat Stevens
 * Photography – Grazia Neri, Richard Stirling

title: Mona Bone Jakon


text: User talk:66.150.7.162

title: User talk:66.150.7.162


text:
Jack Zipes

Jack David Zipes (born June 7, 1937) is a literary scholar and author. He is a Professor Emeritus in the Department of German, Nordic, Slavic and Dutch at the University of Minnesota.

Zipes is known for his work on fairy tales, folklore, critical theory, 20th century literature, German literature, German Jewish culture and the political and cultural significance of the Brothers Grimm tales. He has authored, co-authored and edited 69 books including The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, Buried Treasures: The Power of Political Fairy Tales and Don't Bet on the Prince. Among his honors are the Guggenheim Fellowship (1988), the International Association for the Fantastic in the Arts Distinguished Scholar Award (1992), the National Endowment for the Humanities Fellowship (1998), the International Brothers Grimm Award from the International Institute for Children's Literature in Osaka, Japan (1999), the Folklore Society Katharine Briggs Award (2007), the Mythopoeic Scholarship Award (2012), the Chicago Folklore Prize (2015), and the World Fantasy Convention Award for Lifetime Achievement (2019).

Zipes is a Fellow of the American Folklore Society and the International Research Society for Children's Literature (IRSCL). He was a Founding Editor of the New German Critique, and holds positions on the advisory boards for the Oxford Research Encyclopedia of Literature, Fairy Tale Review and Storytelling, Self, Society.

Education
Zipes earned a bachelor's degree in Political Science from Dartmouth College in 1959, followed by a master's degree in English and Comparative Literature from Columbia University in 1960. He went on to study at the University of Munich in 1962 and the University of Tübingen in 1963, receiving a PhD in Comparative Literature from Columbia University in 1965. His thesis was published as a book, The Great Refusal: Studies of the Romantic Hero in German and American Literature, in 1970 and was influenced by the works of Herbert Marcuse.

Career
Zipes began his academic career as an Instructor of American Literature at the University of Munich from 1966 to 1977. He became an Assistant Professor at the New York University German Department in 1967, and later joined the University of Wisconsin–Milwaukee as an Associate Professor of German and Comparative Literature, staying there as Full Professor until 1986. From 1986 to 1989, he continued as a Professor at the University of Florida Department of Germanic and Slavic Languages and Literatures before moving to the University of Minnesota, where he has been serving as a Professor Emeritus in the Department of German, Nordic, Slavic and Dutch since 2008. He was awarded honorary doctorates by the Anglia Ruskin University (2019), the University of Wisconsin–Milwaukee (2023), and the University of Winnipeg.

Zipes assumed the position of the Chair of the Department of German, Dutch, and Scandinavian from 1994 to 1998, later becoming the Director of the Center for German and European Studies from 1998 to 2002 and has been the Director of Graduate Studies since 1990.

Zipes was the Co-founder of the Neighborhood Bridges literacy program, a joint project of the University of Minneapolis and the Children's Theatre Company, in 1997 and directed it until 2008. In 2018, he established Little Mole and Honey Bear, a publishing house specializing in unique books for children and adults primarily created between 1910 and 1940.

Works
Zipes has contributed to the field of literature by studying Jewish studies, German literature, children's literature, and the influence of fairy tales, with arguments based on the critical theory of the Frankfurt School.

Socio-political impact of fairy tales
Zipes has analyzed fairy tales to understand their importance in the modern world. Looking into the lasting impact of fairy tales on literature, he explored their evolution, socio-political context, and exploitation by media networks in the book Breaking the Magic Spell: Radical Theories of Folk & Fairy Tales, which was called "a stimulating contribution to the critical literature of folk and fairy tales" by Edith Lazaros Honig in Children's Literature Association Quarterly. He emphasized the genre's broader cultural significance in Why Fairy Tales Stick: The Evolution and Relevance of a Genre, suggesting that fairy tales, as culturally repeated memes, have evolved alongside humans' cognitive development, exhibiting polygenic traits that transcend geographical boundaries. Kimberley Reynolds commented in the Modern Language Review, "Why Fairy Tales Stick is both a welcome addition to the expanding area of books about fairy tales and a useful teaching resource."

Zipes compiled various stories in several works, including The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context and Beauties, Beasts, and Enchantment: Classic French Fairy Tales, presenting an account of lesser-known fairy tale versions and their contemporary relevance. He is also the Editor of the book series Oddly Modern Fairy Tales with Princeton University Press, comprising unusual literary fairy tales. Additionally, he published Fairy Tales and the Art of Subversion, which Deborah Stevenson referred to as "one of the key works of fairy-tale scholarship in our time", examining how fairy tales, through traditional forms and genres, have been used to shape children's behavior, values, and societal roles.

Zipes researched the lives and works of the Brothers Grimm in detail, by translating and publishing books like The Brothers Grimm: From Enchanted Forests to the Modern World and Grimm Legacies: The Magic Spell of the Grimms' Folk and Fairy Tales, revealing their personal struggles, political endeavors, and contributions to establishing fairy tales as a significant literary form. He translated the complete 1857 edition of fairy tales of the Brothers Grimm in 1987, and in 2014, he published the first edition of 1812 and 1815 as The Original Folk and Fairy Tales of the Brothers Grimm along with a new study of the tales, Grimm Legacies: The Magic Power of the Grimms' Folk and Fairy Tales. Furthermore, he delved into forgotten political fairy tales and profiles writers like Édouard Laboulaye and illustrators who addressed social and economic issues in Buried Treasures: The Power of Political Fairy Tales. In Publishers Weekly, the publication was regarded as "a potent testament to the power of stories."

German Jewish studies
Zipes' work on German Jewish studies focused on the relationship between German literature and Jewish culture. His book entitled Yale Companion to Jewish Writing and Thought in German Culture, 1096-1996, provided a chronological history of Jewish writing and thought in German-speaking lands, showcasing the influence of Jewish writers on German culture. In a review for the Journal of European Studies, Joachim Whaley stated "Gilman and Zipes have produced a marvellous compendium. Scholars will wish to return to it repeatedly."

In 1992, Zipes published The Operated Jew: Two Tales of Anti-Semitism, a translation of the stories "The Operated Jew" by Oskar Panizza and "The Operated Goy" by Mynona, investigating the themes of anti-Semitism and the pursuit of purity and perfection in turn-of-the-century Germany. In addition, he co-edited Unlikely History: The Changing German-Jewish Symbiosis,1945-2000 with Leslie Morris, assessing Jewish life in postwar Germany, including community, culture, and the resurgence of anti-Semitism in Austria, offering insights into the evolving relationship between Jews and Germans. About it, Bjorn Krondofer remarked "The co-editors Morris and Zipes have gathered an impressive list of contributors from different academic disciplines in the United States and Germany...".

Awards and honors

 * 1981 – Fulbright Scholarship
 * 1988 – Fellowship, John Simon Guggenheim Foundation
 * 1992 – Distinguished Scholar Award, International Association for the Fantastic in the Arts
 * 1998 – Fellowship, National Endowment for the Humanities
 * 1999 – International Brothers Grimm Award, International Institute for Children’s Literature in Osaka, Japan
 * 2000 – McKnight Research Grant
 * 2007 – Katharine Briggs Award, Folklore Society
 * 2012 – Mythopoeic Scholarship Award, The Mythopoeic Society
 * 2015 – Chicago Folklore Prize, American Folklore Society
 * 2019 – Award for Lifetime Achievement, World Fantasy Convention

Selected authored books

 * The Great Refusal: Studies of the Romantic Hero in German and American Literature (1970) ISBN 978-3891044001
 * Breaking the Magic Spell: Radical Theories of Folk & Fairy Tales (1979) ISBN 978-0813190303
 * Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization (1983) ISBN 978-0415905138
 * The Operated Jew: Two Tales of Antisemitism (1991) ISBN 978-0415904605
 * Happily Ever After: Fairy Tales, Children and the Culture Industry (1997) ISBN 978-0415918510
 * The Brothers Grimm: From Enchanted Forests to the Modern World (2002) ISBN 978-1596932128
 * Why Fairy Tales Stick: The Evolution and Relevance of a Genre (2007) ISBN 978-0415977814
 * The Irresistible Fairy Tale: The Cultural and Social History of a Genre (2012) ISBN 978-0691159553
 * Grimm Legacies: The Magic Spell of the Grimms’ Folk and Fairy Tales (2014) ISBN 978-0691173672
 * Buried Treasures: The Power of Political Fairy Tales (2023) ISBN 978-0691244730

Selected edited books

 * Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England (1986) ISBN 978-0415902632
 * Beauties, Beasts, and Enchantment: Classic French Fairy Tales (1989) ISBN 978-0453006934
 * The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context (1993) ISBN 978-0415908351
 * Yale Companion to Jewish Writing and Thought in German Culture, 1096-1996 (1997) ISBN 978-0300068245
 * The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm (2000) ISBN 978-0393976366
 * The Oxford Companion to Fairy Tales (2000) ISBN 978-0198605096
 * Unlikely History: The Changing German-Jewish Symbiosis, 1945-2000 (2002) ISBN 978-0312293901
 * The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition (2014) ISBN 978-0691173221

title: Jack Zipes


text: User talk:80.58.6.44

title: User talk:80.58.6.44


text:
User talk:Rpresser

New messages at the bottom, please.

= April 2006 =

Electrodynamic Tether
(issue was resolved by a nice man named Bert)

= April 2008 = =Titor= Please take a look at the discussion again. I added a picture that maps the way I read Titor in the ITR logo. I know it is speculative. But it's fun to wonder how the hoax came about. Linking the fictitious name to real things might lead us to the story teller. Onnozele (talk) 20:45, 3 September 2008 (UTC)

Please unblock my IP

 * If Rpresser is unable to edit from work due their network employing a web proxy, they can be granted IPBE. The only requirement is that they be a trusted user (and that a CU be consulted). See the "who may request" section of WP:IPECPROXY.-- Jezebel's Ponyo bons mots 22:08, 28 February 2020 (UTC)
 * So, Rpresser, are you only able to edit at work? 331dot (talk) 22:17, 28 February 2020 (UTC)

 * I have given you an IP block exemption for one year. If you are still affected by one at that time, just let us know. 331dot (talk) 23:12, 28 February 2020 (UTC)
 * Thank you. At the moment, I am able to edit from my phone (much less comfortable) and my work laptop, which applies this proxy no matter what ISP I am connecting throught. So I do have *options*, but the IPBE makes it more comfortable. --Rpresser 15:56, 1 March 2020 (UTC)
 * I apologize to you, as I was working from an out of date set of assumptions about situations like this. Others have clarified this for me, and I regret causing you difficulty. 331dot (talk) 15:57, 1 March 2020 (UTC)

title: User talk:Rpresser


text:
Mineral spring

Mineral springs are naturally occurring springs that produce hard water, water that contains dissolved minerals. Salts, sulfur compounds, and gases are among the substances that can be dissolved in the spring water during its passage underground. In this they are unlike sweet springs, which produce soft water with no noticeable dissolved gasses. The dissolved minerals may alter the water's taste. Mineral water obtained from mineral springs, and the precipitated salts such as Epsom salt have long been important commercial products.

Some mineral springs may contain significant amounts of harmful dissolved minerals, such as arsenic, and should not be drunk. Sulfur springs smell of rotten eggs due to hydrogen sulfide (H2S), which is hazardous and sometimes deadly. It is a gas, and it usually enters the body when it is breathed in. The quantities ingested in drinking water are much lower and are not considered likely to cause harm, but few studies on long-term, low-level exposure have been done,.

The water of mineral springs is sometimes claimed to have therapeutic value. Mineral spas are resorts that have developed around mineral springs, where (often wealthy) patrons would repair to "take the waters" — meaning that they would drink (see hydrotherapy and water cure) or bathe in (see balneotherapy) the mineral water. Historical mineral springs were often outfitted with elaborate stone-works — including artificial pools, retaining walls, colonnades, and roofs — sometimes in the form of fanciful "Greek temples", gazebos, or pagodas. Others were entirely enclosed within spring houses.

Types
For many centuries, in Europe, North America, and elsewhere, commercial proponents of mineral springs classified them according to the chemical composition of the water produced and according to the medicinal benefits supposedly accruing from each:

 * Arsenical springs contained arsenic
 * Lithia Springs contained lithium salts.
 * Chalybeate springs contained salts of iron.
 * Alum springs contained alum.
 * Sulfur springs contained hydrogen sulfide gas (see also fumeroles).
 * Salt (saline) springs contained salts of calcium, magnesium or sodium.
 * Alkaline springs contained an alkali.
 * Calcic springs contained lime (calcium hydroxide).
 * Thermal (hot) springs could contain a high concentration of various minerals.
 * Soda springs contained carbon dioxide gas (soda water).
 * Radioactive springs contain traces of radioactive substances such as radium or uranium.

Deposits
Types of sedimentary rock – usually limestone (calcium carbonate) – are sometimes formed by the evaporation, or rapid precipitation, of minerals from spring water as it emerges, especially at the mouths of hot mineral springs. In cold mineral springs, the rapid precipitation of minerals results from the reduction of acidity when the gas bubbles out. (These mineral deposits can also be found in dried lakebeds.) Spectacular formations, including terraces, stalactites, stalagmites and 'frozen waterfalls' can result (see, for example, Mammoth Hot Springs).

One light-colored porous calcite of this type is known as travertine and has been used extensively in Italy and elsewhere as building material. Travertine can have a white, tan, or cream-colored appearance and often has a fibrous or concentric 'grain'.

Another type of spring water deposit, containing siliceous as well as calcareous minerals, is known as tufa. Tufa is similar to travertine but is even softer and more porous.

Chaybeate springs may deposit iron compounds such as limonite. Some such deposits were large enough to be mined as iron ore.

title: Mineral spring


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Boukman Eksperyans

Boukman Eksperyans (Boukman Experience) is a mizik rasin band from the city of Port-au-Prince, Haiti, Grammy nominated for their debut album Vodou Adjae. The band derives its name from Dutty Boukman, a vodou priest who led a religious ceremony in 1791 that is widely considered the start of the Haitian Revolution. The other half of the band's name, "Eksperyans", is the Haitian Creole word for "experience", and was inspired by the band's appreciation of the music of Jimi Hendrix. The band was at the height of its popularity in 1991 when the presidency of Jean Bertrand Aristide was overthrown in a military coup d'etat. Like many other artists and performers, Boukman Eksperyans fled the country to live in exile. During their time abroad, the band performed and spoke out against the military dictatorship of Raoul Cédras. In 1994, after Aristide was restored to power, the band returned to Haiti, where they continued to play concerts, record albums, and perform at the Carnival celebrations.

History
Boukman Eksperyans was founded in 1978 by Theodore Beaubrun Jr., nicknamed Lolo, Marjorie Beaubrun (Lolo's sister), Daniel Beaubrun, Mimerose Beaubrun (nicknamed Manze, Lolo's wife), and members of various other groups who launched the mizik rasin revolution in Haiti in the late 1970s. One of these groups was led by Fanfan Alexis, and included the future musicians of such groups as Group Sa, Foula, and Rara Machine. Lolo's father, Théodore Beaubrun (also known by his stage name Languichatte Debordus) was a comedian and was often referred to as the Bill Cosby of Haiti. While on tour in the United States, he brought back a James Brown LP which left a lasting impression on young Lolo. After his parents divorced, he followed his mother to Brooklyn, New York. He studied in the United States.

Lolo returned to Haiti in 1978, where some bands were playing music known as minidjaz. To Lolo, they seemed to pay no attention to song lyrics that dealt with reality. They were even accused of aligning too closely to the Duvaliers. When Lolo and Mimerose began to seek their musical goals, they felt a strong desire to incorporate the African element in Haiti's culture into their music. They decided to combine roots music with vodou religious and musical traditions.

Lolo's grandfather was deeply involved in vodou, but his parents never made this available to him. Lolo and Mimerose entered their first vodou lakou-s, a Haitian spiritual community, where they met musicians and singers. They also got their first real glance at the African culture of Haiti in the form it was handed down from members of various tribes. They founded a group to study vodou music, giving it the name of Moun Ife ("People of the Abode of the Deities"). Lolo stated that Bob Marley was another important musical inspiration. When he heard the Jamaican legend in 1976, he thought he could create something similar in Haiti with vodou. Lolo and Mimerose began to perform as a live act in the 1980s.

The traditional roots instruments were replaced by electric instruments, like the bass guitar and two guitars played by members Eddy François and Daniel Beaubrun, Lolo's brother and the band's chief arranger. Fanfan Alexis, the group's first guitarist, suggested the name "Boukman", which Lolo and Manze liked. The name was a tribute to the Jamaican slave leader Boukman Dutty, who launched the Haitian slave rebellion in August 1791. "Eksperyans" was chosen in honor of Jimi Hendrix and his band the Jimi Hendrix Experience.

Boukman Eksperyans first became famous in 1990 when they presented their song "Ké-M Pa Sote" at the Carnival celebration in Port-au-Prince. The song included the refrain "My heart doesn't leap, you don't scare me". This song was a protest against the post-Duvalier interim military government of General Prosper Avril. Armed soldiers appeared, trying to prevent the band from performing "Ké-M Pa Sote" and other censored songs. After a young girl was shot dead by a soldier, this song became an out-and-out battle hymn admonishing the government. The band continued to write and perform rebellious songs. The band members were never directly threatened, but were advised 'never go out at night'. When the military junta overthrew president Jean-Bertrand Aristide in 1991, the band decided to leave the country for their own safety.

The band achieved international fame in the early 1990s. Their first album Vodou Adjae was nominated for a Grammy Award in 1991.

Just before the second coup d'état against Aristide in 2004, Lolo joined with many others in protesting the abuses at the very least condoned by the President. In the years following, Boukman Eksperyans was not associated with any political party. Their songs depicted the reality of Haiti as they saw it.

In 2022, Boukman Eksperyans went on a US/Europe arena tour in support of Arcade Fire.

Discography
Sources:

title: Boukman Eksperyans


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Wikipedia:Articles for deletion/Jim C. Perry

Jim C. Perry
This seems like someone took good time to write this article, but I could come up with one for myself that would contain equally impressive information. I feel that the subject in this article is not notible enough to warrant his own entry on Wikipedia. I didn't get one single Google hit on him either Delete --ScottyBoy900Q ∞  23:14, 04 Oct 2004 (UTC)
 * Delete. Not notable except for his political position, which is about as minor as you can get.  RickK 23:30, Oct 4, 2004 (UTC)
 * Delete. Does not seem to be notable. If he really was well known in Massachusetts politics, you'd think he would have been mentioned in one of the newspapers in the state.   — Gwalla | Talk 00:55, 5 Oct 2004 (UTC)
 * Delete. Non-notable.  SWAdair | Talk  03:51, 5 Oct 2004 (UTC)
 * Delete. Claim to fame appears to be as an unsuccessful candidate for a minor post. Average Earthman 08:59, 5 Oct 2004 (UTC)
 * Keep Found informative regarding individual in question. MSTCrow 00:18, Oct 7, 2004 (UTC)
 * Keep I found numerous articles online when I search on google with his name in Parenthesis "Jim C. Perry". I happen to live in his hometown, he is a columnist for the local paper and bimonthly his columns appear in the Boston Herald. Researcher 00:18, Oct 7, 2004 (UTC)
 * Keep I too have found a good number of articles related to this person while searching Google. He does seem to be up and coming, so I say keep. Wish to remain anonymous 12:21 AM, Oct 8, 2004 (UTC)
 * The above two votes are from the same IP who only has two contributions, those votes. --Golbez 04:21, Oct 7, 2004 (UTC)

 * Delete, no evidence of notability in article. "fined $15 in 1998 for civil disobedience, tearing posted signs off of tree on private property..." doesn't really cut it. About 100 google hits -- not all about this Jim C. Perry, and apart from his own geocities page and blog there's nothing about him -- it's just member listings for various organizations, messageboard posts, lists of attendees at functions, signatures on online petitions, and so forth. For all I know the sock puppet's right and he really is "up and coming", but I don't think he merits an article till he's come up a good deal further. Pnot 08:58, 7 Oct 2004 (UTC)
 * Delete. Non-notable. --Viriditas 10:52, 8 Oct 2004 (UTC)
 * Delete, for all the reasons that Pnot gives.--Jll 11:40, 8 Oct 2004 (UTC)
 * Delete the article and photo. Political wannabes are a special category of delete, IMO.  When they appear here, they're already, by definition, self-promoters, so one needs to look extra closely at the claims.  Even without my glasses, though, this one is superbly non-notable. Geogre 17:08, 8 Oct 2004 (UTC)
 * Keep. Seems to be somewhat notable on the state level. Gamaliel 21:02, 9 Oct 2004 (UTC)
 * Delete. Local political activism does not constitute notability. RadicalSubversiv E 23:54, 9 Oct 2004 (UTC)


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Pitchfork (website)

Pitchfork (formerly Pitchfork Media) is an American online music publication founded in 1996 by Ryan Schreiber in Minneapolis. It originally covered alternative and independent music, and expanded to cover genres including pop, hip hop, jazz and metal. Pitchfork is one of the most influential music publications to have emerged in the internet age.

In the 2000s, Pitchfork distinguished itself from print media through its unusual reviews, frequent updates and coverage of emerging acts. It was praised as passionate, authentic and unique, but criticized as pretentious, mean-spirited and elitist, playing into stereotypes of the cynical hipster. It is credited with popularizing acts such as Arcade Fire, Broken Social Scene, Bon Iver and Sufjan Stevens.

Pitchfork relocated to Chicago in 1999 and Brooklyn, New York, in 2011. It expanded in the 2000s, launching projects including the annual Pitchfork Music Festival in Chicago in 2006, the video site Pitchfork.tv in 2008, and a print publication, The Pitchfork Review, in 2011. It became more professional and less antagonistic in style, and began covering more mainstream music and issues of gender, race and identity. As of 2014, Pitchfork was receiving around 6.2 million unique visitors every month.

The influence of Pitchfork declined in the 2010s with the growth of streaming and social media. In 2015, it was acquired by the mass media company Condé Nast and moved to One World Trade Center. After the acquisition, the company president, Chris Kaskie, left in 2017, followed by Schreiber in 2019. In 2024, Condé Nast announced plans to merge Pitchfork into the men's magazine GQ, resulting in layoffs. The merge drew criticism and triggered concern about the implications for music journalism.

1996–2003: Early years
Pitchfork was created in February 1996 by Ryan Schreiber, a high school graduate living in his parents' home in Minneapolis. Schreiber grew up listening to indie rock acts such as Fugazi, Jawbox and Guided by Voices. He was influenced by fanzine culture and had no previous writing experience.

Schreiber initially named the website Turntable, but changed it after another website claimed the rights. The name Pitchfork was inspired by the tattoo on the assassin Tony Montana in the film Scarface. Schreiber chose it as it was concise and had "evilish overtones". The first review was of Pacer (1995) by the Amps, and the record store Insound was Pitchfork 's first advertiser.

Early Pitchfork reviews focused on indie rock and were often critical. The Washington Post described them as "brutal" and "merciless", writing: "The site's stable of critics often seemed capricious, uninvested, sometimes spiteful, assigning low scores on a signature 10-point scale with punitive zeal." Schreiber said the site's early period "was about really laying into people who really deserved it", and defended the importance of honesty in arts criticism. In 1999, Schreiber relocated Pitchfork to Chicago. He estimated that Pitchfork had published 1,000 reviews by this point.

Around the turn of the millennium, the American music press was dominated by monthly magazines such as Rolling Stone, creating a gap in the market for faster-moving publication that emphasized new acts. Pitchfork could publish several articles a day, greatly outpacing print media. New technologies such as MP3, the iPod and the file-sharing service Napster created greater access to music, and music blogs became an important resource, creating further opportunity for Pitchfork. The contributors Mark Richardson and Eric Harvey said this was an important part of Pitchfork 's early popularity, as music fans could share and listen to recordings while reading daily updates.

In 2000, Pitchfork's 10.0/10.0 review of the highly anticipated Radiohead album Kid A, written by Brent DiCrescenzo, generated a surge in readership and was one of the first signs of Pitchfork becoming a major publication. One of the first Kid A reviews published, it attracted attention for its unusual style. Billboard described it as "extremely long-winded and brazenly unhinged from the journalistic form and temperament of the time". While it was widely mocked, it boosted Pitchfork 's profile. Schreiber said he understood the review would make Pitchfork subject to ridicule, but "wanted Pitchfork to be daring and to surprise people". In 2001, Pitchfork had 30,000 daily readers.

2004–2005: Growing influence and professional growth
In 2004, Pitchfork hired its first full-time employee, Chris Kaskie, formerly of the satirical website The Onion, to run business operations. Kaskie later became the president and co-owner. Pitchfork 's first professional editor, Scott Plagenhoef, was hired shortly afterwards. Kaskie and Plagenhoef are credited for turning Pitchfork into a professional operation. It began to scale quickly; the more money it made, the more resources it had for reviews and articles.

As of 2004, Pitchfork had eight full-time employees and about 50 freelance staff members, most of whom worked remotely and co-ordinated through phone and internet. Writers were unpaid for their first six months, after which they could earn $10 or $20 for a review or $40 for a feature. In 2004, following staff tensions about Schreiber's advertising income, Pitchfork started paying writers from their first articles at a slightly improved rate.

That year, Pitchfork published a positive review of the debut album by Arcade Fire, Funeral. It became a bestseller and is cited as the first major example of Pitchfork 's influence on independent music, attracting coverage of Pitchfork from outlets such as the Los Angeles Times. The contributor Jess Weiss said the review "changed everything". By 2005, Pitchfork was attracting around one million readers a month, with an annual revenue of around $5 million. That year, Schreiber said he was uninterested in selling Pitchfork: "It would change into the antithesis of the reason I started it. This is something I am so in love with — this is my entire adult life's work."

2006–2010: Expanding operations
By 2006, traditional music media, such as print magazines, music video channels and radio stations, had declined or changed focus, but music listeners still sought a reliable source of recommendations. Without the limitations of print media, Pitchfork was able to champion emerging independent acts that major print magazines, which had to sell millions of copies every year, could not. Schreiber said he felt magazines were "not even trying to discover new music ... Publications used to take more chances on artists, putting bands on the cover that they thought deserved to be there." He said Pitchfork was able to take risks as it was not interested in appeasing bands, record labels or advertisers.

In 2006, Pitchfork had 170,000 daily readers and was publishing five album reviews a day, with six full-time employees. Schreiber said that Pitchfork was able to sustain paid freelancers and eight employees, though they were "always cutting it close". He said he had attracted interest from investors, but wanted to retain control and that journalistic integrity was his priority. In August 2006, an internal Pitchfork server containing promotional copies of hundreds of albums was hacked, including the upcoming Joanna Newsom album ''Ys. ''

In the mid-2000s, Pitchfork expanded its operations. In 2006, it launched the annual Pitchfork Music Festival in Chicago. The first Paris Pitchfork Music Festival was held in 2011. Kaskie said it was exciting to see acts Pitchfork had championed playing to large crowds: "We start to see these bands playing in front of audiences 10 times the size of their biggest show ever. That's the goal, man. To put fucking Titus Andronicus in front of 10,000 people." In April 2008, after acquiring the live music show Juan's Basement, Pitchfork launched Pitchfork.tv, a website displaying interviews, music videos and feature-length films. In November, it published a book, The Pitchfork 500, covering the preceding 30 years of music.

By the end of the 2000s, Pitchfork had become influential in the music industry, credited for launching acts such as Arcade Fire and Bon Iver. Employees at record labels and record stores would use it to anticipate interest in acts. It was also attracting large sponsors such as American Express and Apple.

2010–2014: Diversification, declining influence and sister publications
The influence of Pitchfork on music careers declined around the turn of the decade, as streaming and social media fractured audiences and reduced the need for gatekeepers. Streaming services began to fulfill Pitchfork 's function of helping new artists find audiences, and independent music criticism moved to podcasts and YouTube. Declining music industry revenues reduced advertising spending, and Pitchfork faced competition from advertisers such as Facebook. According to the Los Angeles Times, "The internet era that birthed Pitchfork 's blend of saucy writing, outre tastes and massive popularity [was] by and large over."

Over the following decade, Pitchfork shifted its editorial range and style. It began running news and features alongside reviews, coming to resemble a more conventional music publication. It also diversified from indie rock to cover mainstream music including pop, rap and metal, and began covering issues of gender, race and identity in music, influenced by movements such as MeToo and Black Lives Matter. Schreiber said that "our tastes broadened with age and experience", and that Pitchfork could make a difference to social causes.

In July 2010, Pitchfork launched Altered Zones, a blog aggregator devoted to underground and DIY music. In 2011, Pitchfork relocated to Brooklyn, New York. On May 21, Pitchfork announced a partnership with the website Kill Screen, in which Pitchfork would publish some of their articles. Altered Zones closed on November 30. On December 26, 2012, Pitchfork launched Nothing Major, a website that covered visual arts, which closed in October 2013. Pitchfork launched a film website, The Dissolve, in 2013. It closed in 2015, citing "financial challenges". In 2017, Kaskie said he remained proud of The Dissolve and that it was "a huge success from the creative and editorial, design and everything else".

In 2013, Pitchfork won the National Magazine Award for general excellence in digital media. That year, the rapper Chief Keef was arrested for violating a probation sentence by using a rifle in a promotional video by Pitchfork. Staff later described the episode as a low point and an example of how Pitchfork mishandled hip-hop artists. In December, Pitchfork launched The Pitchfork Review, a quarterly print journal focused on long-form music writing and design-focused content. Pitchfork planned a limited-edition quarterly publication of about 10,000 copies of each issue, printed on glossy, high-quality paper. About two thirds of the content would be original, with the remaining reused from the Pitchfork website. The International Business Times likened the literary aspirations to The New Yorker and the Paris Review. The Pitchfork Review ended after 11 issues in November 2016.

As of 2014, Pitchfork was receiving around 6.2 million unique visitors and 40 million pageviews every month, with an expected annual revenue growth of 25 to 40 percent. Its primary revenue came from advertising. According to the media analytics firm Comscore, Pitchfork had 2.47 million unique visitors that August, more than the websites for Spin or Vibe but fewer than Rolling Stone 's 11 million. By this point, Pitchfork was facing mounting financial problems, and Kaskie spent the year attempting to find funding.

2015–2016: Purchase by Condé Nast
On October 13, 2015, the American mass media company Condé Nast announced that it had acquired Pitchfork. The Condé Nast CEO, Bob Sauerberg, described Pitchfork as a "distinguished digital property that brings a strong editorial voice, an enthusiastic and young audience, a growing video platform and a thriving events business".

At this point, Pitchfork had about 50 employees, with advertising, sales and development staff in Chicago and editorial and video production staff in Brooklyn. Kaskie said "our needs and wants were converging", and that Pitchfork needed capital and expertise to expand its publication and festivals. The sale boosted Pitchfork's value to advertisers. Pitchfork relocated to the Condé Nast offices in One World Trade Center, Manhattan.

Previously, Pitchfork 's independence had been a key aspect of its image. Schreiber said it would continue to have "creative independence". The acquisition triggered concern; the New York Observer wrote that was a "death knell for indie rock". The Condé Nast chief digital officer, Fred Santarpia, was criticized when he said the acquisition would bring "a very passionate audience of millennial males into our roster". Schreiber responded on Twitter that women were "a huge part of Pitchfork's staff and readership" and that Pitchfork aimed to reach "all music fans everywhere".

On March 13, 2016, Pitchfork launched its first new design since 2011. That October, Pitchfork had 4.1 million unique visitors, up from 2.7 million the previous October. With Schreiber aiming to make it the world's best repository for music content, Pitchfork began creating videos and retrospective articles about classic albums released before its founding.

2017–2023: Departures of Kaskie and Schreiber
Kaskie announced his departure from Pitchfork in May 2017. He had been frustrated by his diminished role under Condé Nast and Pitchfork 's reduced autonomy. On September 18, 2018, Schreiber stepped down as the top editor. He was replaced by Puja Patel, who had worked at Spin and Gawker Media, as editor-in-chief on October 15. Schreiber remained as a strategic advisor. He said he later realized that Condé Nast did not understand Pitchfork and had unrealistic expectations of its performance.

Patel came under pressure to cut costs amid declining traffic from social media, and competition from streaming platforms, which offered a new means for listeners to discover music. Pitchfork staff conflicted with Condé Nast over its attempts to monetize Pitchfork Music Festival by making it into a "luxury" experience. Santarpia left Condé Nast in 2018, leaving Pitchfork under the purview of Anna Wintour, the chief content officer. Two former Pitchfork staffers told The Verge that Wintour did not care about music or understand the internet.

Schreiber announced his departure on January 8, 2019, saying he wanted to "keep pushing boundaries and exploring new things". The Los Angeles Times said the departure came at a time of "existential change" for the media industries, citing the rise of streaming services and social media and the downsizing of many major music publications. That month, Condé Nast announced it would put all its publications, including Pitchfork, behind a paywall by the end of the year. It abandoned experiments with Pitchfork paywalls following criticism from readers. In 2020, Condé Nast laid off the executive editor Matthew Schnipper and the features editor and union chair Stacey Anderson. In 2022 and 2023, Pitchfork had about 3 million unique visitors a month, down by about 36% from 2021.

2024: Merge into GQ and layoffs
On January 17, 2024, Wintour announced that Pitchfork would merge with the men's magazine GQ. Staff including Patel were laid off, leaving around a dozen editorial staff, including some working on multiple Condé Nast publications. Max Tani of Semafor reported that remaining staff at Pitchfork and GQ were "depressed and embarrassed" by the merge. As of that month, Pitchfork had the most daily active users of any Condé Nast publication.

Music journalists reacted with sadness and concern for the future of music journalism. Tani and The Washington Post Chris Richards expressed disgust that Pitchfork, once independent and provocative, would be absorbed into an establishment men's magazine. The American critic Ann Powers wrote that the merge felt "like a highly conservative move at a time when music has proven to be one of our culture's most beautifully progressive spaces". In The Guardian, Laura Snapes wrote that Pitchfork had provided a vital "leading example" and doubted that specialist music journalism could survive without it. She lamented the job losses, saying that Pitchfork had been one of the last stable employers of freelance music writers.

Schreiber said that commentators were "premature to eulogize Pitchfork", as it retained a skeleton crew of staff continuing its mission, and that he was pleased with the work Pitchfork had published since the announcement. On July 2, 2024, Pitchfork named Mano Sundaresan, the founder of the music blog No Bells, as the new head of editorial content. Sundarasen denied that Pitchfork was "going away", and said he aimed to adapt it to modern media and cater to more specialized audiences.

Style
Pitchfork's unusual, passionate and stylized reviews differentiated it from the more scholarly and formal style of magazines such as Rolling Stone. The critic Steve Hyden said it offered an alternative to music magazines at the end of the 20th century, which were publishing content about Star Wars, nu metal and pop punk. He characterized the Pitchfork voice as that of the outsider mocking the mainstream. Pitchfork contributors said the site was immediately divisive among music fans.

In the Washington Post, J. Freedom du Lac described Pitchfork as entertaining, "hilariously snarky" and "occasionally even enlightening". The Los Angeles Times writer August Brown described it as "raucous, passionate, sometimes blinkered but always evolving". In Slate, Matthew Shaer wrote that the best Pitchfork reviews were "cagey, fierce, witty and graceful". The journalist Dave Itzkoff described Pitchfork reviews as "defiantly passionate and frustratingly capricious" with an "aura of integrity and authenticity that made such pronouncements credible, even definitive, to fans ... insinuating themselves into the grand tradition of rock criticism, joining the ranks of imperious and opinionated writers". Schreiber described the reviews of one early Pitchfork writer, Brent DiCrescenzo, as dense with dialogue and pop culture references, "exploring outlandish scenarios".

Pitchfork 's style changed in the 2010s as it broadened its scope and audience, shifting to poptimism. The contributor Craig Jenkins said the site had needed to change its "walled-in" perspective, and that it had been "antagonistic toward the stuff that the average person would be appreciating". Plagenhoef felt that the inflammatory "stunt reviews" were limiting, and wanted Pitchfork to be seen as trustworthy and thoughtful. Snapes said some had lamented the change, suggesting that it made Pitchfork "a less specific proposition". However, she felt it reflected modern music consumption and found it heartening that Pitchfork was reviewing a variety of genres and artists. Under Puja Patel, who became the editor in 2018, Pitchfork covered more female, non-binary, queer and non-white artists.

Pitchfork also switched to a more professional style. The editor Amy Phillips illustrated this by comparing her coverage of the announcement of two Radiohead albums, years apart; the first was excitable, whereas the second was more professional and factual. In 2014, the contributor Nate Patrin said Pitchfork had become "what publications like the Village Voice used to be in terms of letting writers go deep without feeling pressured to talk down to readers", with long-form articles and documentaries. By 2017, according to Bloomberg, its reviews had become "as erudite as those of the music magazines that Pitchfork had all but eclipsed in influence". The critic Ann Powers wrote in 2024 that "in the past decade Pitchfork had nurtured many of the best and most influential writers working today". She felt that "great music writing messes with productivity by creating a space to slow down and really immerse in someone else's creative work ... The best writing at Pitchfork or anywhere reflects that process and is as variegated as the human experience itself."

In 2012, a Pitchfork poll asking readers to vote for their favorite music found that 88% of respondents were male. Statistics recorded by Quantcast found that men comprised 82% of Pitchfork readers and that most were aged 18–34. In 2015, The Guardian credited Pitchfork for pioneering design techniques that combined print design and technical innovation to create the impression of a "forward-facing, vibrant title".

Review system
Pitchfork reviews do not represent an editorial consensus but the opinion of the individual reviewer. Writers who did not want to use their names used the pseudonym Ray Suzuki, similarly to the filmmaker pseudonym Alan Smithee. By 2021, Pitchfork had published more than 28,000 reviews.

Unlike other music publications, which typically assign scores out of five or ten, Pitchfork uses a decimal scale of 0.0 to 10.0. The system has drawn mockery as arbitrary and overprecise. DiCrescenzo described it as "knowingly silly", and in 2021 Pitchfork wrote that it was an "admittedly absurd and subjective" signature element. Schreiber said he liked its absurdity and how "it felt kind of scientific without any actual science to it". Early reviews used percentages rather than decimals.

In The Ringer, Rob Harvilla wrote that a 10.0 from Pitchfork "carries all the historical weight of five stars in Rolling Stone or five mics in The Source ... with its maddening and theoretically precise approach to decimal places, such that an ocean of feeling separates an 8.1 from an 8.9." Pitchfork has awarded perfect scores to more than 50 albums, most of them reissues. Artists who have received perfect scores on release include Radiohead, Fiona Apple, Kanye West, Bonnie "Prince" Billy, And You Will Know Us by the Trail of Dead and Wilco.

Some reviews experimented with the score system. The 2005 Robert Pollard album Relaxation of the Asshole received a simultaneous 10 and 0; the review for the 2007 Radiohead album In Rainbows, which allowed fans to pay what they wanted to download, allowed readers to enter their own score. After Pitchfork changed its content management system to require a number, these albums were given fixed scores.

Prose
Pitchfork reviews have been criticized as pretentious, verbose and inaccurate. Itzkoff wrote that Pitchfork was overwrought and sometimes hard to understand, with an abundance of adjectives, adverbs and misused words. Shaer identified examples of "verbose and unreadable writing ... dense without being insightful, personal without being interesting". In City Pages, Thomas Lindsay wrote that its prose was florid and sometimes impenetrable, and contained factual errors. Similar criticisms came from Rob Harvilla of the East Bay Express and Claire Suddath of Time. Responding to criticism in 2006, Schreiber said he trusted his writers' style and opinions.

Elitism
In its early years, Pitchfork was criticized as mean-spirited and elitist, and for publishing reviews that do not meaningfully discuss the music, playing into stereotypes of the cynical hipster. In 2018, the music journalist Robert Christgau described the early years of Pitchfork as "a snotty boys' club open to many 'critics' ... Too many amateur wise-asses and self-appointed aesthetes throwing their weight around."

Many scathing early reviews were by Brent DiCrescenzo, who wrote lengthy reviews that rarely addressed the music. For example, his review of the 2001 Tool album Lateralus consisted mostly of a list of the equipment used by the drummer. Some reviews consist only of single images or videos, implying the record is beneath critical analysis. Schaer wrote in 2006 that Pitchfork typically triumphed acts it had "discovered" and attacked beloved legacy acts and bands popular on music blogs. Some believed that Pitchfork deliberately waited for excitement to build around an act before dismissing it with a critical review.

Itzkoff argued that the obtuse and confrontational style was part of the Pitchfork business model and made their reviews memorable. He suggested that the writers' lack of training or experience, and the fact that they worked for low or no pay, created a sense of authenticity and undermined the authority of traditional media. Schreiber conceded that Pitchfork had a reputation for snobbery, but said its writers were "really just honest, opinionated music fans".

Race and gender
In the 2000s, Pitchfork was criticized for focusing on music made by white men. In its early years, its staff comprised almost entirely white men. In 2007, the female rapper M.I.A. criticized Pitchfork for assuming that her album Kala had been produced entirely by the male producer Diplo. Another Pitchfork writer described the error as "perpetuating the male-led ingenue myth". M.I.A. and the singer Björk argued that this was part of a wider problem of journalists assuming that female artists do not write or produce their own music. The Pitchfork contributor Andrew Nosnitsky argued that hip-hop, not indie rock, was the "defining music" of his generation, but that Pitchfork was viewed as the defining music publication for "purely mechanical and straight-up white-supremacy reasons".

Parodies
Pitchfork has attracted multiple parodies. In 2005, Pitchfork invited the comedian David Cross to write a list of his favorite albums. Cross wrote that he was surprised by the invitation, citing several insulting Pitchfork reviews of his comedy albums, and instead wrote a "withering and absurdist" article titled "Albums to listen to while reading overwrought Pitchfork reviews". In 2007, the satirical website The Onion published a piece in which Pitchfork reviewed music as a whole and gave it a score of 6.8. The music blog Idolator ran a feature asking readers to guess which lines came from Pitchfork reviews and which were fabricated. In 2010, the writer David Shapiro started a Tumblr blog, "Pitchfork Reviews Reviews", which reviewed Pitchfork reviews and assessed their arguments. It attracted more than 100,000 followers and a profile in the New York Times.

Influence
Spencer Kornhaber of the Atlantic described Pitchfork as the most influential music publication to emerge in the internet age. Itzkoff, a former editor for Spin, described the Spin staff checking Pitchfork regularly: "If it was lavishing attention on a new band, we at least had to ask ourselves why we weren't doing the same: by then, our value as a trustworthy and consistent filter had waned." The online magazine Consequence of Sound emulated Pitchfork early on, "especially as it came to creating an editorial voice, developing a consistent content strategy, and packaging a love of music in a compelling way", according to its founder, Alex Young.

The critic Carl Wilson said Pitchfork drove a "feeding frenzy about band discovery" in North American music journalism, with publications vying to discover new acts. In the 2000s, Pitchfork was credited with "making or breaking" musical careers, a phenomenon known as the "Pitchfork effect". In 2006, the Washington Post described Schreiber as an "indie-rock kingmaker" and wrote that "an endorsement from Pitchfork ... is very valuable, indeed". Megan Jasper, the CEO of the record label Sub Pop, said favorable Pitchfork reviews would immediately drive sales and that it became normal for indie rock bands to sell 100,000 records, exceeding expectations. Poorly reviewed albums had poor sales.

After Pitchfork awarded 9.7 to the debut album by Arcade Fire, Funeral (2004), it became the fastest-selling record in the history of Merge Records. Other acts whose careers were boosted by Pitchfork in the 2000s include the Dismemberment Plan, Clap Your Hands Say Yeah, Modest Mouse, Broken Social Scene, Bon Iver and Sufjan Stevens. Schreiber said: "We wanted to create a roster of artists who people found out about through Pitchfork, who became associated with Pitchfork." The managing editor, Scott Plagenhoef, downplayed the influence, saying Pitchfork merely "accelerated the process".

After Pitchfork awarded 0.0 to Travistan (2004), the debut solo album by the Dismemberment Plan singer Travis Morrison, his solo career effectively ended. Years later, Morrison described the experience as "frightening and awful". Schreiber said he felt bad for him, but that it was important for Pitchfork writers to be honest. Other albums to receive 0.0 include Zaireeka (1995) by the Flaming Lips, NYC Ghosts & Flowers (2000) by Sonic Youth, Liz Phair (2003) by Liz Phair and Shine On (2006) by Jet. The Jet review consisted entirely of a video of a chimp urinating into its own mouth and was widely shared. The authors of the Phair and Sonic Youth reviews later changed their opinions and apologized to the artists.

In Slate, Amos Barshad cited the band Black Kids as the most infamous example of Pitchfork "at its most deleterious". Pitchfork 's review of the debut Black Kids EP, Wizard of Ahhhs, boosted their career; however, when Pitchfork gave their debut album, Partie Traumatic (2008), a score of 3.3, with a review consisting entirely of a photograph of two frowning dogs and a frowning emoticon, their career collapsed. Plagenhoef said Pitchfork later became more cautious in publishing negative reviews, as they were no longer "little guys on the internet throwing rocks at big artists".

The influence of Pitchfork on musical careers declined with the onset of streaming and social media in the 2010s. In 2017, a senior editor for independent music at the streaming platform Spotify said that Pitchfork no longer had the same impact on artists' popularity. However, according to Tani, "Even as its GenX and old millennial fans aged and tastemaking shifted to platforms and influencers, Pitchfork remained the premier publication for music criticism, its year-end lists synonymous with critical acclaim."

title: Pitchfork (website)


text:
Babbitt (alloy)

Babbitt metal or bearing metal is any of several alloys used for the bearing surface in a plain bearing.

The original Babbitt alloy was invented in 1839 by Isaac Babbitt in Taunton, Massachusetts, United States. He disclosed one of his alloy recipes but kept others as trade secrets. Other formulations were developed later. Like other terms whose eponymous origin is long since deemphasized (such as diesel engine or eustachian tube), the term babbitt metal is frequently styled in lowercase. It is preferred over the term "white metal", because the latter term may refer to various bearing alloys, lead- or tin-based alloys, or zinc die-casting metal. Babbitt metal is most commonly used as a thin surface layer in a complex, multi-metal assembly, but its original use was as a cast-in-place bulk bearing material. Babbitt metal is characterized by its resistance to galling. Babbitt metal is soft and easily damaged, which suggests that it might be unsuitable for a bearing surface. However, its structure is made up of small hard crystals dispersed in a softer metal, which makes it, technically, a metal matrix composite. As the bearing wears, the softer metal erodes somewhat, creating paths for lubricant between the hard high spots that provide the actual bearing surface. When tin is used as the softer metal, friction causes the tin to melt and function as a lubricant, protecting the bearing from wear when other lubricants are absent.

Internal combustion engines use Babbitt metal which is primarily tin-based because it can withstand cyclic loading.

Traditional Babbitt bearings
In the traditional style of a babbitt metal bearing, a cast iron pillow block is assembled as a loose fit around the shaft, with the shaft in its approximate final position. The inner face of the cast iron pillow block is often drilled to form a key to locate the bearing metal as it is cast into place. The shaft is coated with soot as a release agent, the ends of the bearing are packed with clay to form a mold, and molten metal is poured into the cavity around the shaft, initially filling the lower half of the pillow block. The bearing is stripped, and the metal trimmed back to the top surface of the pillow block. Solidified babbitt metal is soft enough to be cut with a knife or sharp chisel.

A steel shim is inserted to protect the face of the lower bearing and to space the cap of the pillow block away from the shaft. After resealing the ends with clay, more metal is then poured to fill the cap of the pillow block through the hole in the top of the pillow block cap, which will eventually become a lubrication port.

The two halves of the bearing are then split at the shim, the shim removed, the oil holes cleared of metal and oil ways are cut into the surface of the new bearing. The shaft is smeared with engineer's blue and rotated in the bearing. When the bearing is disassembled the blue fills the hollows and is rubbed off the high spots, making them visible. The high spots are scraped down, and the process repeated, until a uniform and evenly distributed pattern of blue shows when the shaft is removed. The bearing is then cleaned and lubricated, and shimmed up such that the shaft is held firmly but not binding in the bearing. The bearing is then "run in" by being run heavily lubricated at low load and slow revolution, completing the process of exposing the hard bearing surface. After final adjustment of the shimming, a very reliable and high load capability bearing results.

Before the advent of low cost electric motors, power was distributed through factories from a central engine via overhead shafts running in hundreds of Babbitt bearings. Often leather, fabric or rubber belts would be used to transfer this rotating power to working machines.

The expression a "run bearing" also derives from this style of bearing, since failure of lubrication will lead to heat build-up due to friction in the bearing, eventually leading to the bearing metal melting and running out of the pillow block.

Modern Babbitt bearings
Until the mid-1950s, poured Babbitt bearings were common in automotive applications. The Babbitt was poured into the block or caps using a form. Tin-based Babbitts were used, as they could stand up to the impact loads found on the connecting rods and crankshaft. The poured Babbitt bearings were kept thin. The rods and caps would have shims that could be peeled off as the Babbitt wore down. Ford was known to use two 0.002" on each cap and Babbitt that was 86% tin, 7% copper, 7% antimony (see the KRW catalogs for the Model T). Steel shims were used, as the brass shims used today tend to compress over time, contributing to shorter bearing life. The poured Babbitt bearings commonly get over 50,000 miles of use before needing replacement. Poured Babbitt bearings are also known to fail gracefully, allowing the car to be driven for extended periods of time. The failed bearing is not likely to damage the crankshaft.

In more modern practice, the crankshaft and connecting-rod big-end bearings in a modern automobile engine are made of a replaceable steel shell, keyed to the bearing caps. The inner surface of the steel shell is plated with a coating of bronze, which is in turn coated with a thin layer of Babbitt metal as the bearing surface.

The process of laying down this layer of metal is known as Babbitting.

Alternative bearings
In many applications, rolling-element bearings, such as ball or roller bearings, have replaced Babbitt bearings. Though such bearings can offer a lower coefficient of friction than plain bearings, their key advantage is that they can operate reliably without a continuous pressurized supply of lubricant. Ball and roller bearings can also be used in configurations that are required to carry both radial and axial thrusts. However, rolling-element bearings lack the beneficial damping and shock-load capability provided by fluid-film bearings, such as the Babbitt.

The science of bearing Babbitt selection
The engineering of a bearing's Babbitt lining is usually completed during the design of the machine. In selecting the proper type of Babbitt for a particular job there are a number of factors to take into consideration, the most important of which are as follows:
 * 1) Surface speed of the shaft
 * 2) Load that the bearing is required to carry

There is no doubt that if a bearing is to be highly loaded in relation to its size, a high-tin alloy is desirable; whereas for much lower-speed work and less heavily loaded bearings, a lead-based Babbitt may be employed and is far more economical.

 * 1) Surface speed of the shaft (the number of feet traveled per minute by the shaft circumferentially):
 * Formula: S = $\pi$ × D × RPM / 12.
 * Example: Determine the surface of a 2-inch-diameter shaft going 1,400 revolutions per minute (RPM):
 * S = π × D × RPM / 12 = 3.1416 × 2 × 1,400 / 12 = 733.04 ft/min,
 * where π = 3.1416, D = diameter of shaft in inches, S = surface speed of the shaft.
 * 1) Load bearing is required to carry (the weight which is being exerted through the combined weights of the shaft and any other direct weights on the shaft and measured in pounds-force per square inch):
 * Formula: L = W / (I.D × L.O.B.).
 * Example: Determine the load on a bearing of a 2-inch I.D. bearing, 5 inches long and carrying a weight of 3,100 lbf:
 * W / (I.D x L.O.B.) = 3,100 / (2 × 5) = 310 lbf/in2,
 * where W = total weight carried by bearing, I.D = inside diameter of bearing, L.O.B = length of bearing, L = load bearing required to carry.

Babbitt bearing selection
While not subject to precise calculations, the following considerations must also be taken into account: For example, a bearing in continuous use in a harsh environment without regular maintenance will require different Babbitt and lubrication than a bearing in intermittent use in a clean, light duty environment. This so-called art is really the condensation of the experience of the technician and the experience of the bearing being rebuilt.
 * Continuity of service
 * Bonding characteristics
 * Cooling facilities
 * Lubrication
 * Cleanliness
 * Maintenance schedule for the bearing in use

If the bearing has performed well in use over many years, the bearing needs simply to be rebuilt to its original specification and formulation. In this case the technician's greatest concerns are:
 * 1) Bearing shell surface preparation
 * 2) Bonding characteristics of the tinning compound and the Babbitt layer and,
 * 3) Load bearing surface preparation and finish

Eco-Babbitt
Eco-Babbitt is an alloy of 90% Sn, 7% Zn, 3% Cu that is not technically a Babbitt metal. See Solder alloys for more information on Eco-Babbitt.

title: Babbitt (alloy)


text:
Talk:Babbitt (alloy)

Name change
I'd like to change the name of this article to Babbitt (metal), because most sources refer to the metal as "Babbitt" and not "Babbitt metal". One source is the Machinery's Handbook. Wizard191 (talk) 17:06, 23 April 2009 (UTC)

Information
75% lead and 10% tin do not add up to 100%. I recommend removing this bulletpoint until the actual composition can be found. — Preceding unsigned comment added by Promptx (talk • contribs) 15:06, 7 November 2011 (UTC)

Original Composition
The article states "Isaac Babbitt's exact formulation is not known with certainty", with a nebulous reference given, but in Isaac Babbitt's US Patent No. 1252, he states the use of a composition made up of tin, antimony, and copper, at a ratio of 50:5:1, respectively. Kacela (talk) 12:52, 25 September 2014 (UTC)

 * Interesting. I swear I have read in a 20th-century book that his exact composition is now unknown. But that patent tells exactly what one of his compositions was, and makes clear that he expected to use others, too (probably already had). The one thing I would add, however, before saying that "that book was undoubtedly wrong", would be to consider the context of a patent: although a patent involves revealing a good idea to the world, he probably had some further degree of trade secret up his sleeve (secret sauce, as they say) that he was being coy about in this patent. What I hear him saying between the lines is, "I'm telling you suckers an example of a good recipe, but don't kid yourselves that it's my only recipe or my best recipe." If others tried this published recipe and found that it didn't work as well as the bearings that Babbitt sold later, then he was using some other undisclosed formula, and they maybe had no way of analyzing it definitively. However, I must say that with all the gee-whiz mass spectrometry and chromatography advancements in recent decades, I wonder if nowadays they could determine it if given a good specimen. Which would change the "now unknown", even if it was true 40 years ago. — ¾-10 22:45, 26 September 2014 (UTC)

Additional information about use in art and decorative objects needed
It would be a great help if someone who knows a great deal more than I do about either metallurgy, antiques, or both would add some additional information about the use of this in making cheap trinket boxes, decorative sculptures, etc. for the masses. There are a host of small jewelry boxes made of this on Ebay, and it was in researching one of these that I ended up on this page -- on Ebay.fr the metal these are made of is consistently called "régule cuivré" but the only information I have been able to track down about it is on the French Wikipedia version of this page and it is unsourced. However if you request "Français" under languages on this page and let Google Chrome try to translate the page, you get a fairly understandable translation into English, along with a good image, and if you search "régule cuivré" you get a number of images. French Wikipedia simply titles this page "Régule" -- my suspicion is that régule refers to all Babbitt metal and that the cuivré describes a piece being made of either copper or brass alloy. Régule may mean simply mold or some related term in this context though and cuivré may describe the alloy of the Babbitt metal or may refer to the brass coating it was covered with. Someone whose French is far better than mine will have to sort this out, but considering the large number of objects made of this outside the industrial sphere, and that Wikipedia has become the first stop go-to source for non-experts to start researching a topic, it seems that it would be helpful for the article to make some mention of this non-industrial use. Cardweaver (talk) 06:08, 25 September 2014 (UTC)

title: Talk:Babbitt (alloy)


text:
Database design

Database design is the organization of data according to a database model. The designer determines what data must be stored and how the data elements interrelate. With this information, they can begin to fit the data to the database model. A database management system manages the data accordingly.

Database design is a process that consists of several steps.

Conceptual data modeling
The first step of database design involves classifying data and identifying interrelationships. The theoretical representation of data is called an ontology or a conceptual data model.

Determining data to be stored
In a majority of cases, the person designing a database is a person with expertise in database design, rather than expertise in the domain from which the data to be stored is drawn e.g. financial information, biological information etc. Therefore, the data to be stored in a particular database must be determined in cooperation with a person who does have expertise in that domain, and who is aware of the meaning of the data to be stored within the system.

This process is one which is generally considered part of requirements analysis, and requires skill on the part of the database designer to elicit the needed information from those with the domain knowledge. This is because those with the necessary domain knowledge often cannot clearly express the system requirements for the database as they are unaccustomed to thinking in terms of the discrete data elements which must be stored. Data to be stored can be determined by Requirement Specification.

Determining data relationships
Once a database designer is aware of the data which is to be stored within the database, they must then determine where dependency is within the data. Sometimes when data is changed you can be changing other data that is not visible. For example, in a list of names and addresses, assuming a situation where multiple people can have the same address, but one person cannot have more than one address, the address is dependent upon the name. When provided a name and the list the address can be uniquely determined; however, the inverse does not hold – when given an address and the list, a name cannot be uniquely determined because multiple people can reside at an address. Because an address is determined by a name, an address is considered dependent on a name.

(NOTE: A common misconception is that the relational model is so called because of the stating of relationships between data elements therein. This is not true. The relational model is so named because it is based upon the mathematical structures known as relations.)

Conceptual schema
The information obtained can be formalized in a diagram or schema. At this stage, it is a conceptual schema.

ER diagram (entity–relationship model)

One of the most common types of conceptual schemas is the ER (entity–relationship model) diagrams.

Attributes in ER diagrams are usually modeled as an oval with the name of the attribute, linked to the entity or relationship that contains the attribute.

ER models are commonly used in information system design; for example, they are used to describe information requirements and / or the types of information to be stored in the database during the conceptual structure design phase.

Logical data modeling
Once the relationships and dependencies amongst the various pieces of information have been determined, it is possible to arrange the data into a logical structure which can then be mapped into the storage objects supported by the database management system. In the case of relational databases the storage objects are tables which store data in rows and columns. In an Object database the storage objects correspond directly to the objects used by the Object-oriented programming language used to write the applications that will manage and access the data. The relationships may be defined as attributes of the object classes involved or as methods that operate on the object classes.

The way this mapping is generally performed is such that each set of related data which depends upon a single object, whether real or abstract, is placed in a table. Relationships between these dependent objects are then stored as links between the various objects.

Each table may represent an implementation of either a logical object or a relationship joining one or more instances of one or more logical objects. Relationships between tables may then be stored as links connecting child tables with parents. Since complex logical relationships are themselves tables they will probably have links to more than one parent.

Normalization
In the field of relational database design, normalization is a systematic way of ensuring that a database structure is suitable for general-purpose querying and free of certain undesirable characteristics—insertion, update, and deletion anomalies that could lead to loss of data integrity.

A standard piece of database design guidance is that the designer should create a fully normalized design; selective denormalization can subsequently be performed, but only for performance reasons. The trade-off is storage space vs performance. The more normalized the design is, the less data redundancy there is (and therefore, it takes up less space to store), however, common data retrieval patterns may now need complex joins, merges, and sorts to occur – which takes up more data read, and compute cycles. Some modeling disciplines, such as the dimensional modeling approach to data warehouse design, explicitly recommend non-normalized designs, i.e. designs that in large part do not adhere to 3NF. Normalization consists of normal forms that are 1NF, 2NF, 3NF, Boyce-Codd NF (3.5NF), 4NF, 5NF and 6NF.

Document databases take a different approach. A document that is stored in such a database, typically would contain more than one normalized data unit and often the relationships between the units as well. If all the data units and the relationships in question are often retrieved together, then this approach optimizes the number of retrieves. It also simplifies how data gets replicated, because now there is a clearly identifiable unit of data whose consistency is self-contained. Another consideration is that reading and writing a single document in such databases will require a single transaction – which can be an important consideration in a Microservices architecture. In such situations, often, portions of the document are retrieved from other services via an API and stored locally for efficiency reasons. If the data units were to be split out across the services, then a read (or write) to support a service consumer might require more than one service calls, and this could result in management of multiple transactions, which may not be preferred.

Physical data modeling
The physical design of the database specifies the physical configuration of the database on the storage media. This includes detailed specification of data elements and data types.

Other physical design
This step involves specifying the indexing options and other parameters residing in the DBMS data dictionary. It is the detailed design of a system that includes modules & the database's hardware & software specifications of the system. Some aspects that are addressed at the physical layer:
 * Security – end-user, as well as administrative security.
 * Performance – mainly addressed via indexing for the read/update/delete queries, data type choice for insert queries
 * Replication – what pieces of data get copied over into another database, and how often. Are there multiple-masters, or a single one?
 * High-availability – whether the configuration is active-passive, or active-active, the topology, coordination scheme, reliability targets, etc all have to be defined.
 * Partitioning – if the database is distributed, then for a single entity, how is the data distributed amongst all the partitions of the database, and how is partition failure taken into account.
 * Backup and restore schemes.

At the application level, other aspects of the physical design can include the need to define stored procedures, or materialized query views, OLAP cubes, etc.

Example: relational database data modeling
The following steps are suggestion of the data modeling process for Microsoft Access, a relational DBMS.
 * 1) Determine the purpose of the database – This helps prepare for the remaining steps.
 * 2) Find and organize the information required – Gather all of the types of information to record in the database, such as product name and order number.
 * 3) Divide the information into tables – Divide information items into major entities or subjects, such as Products or Orders. Each subject then becomes a table.
 * 4) Turn information items into columns – Decide what information needs to be stored in each table. Each item becomes a field, and is displayed as a column in the table. For example, an Employees table might include fields such as Last Name and Hire Date.
 * 5) Specify primary keys – Choose each table's primary key. The primary key is a column, or a set of columns, that is used to uniquely identify each row. An example might be Product ID or Order ID.
 * 6) Set up the table relationships – Look at each table and decide how the data in one table is related to the data in other tables. Add fields to tables or create new tables to clarify the relationships, as necessary.
 * 7) Refine the design – Analyze the design for errors. Create tables and add a few records of sample data. Check if results come from the tables as expected. Make adjustments to the design, as needed.
 * 8) Apply the normalization rules – Apply the data normalization rules to see if tables are structured correctly. Make adjustments to the tables, as needed.

title: Database design


text:
User:Demonslave

Yup, it's my user page

title: User:Demonslave


text:
Panzerfaust (disambiguation)

The German term Panzerfaust (Tank-fist) is a name given to a World War II–era disposable recoilless single-shot light anti-tank launcher, referring to their warheads having a caliber larger than their launcher tube, making them protrude like a fist.

Panzerfaust may also refer to:

 * Panzerfaust 2, a Cold War-era reloadable anti-tank rocket launcher, also known as the Panzerfaust 44 Lanze
 * Panzerfaust 3, a modern day–era semi-disposable anti-tank rocket launcher

The success of the Panzerfaust during WWII popularised the name and may refer to the following:

Military

 * Fliegende Panzerfaust, a very-short-range interceptor developed by Zeppelin during World War 2 to intercept Allied bomber aircraft
 * Operation Panzerfaust (Unternehmen Panzerfaust), the German military invasion of Hungary in October 1944

Music

 * Panzerfaust Records, a Minnesota-based white supremacist record label
 * Panzerfaust (album), an album by the Norwegian black metal band Darkthrone
 * Panzerfaust (band), a Canadian black metal band
 * Panzerfaust (song), a song by industrial band KMFDM on its 2011 album WTF?!

Other

 * Panzerfaust Magazine, a periodical (1967–1982) about wargaming

title: Panzerfaust (disambiguation)


text:
Sixth government of Jordi Pujol

The colors indicate the political party affiliation of each member:

So the statistics of the Government composition are:

title: Sixth government of Jordi Pujol