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.22 Short

.22 Short is a variety of .22 caliber (5.6 mm) rimfire ammunition. Developed in 1857 for the first Smith & Wesson revolver, the .22 rimfire was the first American metallic cartridge. The original loading was a 29 or bullet and 4 gr of black powder. The original .22 rimfire cartridge was renamed .22 Short with the introduction of the .22 Long in 1871.

Developed for self defense, the modern .22 Short, though still used in a few pocket pistols and mini-revolvers, is mainly used as a quiet round for practice by the recreational shooter. The .22 Short was popularly used in shooting galleries at fairs and arcades; several rifle makers produced "gallery" models for .22 Short exclusively. Due to its low recoil and good inherent accuracy, the .22 Short was used for the Olympic 25 meter rapid fire pistol event until 2004, and they were allowed in the shooting part of modern pentathlon competitions before they switched to air pistols.

Several makes of starter pistols use .22 Short blank cartridges. Some powder-actuated nail guns use .22 Short blanks as a power source.

Overview
Most .22 Short bullets are made of lead (usually coated with grease or wax, or copper) in round nose or hollow point styles. Bullets for use at shooting galleries were often made of compressed powdered metal that disintegrated on impact to avoid ricochets and over-penetration of backstops. The standard velocity .22 Short launches a 29 gr bullet at 1045 ft/s with 70 ft·lbf (95 J) of energy from a 22 in (559 mm) rifle barrel and can penetrate 2 in of soft pine.

As a hunting round, the high velocity hollow point Short is useful only for small game such as tree squirrels and rabbits. For small game hunting in general, the greater energy and wider ammunition selection of the .22 Long Rifle make it a more popular choice. In the American South, the .22 Short hollow point is still very popular for use on raccoons, which are treed at night using dogs and shooting is at close range. In some states, the .22 Short is the only legal round to use for such hunting.

Although the .22 Long Rifle has surpassed the .22 Short in the marketplace, many ammunition companies still produce .22 Shorts, and in a fairly wide variety. Most makers utilize the standard 29 gr solid round nose bullet and 27 gr hollow point bullet weights for the .22 Short. Several types are made by CCI: a CB Short at 727 ft/s, target Shorts at 830 ft/s, their standard Short round with plated round nose bullet at 1080 ft/s, and a high speed hunting load with plated hollow point bullet at 1105 ft/s. The .22 Short high-velocity exceeds the performance of the .22 Long (with the exception of CCI's High Velocity 1217fps Long loading), and the .22 Short has displaced the .22 Long as an alternate to the .22 Long Rifle for many .22 shooters. Fiocchi makes their Exacta Compensated Super Match SM200 with lead round nose at 650 ft/s. Remington produces a high velocity plated round nose at 1095 ft/s. Aguila makes both a match lead round nose at 1095 ft/s, and a "high speed" round with plated bullet also listed at 1095 ft/s. Also available is the RWS R25 match ammunition at 560 ft/s. Eley also makes their rapid fire match cartridge at 750 ft/s.

Most of the target oriented and CB Shorts are very quiet, due to being subsonic. When fired from a full-length rifle barrel, most .22 Short loadings are as quiet as if not quieter than, the average air rifle.

The Aguila SubSonic Sniper round uses a .22 Short case with a 60 gr bullet (twice the weight of the .22 short bullet and 50% heavier than a .22 Long Rifle bullet) giving an overall length of a .22 Long Rifle round, making categorizing the SSS problematic: while the SSS case size is .22 Short, the firing chamber of the barrel must be .22 LR dimensions to accept the SSS cartridge.

.22 Short-caliber rifles
There have been many rifles chambered for the .22 Short over the years, but only several lever action rifles are currently chambered for this round, notably Henry Repeating Arms and Marlin Firearms Co. lever action rifles. The Marlin Golden 39A model represents the oldest and longest continuously produced shoulder firearm in the world. Many rifles in .22 Short were made between 1901 and 1940, mostly intended for gallery shooting and small game hunting. Remington and Winchester produced the most rifles in .22 Short. Remington has made their Model 24 and Model 241 "Speedmaster" semi-autos as well as their Model 12 and 121 "Fieldmaster" pump actions in .22 Short. Remington's Nylon 66 GS Gallery Special (1962 to 1981) was one of the last .22 Short-only rifles made especially for shooting gallery use. Winchester produced a variety of different rifles in .22 Short, including the 1873 lever action, 1885 single shot (in both low wall and high wall variations), Model 1890, 1906 and 62A pump actions, Model 74 semi-auto, and Model 61 pump action. Many of their bolt-action rifles were available on a special-order basis in .22 Short. Browning/FN also produced their dainty takedown semi-auto in .22 Short, on the same John Browning design upon which the Remington Model 24 is based.

Many of these rifles are now collectors’ items, particularly the Winchesters, and demand a premium in price over the same rifle chambered in .22 Long Rifle.

Many rifles marked ".22 Short, Long and Long Rifle" (or ".22 S, L, LR") will not shoot Shorts with the same accuracy as they will a Long Rifle round nor as accurately as a rifle designed for .22 Short. This is due to the excess chamber length needed to allow chambering of .22 LR cartridges. This requires the bullet from a .22 Short to travel a short distance before it engages the rifling, which is detrimental to accuracy. In addition, barrels made for .22 Short are rifled with a rate of twist of one turn in twenty inches, while barrels made for .22 Long Rifle have a twist of one turn in sixteen inches.

title: .22 Short


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.22 Long

The .22 Long is a variety of .22 caliber (5.6 mm) rimfire ammunition. The .22 Long is the second-oldest of the surviving rimfire cartridges, dating back to 1871, when it was loaded with a 29 gr bullet and 5 gr of black powder, 25% more than the .22 Short on which it was based. It was designed for use in revolvers, but was soon chambered in rifles as well, in which it gained a reputation as a small game cartridge.

In 1887, the .22 Long case was combined with the heavier 40 gr bullet of the .22 Extra Long of 1880 to produce the .22 Long Rifle, giving a longer overall length and a higher muzzle energy. Many firearms designed for the .22 Long Rifle will chamber and fire the shorter round, though the .22 Long generally does not generate sufficient energy to operate semi-automatic guns. The one prominent survivor of the .22 Long is the .22 CB Long, a long-cased version of the .22 CB.

The original .22 Long loading used the same powder charge as the .22 Long Rifle, .22 Long bullet was significantly lighter, but it did not result in higher velocities for the .22 Long when fired from a rifle. The large barrel volume to chamber volume ratio of a .22 rimfire rifle means that the powder gasses have expanded as far as they can before the bullet reaches the muzzle of a normal-length rifle barrel, and the light .22 Long bullet has less inertia than the .22 Long Rifle. The quieter report and lower penetration of the .22 Long cartridge were often seen as desirable qualities.

The .22 Long Rifle performs as well in a short handgun barrel as the .22 Long, and outperforms it in a long rifle barrel.

Modern Hypervelocity loadings of the .22 Long Rifle use bullets as light as 30 gr, and modern blends of powder to generate velocities higher than normal loads, and chamber pressures high enough to cycle semi-automatic firearms reliably. The most well known of these is the CCI Stinger, which goes so far as to stretch the case length slightly. The overall length is still within the max overall length for the .22 Long Rifle.

The .22 Long is still produced even after the change over to smokeless powders. CCI currently loads a high-velocity .22 Long with a muzzle velocity of 1215 ft/s and a muzzle energy of 95 ftlbf

Specifications

 * Length:
 * Case: 0.613 in (15.6 mm)
 * Overall: 0.888 in (22.6 mm)
 * Bullet weight: 29 gr (1.88 g)
 * Twist: 1 in 20 for dedicated firearms

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

title: .22 Long


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Edith Massey (actress)

Edith Massey (born Edith Y. Dornfeld; May 28, 1918 – October 24, 1984) was an American actress and singer. Massey was best known for her appearances in a series of movies by director John Waters. She was one of the Dreamlanders, Waters's stable of regular cast and crew members.

Early life
Born as Edith Dornfeld on May 28, 1918, in New York City, she was the daughter of Bessie (née Lansnek, 1896–1925) and Samuel Dornfeld (1891–1918), an Austrian-born Jewish couple. Samuel, who was a World War I veteran, died five months after Massey's birth due to complications as a result from a gas attack during the war.

The 1920 United States Federal Census recorded Edith, age one, living on Lewis Street in Manhattan, New York, with her three-year-old sister, Etta, and their widowed mother, Bessie, who was 22 years old. The following year, on March 9, 1921, Bessie married her second husband, Max Grodsky, in Denver, Colorado.

According to Massey's half-brother, Morris Grodsky, their parents "just threw up their hands one day, dropped off those who couldn't fend for themselves at a local orphanage or 'home,' and disappeared". According to Grodsky, who was also left there, the Jewish orphanage was not a terrible place, though he remembered being always hungry. Massey's mother died March 1, 1925.

In the 1975 documentary Love Letter to Edie, Massey said she was raised in an orphanage and eventually was placed in a foster home. Her foster family members were cruel to her and, as a teenager, she ran away to Hollywood. In the documentary Divine Waters (1981), Massey explained that she was "born in New York, but raised in Denver....I was movie crazy, so I went to California to try and get in the movies, but instead I became a barmaid."

While in Los Angeles, California, she married soldier Findley Eli Stitson on November 26, 1938, leaving him about five years later because she got "restless". However, in Divine Waters, Massey said that the marriage lasted "about seven years. It was my fault; I left him for another man, so I blame myself for it."

She worked in several odd jobs through the years, and she eventually relocated to Baltimore, Maryland where she worked as a barmaid at Pete's Hotel in the Fell's Point neighborhood. Filmmaker John Waters met Massey while she was working at Pete's Hotel in 1969 and offered her a role as herself in the film Multiple Maniacs. In the early 1970s, she quit her job at Pete's and opened a thrift store called Edith's Shopping Bag, also in Fell's Point.

Collaboration with John Waters
Massey gained a cult following from her appearances in five films directed by John Waters: Multiple Maniacs (1970), in which she appeared as herself and, in a dream sequence, as the Virgin Mary; Pink Flamingos (1972), playing Divine's egg-loving mother, Edie; Female Trouble (1974), as Aunt Ida; Desperate Living (1977), as the evil Queen Carlotta of Mortville; and in her final role in a Waters film, Polyester (1981), as Cuddles Kovinsky.

Later career and death
In the late 1970s and early 1980s, Massey capitalized on the infamy of Waters's films by touring as the lead singer of a punk band, Edie and the Eggs. She also posed for a series of greeting cards. Later, when the Baltimore winters became too much for her to endure, she moved to Venice, California, where she opened another thrift store with the money she earned from acting in Waters's films. In 1980, she was featured in John Mellencamp's music video for "This Time" and also appears on the cover of Mellencamp's album Nothin' Matters and What If It Did.

In 1982, Massey recorded a cover of The Four Seasons' "Big Girls Don't Cry" that was included on the compilation albums The Rhino Brothers Present the World's Worst Records and A Date With John Waters.

The year she died, Massey starred in her final film, Mutants in Paradise. She read for a role in Paul Bartel's Western parody Lust in the Dust (1985) opposite longtime co-star Divine, but actress Nedra Volz was cast instead.

Massey died of complications of lymphoma and diabetes on October 24, 1984, aged 66, in Los Angeles. Her body was cremated, and her ashes were scattered in the Garden of Roses at Westwood Village Memorial Park Cemetery in Los Angeles.

Legacy
Director Robert Maier made a "mockumentary" short about her in 1975 titled Love Letter to Edie. There is a director's authorized version re-mastered from his original 16mm color film footage.

title: Edith Massey (actress)


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Input–output model

In economics, an input–output model is a quantitative economic model that represents the interdependencies between different sectors of a national economy or different regional economies. Wassily Leontief (1906–1999) is credited with developing this type of analysis and earned the Nobel Prize in Economics for his development of this model.

Origins
Francois Quesnay had developed a cruder version of this technique called Tableau économique, and Léon Walras's work Elements of Pure Economics on general equilibrium theory also was a forerunner and made a generalization of Leontief's seminal concept.

Alexander Bogdanov has been credited with originating the concept in a report delivered to the All Russia Conference on the Scientific Organisation of Labour and Production Processes, in January 1921. This approach was also developed by Lev Kritzman. Thomas Remington, has argued that their work provided a link between Quesnay's tableau économique and the subsequent contributions by Vladimir Groman and Vladimir Bazarov to Gosplan's method of material balance planning.

Wassily Leontief's work in the input–output model was influenced by the works of the classical economists Karl Marx and Jean Charles Léonard de Sismondi. Karl Marx's economics provided an early outline involving a set of tables where the economy consisted of two interlinked departments.

Leontief was the first to use a matrix representation of a national (or regional) economy.

Basic derivation
The model depicts inter-industry relationships within an economy, showing how output from one industrial sector may become an input to another industrial sector. In the inter-industry matrix, column entries typically represent inputs to an industrial sector, while row entries represent outputs from a given sector. This format, therefore, shows how dependent each sector is on every other sector, both as a customer of outputs from other sectors and as a supplier of inputs. Sectors may also depend internally on a portion of their own production as delineated by the entries of the matrix diagonal. Each column of the input–output matrix shows the monetary value of inputs to each sector and each row represents the value of each sector's outputs.

Say that we have an economy with $$ n $$ sectors. Each sector produces $$ x_i $$ units of a single homogeneous good. Assume that the $$ j $$th sector, in order to produce 1 unit, must use $$ a_{ij} $$ units from sector $$ i $$. Furthermore, assume that each sector sells some of its output to other sectors (intermediate output) and some of its output to consumers (final output, or final demand). Call final demand in the $$ i $$th sector $$ y_i $$. Then we might write

x_i = a_{i1}x_1 + a_{i2}x_2 + \cdots + a_{in}x_n + y_i, $$

or total output equals intermediate output plus final output. If we let $$ A $$ be the matrix of coefficients $$ a_{ij} $$, $$\mathbf x $$ be the vector of total output, and $$\mathbf y $$ be the vector of final demand, then our expression for the economy becomes

which after re-writing becomes $$ \left(I - A\right)\mathbf{x} = \mathbf{y} $$. If the matrix $$ I - A $$ is invertible then this is a linear system of equations with a unique solution, and so given some final demand vector the required output can be found. Furthermore, if the principal minors of the matrix $$ I - A $$ are all positive (known as the Hawkins–Simon condition), the required output vector $$\mathbf x $$ is non-negative.

Example
Consider an economy with two goods, A and B. The matrix of coefficients and the final demand is given by

A = \begin{bmatrix} 0.5 & 0.2 \\ 0.4 & 0.1 \end{bmatrix} \text{ and } \mathbf{y} = \begin{bmatrix} 7 \\ 4 \end{bmatrix}. $$

Intuitively, this corresponds to finding the amount of output each sector should produce given that we want 7 units of good A and 4 units of good B. Then solving the system of linear equations derived above gives us

\mathbf{x} = \left(I - A\right)^{-1} \mathbf{y} = \begin{bmatrix} 19.19 \\ 12.97 \end{bmatrix}. $$

Further research
There is extensive literature on these models. The model has been extended to work with non-linear relationships between sectors. There is the Hawkins–Simon condition on producibility. There has been research on disaggregation to clustered inter-industry flows, and on the study of constellations of industries. A great deal of empirical work has been done to identify coefficients, and data has been published for the national economy as well as for regions. The Leontief system can be extended to a model of general equilibrium; it offers a method of decomposing work done at a macro level.

Regional multipliers
While national input–output tables are commonly created by countries' statistics agencies, officially published regional input–output tables are rare. Therefore, economists often use location quotients to create regional multipliers starting from national data. This technique has been criticized because there are several location quotient regionalization techniques, and none are universally superior across all use-cases.

Introducing transportation
Transportation is implicit in the notion of inter-industry flows. It is explicitly recognized when transportation is identified as an industry – how much is purchased from transportation in order to produce. But this is not very satisfactory because transportation requirements differ, depending on industry locations and capacity constraints on regional production. Also, the receiver of goods generally pays freight cost, and often transportation data are lost because transportation costs are treated as part of the cost of the goods.

Walter Isard and his student, Leon Moses, were quick to see the spatial economy and transportation implications of input–output, and began work in this area in the 1950s developing a concept of interregional input–output. Take a one region versus the world case. We wish to know something about inter-regional commodity flows, so introduce a column into the table headed "exports" and we introduce an "import" row.

A more satisfactory way to proceed would be to tie regions together at the industry level. That is, we could identify both intra-region inter-industry transactions and inter-region inter-industry transactions. The problem here is that the table grows quickly.

Input–output is conceptually simple. Its extension to a model of equilibrium in the national economy has been done successfully using high-quality data. One who wishes to work with input–output systems must deal with industry classification, data estimation, and inverting very large, often ill-conditioned matrices. The quality of the data and matrices of the input-output model can be improved by modelling activities with digital twins and solving the problem of optimizing management decisions. Moreover, changes in relative prices are not readily handled by this modelling approach alone. Input–output accounts are part and parcel to a more flexible form of modelling, computable general equilibrium models.

Two additional difficulties are of interest in transportation work. There is the question of substituting one input for another, and there is the question about the stability of coefficients as production increases or decreases. These are intertwined questions. They have to do with the nature of regional production functions.

Technology Assumptions
To construct input-output tables from supply and use tables, four principal assumptions can be applied. The choice depends on whether product-by-product or industry-by-industry input-output tables are to be established.

Usefulness
Because the input–output model is fundamentally linear in nature, it lends itself to rapid computation as well as flexibility in computing the effects of changes in demand. Input–output models for different regions can also be linked together to investigate the effects of inter-regional trade, and additional columns can be added to the table to perform environmentally extended input–output analysis (EEIOA). For example, information on fossil fuel inputs to each sector can be used to investigate flows of embodied carbon within and between different economies.

The structure of the input–output model has been incorporated into national accounting in many developed countries, and as such can be used to calculate important measures such as national GDP. Input–output economics has been used to study regional economies within a nation, and as a tool for national and regional economic planning. A main use of input–output analysis is to measure the economic impacts of events as well as public investments or programs as shown by IMPLAN and Regional Input–Output Modeling System. It is also used to identify economically related industry clusters and also so-called "key" or "target" industries (industries that are most likely to enhance the internal coherence of a specified economy). By linking industrial output to satellite accounts articulating energy use, effluent production, space needs, and so on, input–output analysts have extended the approaches application to a wide variety of uses.

Input–output and socialist planning
The input–output model is one of the major conceptual models for a socialist planned economy. This model involves the direct determination of physical quantities to be produced in each industry, which are used to formulate a consistent economic plan of resource allocation. This method of planning is contrasted with price-directed Lange-model socialism and Soviet-style material balance planning.

In the economy of the Soviet Union, planning was conducted using the method of material balances up until the country's dissolution. The method of material balances was first developed in the 1930s during the Soviet Union's rapid industrialization drive. Input–output planning was never adopted because the material balance system had become entrenched in the Soviet economy, and input–output planning was shunned for ideological reasons. As a result, the benefits of consistent and detailed planning through input–output analysis were never realized in the Soviet-type economies.

Measuring input–output tables
The mathematics of input–output economics is straightforward, but the data requirements are enormous because the expenditures and revenues of each branch of economic activity have to be represented. As a result, not all countries collect the required data and data quality varies, even though a set of standards for the data's collection has been set out by the United Nations through its System of National Accounts (SNA): the most recent standard is the 2008 SNA. Because the data collection and preparation process for the input–output accounts is necessarily labor and computer intensive, input–output tables are often published long after the year in which the data were collected—typically as much as 5–7 years after. Moreover, the economic "snapshot" that the benchmark version of the tables provides of the economy's cross-section is typically taken only once every few years, at best.

However, many developed countries estimate input–output accounts annually and with much greater recency. This is because while most uses of the input–output analysis focus on the matrix set of inter-industry exchanges, the actual focus of the analysis from the perspective of most national statistical agencies is the benchmarking of gross domestic product. Input–output tables therefore are an instrumental part of national accounts. As suggested above, the core input–output table reports only intermediate goods and services that are exchanged among industries. But an array of row vectors, typically aligned at the bottom of this matrix, record non-industrial inputs by industry like payments for labor; indirect business taxes; dividends, interest, and rents; capital consumption allowances (depreciation); other property-type income (like profits); and purchases from foreign suppliers (imports). At a national level, although excluding the imports, when summed this is called "gross product originating" or "gross domestic product by industry." Another array of column vectors is called "final demand" or "gross product consumed." This displays columns of spending by households, governments, changes in industry stocks, and industries on investment, as well as net exports. (See also Gross domestic product.) In any case, by employing the results of an economic census which asks for the sales, payrolls, and material/equipment/service input of each establishment, statistical agencies back into estimates of industry-level profits and investments using the input–output matrix as a sort of double-accounting framework.

The Leontef IO model with capital formation endogenized
The IO model discussed above is static because it does not describe the evolution of the economy over time: it does not include different time periods. Dynamic Leontief models are obtained by endogenizing the formation of capital stock over time. Denote by $$y^I$$the vector of capital formation, with $$y^I_i$$ its $$i$$th element, and by $$I_{ij}(t)$$ the amount of capital good $$i$$ (for example, a blade) used in sector $$j$$ ( for example, wind power generation), for investment at time $$t$$. We then have

$$ y^I_i(t) = \sum_j I_{ij}(t) $$

We assume that it takes one year for investment in plant and equipment to become productive capacity. Denoting by $$K_{ij}(t)$$ the stock of $$i$$ at the beginning of time $$t$$, and by $$\delta \in (0,1]$$ the rate of depreciation, we then have:

Here, $$\delta_{ij}K_{ij}(t)$$ refers to the amount of capital stock that is used up in year $$t$$. Denote by $$\bar{x}_j(t)$$ the productive capacity in $$t$$, and assume the following proportionalty between $$K_{ij}(t)$$ and $$\bar{x}_j(t)$$:

The matrix $$B=[b_{ij}]$$ is called the capital coefficient matrix. From ($$) and ($$), we obtain the following expression for $$y^I$$:

$$ y^I(t) = B\bar{x}(t+1) + (\delta - I)\bar{x}(t) $$

Assuming that the productive capacity is always fully utilized, we obtain the following expression for ($$) with endogenized capital formation:

$$ x(t) = Ax(t)+Bx(t+1)+ (\delta-I)Bx(t) + y^o(t), $$

where $$y^o$$ stands for the items of final demand other than $$y^I$$.

Rearranged, we have

$$ \begin{align} Bx(t+1) &= (I-A + (I-\delta)B)x(t) - y^o(t)\\ &= (I - \bar{A} + B)x(t) - y^o(t) \end{align} $$

wehere $$\bar{A}=A + \delta B$$.

If $$B$$ is non-singular, this model could be solved for $$x(t+1)$$ for given $$x(t)$$ and $$y^o(t)$$:

$$ x(t+1) = [I + B^{-1}(I- \bar{A})]x(t) - B^{-1}y^o(t) $$

This is the Leontief dynamic forward-looking model

A caveat to this model is that $$B$$ will, in general, be singular, and the above formulation cannot be obtained. This is because some products, such as energy items, are not used as capital goods, and the corresponding rows of the matrix $$B$$ will be zeros. This fact has prompted some researchers to consolidate the sectors until the non-singularity of $$B$$ is achieved, at the cost of sector resolution. Apart from this feature, many studies have found that the outcomes obtained for this forward-looking model invariably lead to unrealistic and widely fluctuating results that lack economic interpretation. This has resulted in a gradual decline in interest in the model after the 1970s, although there is a recent increase in interest within the context of disaster analysis.

Input–output analysis versus consistency analysis
Despite the clear ability of the input–output model to depict and analyze the dependence of one industry or sector on another, Leontief and others never managed to introduce the full spectrum of dependency relations in a market economy. In 2003, Mohammad Gani, a pupil of Leontief, introduced consistency analysis in his book Foundations of Economic Science, which formally looks exactly like the input–output table but explores the dependency relations in terms of payments and intermediation relations. Consistency analysis explores the consistency of plans of buyers and sellers by decomposing the input–output table into four matrices, each for a different kind of means of payment. It integrates micro and macroeconomics into one model and deals with money in a value-free manner. It deals with the flow of funds via the movement of goods.

Models

 * REMI (Regional Economic Models, Inc.)
 * IMPLAN (Impact Analysis for Planning)
 * REDYN (Regional Dynamics Model)

title: Input–output model


text: Category:Gaines County, Texas

title: Category:Gaines County, Texas


text:
NH2

NH2 or similar may refer to:

 * Azanide (chemical formula )
 * Amino radical (chemical formula )
 * Nitrenium ion (chemical formula )
 * Primary amide group (chemical formula )
 * National Harbor–Alexandria Line (Route NH2), a WMATA bus line between Alexandria, Virginia and Prince George's County, Maryland
 * National Highway 2 (India)
 * New Hampshire's 2nd congressional district

title: NH2


text:
Andreas Karlstadt

Andreas Rudolph Bodenstein von Karlstadt (1486 – 24 December 1541), better known as Andreas Karlstadt, Andreas Carlstadt or Karolostadt, in Latin, Carolstadius, or simply as Andreas Bodenstein, was a German Protestant theologian, University of Wittenberg chancellor, a contemporary of Martin Luther and a reformer of the early Reformation.

Karlstadt became a close associate of Martin Luther and one of the earliest Protestant Reformers. After Frederick III, Elector of Saxony concealed Luther at the Wartburg (1521–1522), Karlstadt and Thomas Müntzer started the first iconoclastic movement in Wittenberg and preached theology that was viewed as Anabaptist, but Karlstadt and Müntzer never regarded themselves as Anabaptists.

Karlstadt operated as a church reformer largely in his own right, and after coming in conflict with Luther, he switched his allegiance from the Lutheran to the Reformed camp, and later became a radical reformer before once again returning to the Reformed tradition. First, he served as one of many Lutheran preachers in Wittenberg. He travelled widely, but only within the borders of the Holy Roman Empire, visiting German-speaking, French-speaking and Italian-speaking lands. By the end of his life he had allied himself with Heinrich Bullinger in Switzerland and worked in Basel, where he eventually died. Despite coming closer to the Reformed tradition by the time of his death, Karlstadt maintained his own distinct understanding on many theological issues throughout much of his life.

Education
Karlstadt received his doctorate of theology in 1510 from the University of Wittenberg. Previously, Karlstadt had been educated at Erfurt (1499–1503) and in Cologne (1503–1505). Karlstadt obtained his master's degree from the newly founded university at Wittenberg in 1505, and received his doctorate from the same university five years later.

In the same year in which Karlstadt received his doctorate he became archdeacon and the chair of the theology department. In 1511 he became chancellor of Wittenberg university. In 1512 he awarded Martin Luther his doctorate. From 1515–16, he studied in Rome, where he obtained the double degree in canon and civil law (utriusque juris) at the Sapienza university.

Reformation
Before 1515, Karlstadt was a proponent of a modified scholasticism. He was a "secular" cleric with no official ties to any monastic order. His beliefs were challenged during his stay in Rome, where he alleges he saw large-scale corruption in the Catholic Church, and on a document dated 16 September 1516 he wrote a series of 151 theses. (These should not be confused with Luther's 95 theses (1517) that attacked indulgences.)

In 1519, Johann Eck challenged Karlstadt to the Leipzig Debate. There, Eck debated with Luther as well as Karlstadt.

On 15 June 1520 Pope Leo X issued the papal bull Exsurge Domine that threatened Luther and Karlstadt with excommunication, and condemned several of their theses. Both reformers remained steadfast, and excommunication followed in 1521 in the papal bull Decet Romanum Pontificem.

After the Diet of Worms (January–May, 1521), and while Luther was hiding at Wartburg Castle, Karlstadt worked toward reform in Wittenberg. On Christmas Day 1521, he performed the first reformed communion service. He did not elevate the elements of communion, wore secular clothing during the service, and purged all references to sacrifice from the traditional Mass. He shouted rather than whispered the words of institution ("This is my body....", etc.) in German instead of Latin, rejected confession as a prerequisite for communion, and let the communicants take both bread and wine on their own during the Communion.

In early January 1522, the Wittenberg city council authorized the removal of imagery from churches and affirmed the changes introduced by Karlstadt on Christmas. Karlstadt wrote his thesis "On the Removal of Images and That There Should Be No Beggars Among Christians" in 1522, shortly after this authorization from the city council. On 19 January Karlstadt married Anna von Mochau, the fifteen-year-old daughter of a poor nobleman. On 20 January the imperial government and the Pope ordered Frederick the Wise, Elector of Saxony to undo the changes. Frederick let most of the Mass revert to its Catholic form, but in a letter to the Wittenberg Council, he noted his personal compassion for Karlstadt.

Relationship with Luther
In the first week of March, Luther returned from Wartburg. From 9–16 March Luther gave eight sermons in which he stressed some theological similarities with Karlstadt, but, in hindsight, urged caution. This was a major turning point between Karlstadt and Luther. Karlstadt reasserted some of his moderately mystical leanings, continued wearing peasants' clothing, asked to be called "Brother Andreas," and became disillusioned with academic life. In fact, he renounced his three doctoral degrees, and, according to one source, "gave excellent but infrequent lectures."

In May 1523, Karlstadt was invited by the church of Orlamünde to be its pastor, and he accepted at once. Here he instituted all his radical reforms, and Orlamünde became the model of a congregationalist reformation. Church music and art were set aside, clerical matrimony was preached, and infant baptism was rejected. Perhaps most importantly, in Orlamünde Karlstadt denied the physical but affirmed the spiritual presence of Christ in the communion.

From Spring 1524, Luther started to campaign against Karlstadt, denying his right to publish and preach without Luther's authorization. In June, Karlstadt resigned as archdeacon. In July, Luther published the Letter to the Saxon Princes, in which he argued that Thomas Müntzer and Karlstadt agreed, and were both dangerous sectarians with revolutionary tendencies. Karlstadt defended the observance of the Sabbath, the seventh day of the week, as a holy day to the Lord. Martin Luther differed from him as he believed that Christians were free to observe any day of the week, provided it was uniform. His defense of the Sabbath, and others among the Anabaptists, caused him to be censured as a Jew and a heretic.

On 22 August 1524, Luther preached in Jena. Karlstadt hid in the crowd during Luther’s preaching, and wrote to Luther, asking to see him. This led to the well-known confrontation at the Black Bear Inn in a conversation recorded by a Martin Reinhardt and published within a month. There was a number of misunderstandings between the two men. For example, Luther said that he was convinced that Karlstadt had revolutionary tendencies, despite the fact that Karlstadt had all along rejected violence in the name of religion, and rejected Thomas Müntzer's invitation to join the League of the Elect. Karlstadt's answer was published in 1524 in Wittenberg, and is still extant. This showed that Karlstadt continued to reject the violence that led to the German Peasants' War. Another defamation was Luther's accusation that Karlstadt was not authorized to preach at the city church in Wittenberg during Luther’s stay at Wartburg. The conversation ended when Luther gave Karlstadt a guilder and told him to write against him. In September 1524 Karlstadt was exiled from Saxony by Frederick the Wise and George, Duke of Saxony. Luther also wrote against Karlstadt in his 1526 The Sacrament of the Body and Blood of Christ—Against the Fanatics.

Peasant War
When the Peasant War broke out, Karlstadt was threatened and wrote to Luther and asked for assistance. Luther took him in, and Karlstadt lived secretly in Luther's house for eight weeks. However, Karlstadt had to sign a pseudo retraction, titled "Apology by Dr. Andreas Karlstadt Regarding the False Charge of Insurrection Which has Unjustly Been Made Against Him." It also contained a preface by Luther. In March, Katharina, Luther's wife, became godmother to one of Karlstadt's children. Karlstadt was not allowed to preach or publish, and supported his family as a farmer and peddler near Wittenberg until 1529.

Iconoclasm and Marian views
Some of the Protestant reformers, in particular Andreas Karlstadt, together with Huldrych Zwingli and John Calvin encouraged the removal of religious images by invoking the Decalogue's prohibition of idolatry and the manufacture of graven images of God. As a result, religious statues and images were destroyed and damaged in spontaneous individual attacks as well as unauthorised iconoclastic riots. Erasmus described in a letter of 1529 such a riot that had occurred in Basel:

"They heaped such insults on the images of the saints, and the crucifix itself, that it is quite surprising there was no miracle. ... Not a statue was left either in the churches, or the vestibules, or the porches, or the monasteries. The frescoes were obliterated by means of a coating of lime; whatever would burn was thrown into the fire, and the rest pounded into fragments. Nothing was spared for either love or money."

Karlstadt has been seen as closely associated with "Bildersturm" (see Beeldenstorm), as he was at the time. In 1522, he convinced the Council of Wittenberg to order the removal of a number of images from the local churches, which had "catastrophic consequences." Martin Luther distanced himself from these actions. On 12 March 1522 Karlstadt spoke about Marian pictures, which were venerated at the time, and urged that they all be removed. Special aim was taken at Marian pictures visited in pilgrimages, but he also called for the removal of all public religious imagery and symbols. He asked for the destruction of Marian shrines such as the church Mary the Beautiful in Regensburg. Karlstadt was supported by Martin Bucer, Huldrych Zwingli and John Calvin.

Yet this was more than a local German event. Significant iconoclastic riots took place in Zürich (in 1523), Copenhagen (1530), Münster (1534), Geneva (1535), Augsburg (1537), and Perth (1559). The Seventeen Provinces (now the Netherlands and Belgium and parts of northern France) were hit by a large wave of Protestant iconoclasm in the summer of 1566. In the Netherlands this is called the "Beeldenstorm" and began with the destruction of all the images of the Monastery of Saint Lawrence in Steenvoorde after a "Hagenpreek" (field sermon) by Sebastiaan Matte, and the sacking of the Monastery of Saint Anthony after a sermon by Jacob de Buysere. The "Beeldenstorm" is often held to mark the start of the Dutch Revolt against the Habsburg rulers of the Netherlands, although the fighting did not begin in earnest for some years.

Death and legacy
Fleeing Saxony, Karlstadt served as a minister in Switzerland in Altstätten and Zürich. In 1534, he went to Basel as minister of the university church and Professor of Hebrew and Dean of the university. He remained in Basel until he died of the plague on 24 December 1541.

During Karlstadt's lifetime he published about 90 writings in about 213 editions. Between the years 1518–1525, 125 editions of his works were published in Germany, more than any other writer, save Luther. Karlstadt anticipated many Anabaptist viewpoints. His books on the Lord's Supper were published with the co-operation of the Swiss Brethren in Zürich, specifically Felix Mantz and probably Andreas Castelberg, as well as Karlstadt's brother-in-law, Gerhard Westerburg of Cologne, who baptized over 2,000 adults in his swimming pool. Karlstadt's influence on Protestantism in general included the abolition of mandatory celibacy (he married more than three years before Luther, and published several writings on the subject, both in Latin and German). As to images and liturgy, he influenced Zwingli and the Anabaptists directly, and, indirectly, the Baptists and Presbyterian Protestants. He had a remarkable impact on the furrier Melchior Hoffman, who spread Anabaptist ideas to northern Germany and what is now the Netherlands. In Amsterdam, the founders of the English Baptists, John Smyth and Thomas Helwys, accepted central teachings from the Waterlander Mennonites.

Works

 * On the Canon of Scripture (in Latin, De canonicis scripturis libellus 1520; in German, 1521-2)
 * On the Removal of Images [Von abtuhung der Bylder], (Wittenberg 1522)
 * On Baptism [Dialogus vom Tauff der Kinder], (Worms 1527)
 * Letter from the Community of Orlamünde to the people of Allstedt, on how Christians ought to fight., (Wittenberg: 1524).

title: Andreas Karlstadt


text:
Wikipedia:Articles for deletion/Physical human person

Physical human person
This was listed as a candidate for speedy deletion by User:Joy Stovall. I don't believe it fits any of the descriptions of such pages. The page is quite nonsensical, but I don't know wether any information can be salvaged. Thus, no vote from me. — David Remahl 15:07, 3 Oct 2004 (UTC)
 * Delete Sounds like it should be an interesting article - it isn't and nothing looks salvagable to me (which would leave it as an empty page). Rather a pity as I'm sure there's lots that could be written about it. Jongarrettuk 15:37, 3 Oct 2004 (UTC)
 * Delete A not very successful attempt to micro-define "human." Even if it were cleaned up (such as to not imply that infertile people aren't human!), it still wouldn't really make sense as an article.
 * Delete. The material (such as it is) is of a philosophical bent inappropriate to an encyclopaedia. Fire Star 18:30, 3 Oct 2004 (UTC)
 * Delete. Concur with FireStar --Improv 21:46, 4 Oct 2004 (UTC)
 * Delete. Idiosyncratic dictdef.   — Gwalla | Talk 18:09, 4 Oct 2004 (UTC)
 * Delete, original research. Not a well-established term with that meaning. Better to err on the side of VfD listing, but I personally think this one could have been a speedy. [[User:Dpbsmith|Dpbsmith (talk)]] 23:37, 4 Oct 2004 (UTC)
 * Sounds like patent nonsense to me. Delete. Why has speedy become so much more difficult to get through lately? Frankly, we could use speedier deleting on a lot of idle crud -- not less. - KeithTyler 00:37, Oct 5, 2004 (UTC)
 * Delete: I did my bit by proposing a scheme where things like this could be handled, but for trying to remedy abuse of Speedy Delete I was presumed to be trying to give admins more power. Good luck to any future reformers.  This is nonsense. Geogre 14:15, 8 Oct 2004 (UTC)


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With the Lights Out

With the Lights Out is a box set by the American rock band Nirvana, released on November 23, 2004. It contains three CDs and one DVD of previously rare or unreleased material, including B-sides, demos, and rehearsal and live recordings. The title comes from the lyrics of Nirvana's 1991 single "Smells Like Teen Spirit".

With the Lights Out was planned for release in 2001, but was delayed by a legal battle with Courtney Love, the widow of the Nirvana singer, Kurt Cobain. As of 2016, it had sold 546,000 copies in the US.

Background
Rumors of a posthumous Nirvana anthology surfaced in the mid-1990s, not long after the death of the singer and guitarist, Kurt Cobain, in April 1994. It was reported in Kerrang! in April 1999 that the surviving Nirvana members, Dave Grohl and Krist Novoselic, were planning a box set to be released in 2000 at the earliest. It was later announced that a 45-track box set would be released in September 2001, to mark the 10th anniversary of the band's breakthrough album, Nevermind, but it was delayed by a legal battle with Cobain's widow, Courtney Love.

Much of the dispute centered on the unreleased song "You Know You're Right", recorded in January 1994 during the band's final studio session. Grohl and Novoselic wanted it for the box set, but Love blocked its release and sued them for control of Nirvana's legacy. Love's lawsuit asserted that "the parties have fundamentally different concepts of how to manage the musical and artistic legacy of Kurt Cobain", which resulted "in a stalemate of decision making". She believed that "You Know You're Right" would be "wasted" on a box set, and instead belonged on a single-disc compilation similar to the Beatles' 1.

In 2002, the legal battle was settled, and "You Know You're Right" appeared on the "best-of" compilation Nirvana. This paved the way for what became the With the Lights Out box set, which arrived in November 2004, over three years after its original release date but with more music than originally promised, including an acoustic demo of "You Know You're Right".

Promotion
Before the release of With the Lights Out, a promotional EP, Selections from With the Lights Out, was sent to radio stations, featuring the songs "White Lace and Strange", "Blandest", "Lithium", "Heart-Shaped Box" and "You Know You're Right" from the box set. "Lithium" was also released as an exclusive iTunes downloadable single on November 22, 2004. The music video for the original version of "In Bloom", made in 1990 and first released on the Sub Pop Video Network Program VHS compilation in 1991, was released to music television to promote the box set. The video appears on the box set's DVD. An online trailer was also released for the box set, featuring footage from the DVD and audio from the three CDs.

Packaging
With the Lights Out is packaged in heat-sensitive material which changes color when touched, revealing images of recording session tapes.

Each of the three CDs loosely represents the rare recordings from three periods in Nirvana's history, in line with the band's three studio albums, Bleach, Nevermind and In Utero, which were released in 1989, 1991 and 1993 respectively. The DVD contains rare live performances and rehearsals from throughout the band's career.

It includes a 60-page booklet which contains liner notes by Thurston Moore of the American rock band Sonic Youth and the journalist Neil Strauss, as well as photographs and a chronological catalog of the band's recording history, including studio sessions, television and radio appearances, live performances and home demo recordings sessions.

The band's May 6, 1987 radio session at KAOS 89.3 FM in Olympia, Washington, is mislabeled as being from April 17, 1987.

Reception
With the Lights Out received generally positive reviews from music critics, many of whom saw it as a valuable glimpse into the band's evolution. Julian Marshall of the NME called it "a humanising, comprehensive and often heartbreaking document of a man who, in five years, changed the face of music, almost by accident". John Jeremiah Sullivan of New York Magazine called it "an appropriately eccentric testament to Cobain's talent".

However, several critics felt it contained too much second-rate material never intended for release. Mark Richardson of Pitchfork wrote, "Those hoping for a trove of overlooked gems will be disappointed ... Simply put, there's enough good stuff here for a solid single disc." Tim O'Neil of PopMatters wrote, "The majority of the material presented here will appeal only to a select group of hardcore fans, music historians and critics."

Track listing
All songs written by Kurt Cobain, except where noted.

Disc one

 * 1987 show in Raymond, Washington.
 * 1) "Heartbreaker" (John Bonham/John Paul Jones/Jimmy Page/Robert Plant) – 2:59
 * May 6, 1987 radio session at KAOS 89.3 FM, Olympia, Washington. (Nirvana's first radio session)
 * 1) "Anorexorcist" (a.k.a. "Annorexorcist") – 2:44
 * 2) "White Lace and Strange" (Chris Bond) – 2:09
 * 3) "Help Me, I'm Hungry" (a.k.a. "Vendetagainst") – 2:41
 * Summer 1987 band rehearsal in Aberdeen, Washington.
 * 1) "Mrs. Butterworth" (a.k.a. "Unknown #2") – 4:05
 * January 23, 1988 studio session at Reciprocal Recording Studios, Seattle, Washington. Producer: Jack Endino. (Nirvana's first studio session)
 * 1) "If You Must" – 4:01
 * 2) "Pen Cap Chew" – 4:02
 * January 23, 1988 show at the Community World Theatre, Tacoma, Washington.
 * 1) "Downer" – 1:43
 * 2) "Floyd the Barber" – 2:33
 * 3) "Raunchola" (a.k.a. "Erectum")/"Moby Dick" ("Moby Dick" – John Bonham/John Paul Jones/Jimmy Page) – 6:24
 * 1987–1988 solo 4-track home recordings, Aberdeen, Washington.
 * 1) "Beans" – 1:32
 * 2) "Don't Want It All" (a.k.a. "Seed") – 2:26
 * 3) "Clean Up Before She Comes" – 3:12
 * 4) "Polly" – 2:30
 * 5) "About a Girl" – 2:44
 * June 11, 1988 studio session at Reciprocal Recording Studios, Seattle, Washington. Producer: Jack Endino
 * 1) "Blandest" – 3:56
 * Spring 1989 studio session at The Evergreen State College Audio Studio, Olympia, Washington. Producer: Greg Babior.
 * 1) "Dive" (Kurt Cobain/Krist Novoselic) – 4:50
 * August 20 and 28, 1989 studio session at Reciprocal Recording Studios, Seattle, Washington. Producer: Jack Endino. (Studio session for "the Jury", a Lead Belly cover band featuring members of Nirvana and the Screaming Trees)
 * 1) "They Hung Him on a Cross" (Huddie Ledbetter) – 1:57
 * 2) "Grey Goose" (Huddie Ledbetter) – 4:36
 * 3) "Ain't It a Shame" (Huddie Ledbetter) – 2:01
 * September 1989 studio session at Music Source Studios, Seattle, Washington. Producer: Steve Fisk.
 * 1) "Token Eastern Song" – 3:21
 * 2) "Even in His Youth" – 3:12
 * 3) "Polly" – 2:36

Disc two

 * September 25, 1990 solo radio session on Boy Meets Girl, KAOS 89.3 FM, Olympia, Washington. Host: Calvin Johnson.
 * 1) "Opinion" – 1:34
 * 2) "Lithium" – 1:49
 * 3) "Been a Son" – 1:12
 * 1990 boombox-recorded home demos, Olympia, Washington.
 * 1) "Sliver" – 2:09
 * 2) "Where Did You Sleep Last Night" (traditional) – 2:31
 * April 2–6, 1990 studio session at Smart Studios, Madison, Wisconsin. Producer: Butch Vig.
 * 1) "Pay to Play" (early version of "Stay Away") (previously released on DGC Rarities: Volume 1 in 1994) – 3:29
 * 2) "Here She Comes Now" (John Cale/Sterling Morrison/Lou Reed) (previously released on split-single with the Melvins in 1991) – 5:01
 * April 1991 4-track demo, San Francisco, California. Features Dale Crover on drums and Dave Grohl on bass.
 * 1) "Drain You" – 2:38
 * January 1, 1991 studio session at Music Source Studios, Seattle, Washington. Producer: Craig Montgomery
 * 1) "Aneurysm" (Kurt Cobain/Dave Grohl/Krist Novoselic) (previously released on "Smells Like Teen Spirit" single in 1991) – 4:47
 * March 1991 band rehearsal, Tacoma, Washington.
 * 1) "Smells Like Teen Spirit" (Kurt Cobain/Dave Grohl/Krist Novoselic) – 5:40
 * May 1991 studio session at Sound City Studios, Van Nuys, California. Producer: Butch Vig. (Studio session for Nevermind)
 * 1) "Breed" (Butch Vig rough mix) – 3:07
 * 2) "Verse Chorus Verse" – 3:17
 * 3) "Old Age" – 4:20
 * September 3, 1991 radio session at Maida Vale Studios, London, England. (John Peel session)
 * 1) "Endless, Nameless" – 8:47
 * 2) "Dumb" – 2:35
 * October 21, 1990 radio session at Maida Vale Studios, London, England. (John Peel session)
 * 1) "D-7" (Greg Sage) (previously released on "Lithium" single in 1992) – 3:46
 * April 7, 1992 studio session at Laundry Room Studios, Seattle, Washington. Producer: Barrett Jones.
 * 1) "Oh, the Guilt" (alternate mix of previously released song on split-single with the Jesus Lizard in 1992) – 3:25
 * 2) "Curmudgeon" (alternate mix of previously released song on "Lithium" single in 1992) – 3:03
 * 3) "Return of the Rat" (Greg Sage) (alternate mix of previously released song on Eight Songs for Greg Sage and the Wipers in 1993) – 3:09
 * May 1991 studio session at Sound City Studios, Van Nuys, California. Producer: Butch Vig. (Studio session for Nevermind)
 * 1) "Smells Like Teen Spirit" (Kurt Cobain/Dave Grohl/Krist Novoselic) (Butch Vig mix) – 4:59

Disc three

 * May 1991 solo boombox-recorded home demo, Los Angeles, California.
 * 1) "Rape Me" – 3:23
 * October 25–26, 1992 studio session at Word of Mouth Studios (former Reciprocal Recording Studios), Seattle, Washington. Producer: Jack Endino.
 * 1) "Rape Me" – 3:01
 * Winter 1992 band rehearsal, Seattle, Washington.
 * 1) "Scentless Apprentice" (Kurt Cobain/Dave Grohl/Krist Novoselic) – 9:32
 * January 19–21, 1993 studio session at Ariola Ltda BMG, Rio de Janeiro, Brazil. Producer: Craig Montgomery.
 * 1) "Heart-Shaped Box" – 5:31
 * 2) "I Hate Myself and Want to Die" – 4:03 (mislabelled as the "b-side" version)
 * 3) "Milk It" – 4:34
 * 4) "Moist Vagina" (a.k.a. "MV") – 1:56
 * 5) "Gallons of Rubbing Alcohol Flow Through the Strip" (Kurt Cobain/Dave Grohl/Krist Novoselic) (previously released on non-U.S. versions of In Utero, 1993) – 7:33
 * 6) "The Other Improv" – 6:24
 * Fall or Winter 1992 solo boombox-recorded home demos, Seattle, Washington.
 * 1) "Serve the Servants" – 1:36
 * 2) "Very Ape" – 1:52
 * 1993 solo boombox-recorded home demo, Seattle, Washington.
 * 1) "Pennyroyal Tea" – 3:30
 * February 12–26, 1993 studio session at Pachyderm Studios, Cannon Falls, Minnesota. Producer: Steve Albini. (Studio session for In Utero)
 * 1) "Marigold" (Dave Grohl) (previously released on "Heart-Shaped Box" single in 1993) – 2:34
 * 2) "Sappy" (previously released as "Verse Chorus Verse" on No Alternative in 1993) – 3:26
 * February 5, 1994 band rehearsal at Pavilhão Dramático, Cascais, Portugal.
 * 1) "Jesus Doesn't Want Me for a Sunbeam" (Eugene Kelly/Frances McKee) – 3:57
 * 1994 solo boombox-recorded home demo, Seattle, Washington.
 * 1) "Do Re Mi" – 4:24
 * 1993 or 1994 solo boombox-recorded home demo, Seattle, Washington.
 * 1) "You Know You're Right" – 2:30
 * 1991 or 1992 solo boombox-recorded home demo, Olympia, Washington, or Seattle, Washington.
 * 1) "All Apologies" – 3:33

 * For a limited time, the US iTunes store included Nevermind It's an Interview as bonus tracks.

DVD

 * 1988 band rehearsal, residence of bassist Krist Novoselic's mother, Aberdeen, Washington.
 * 1) "Love Buzz" (Robbie van Leeuwen) – 2:32
 * 2) "Scoff" – 0:47
 * 3) "About a Girl" – 3:05
 * 4) "Big Long Now" – 4:22
 * 5) "Immigrant Song" (Jimmy Page/Robert Plant) – 1:57
 * 6) "Spank Thru" – 3:10
 * 7) "Hairspray Queen" – 3:37
 * 8) "School" – 2:53
 * 9) "Mr. Moustache" – 3:47
 * June 23, 1989 show at Rhino Records, Los Angeles, California.
 * 1) "Big Cheese" (Kurt Cobain/Krist Novoselic) – 3:13
 * February 16, 1990 show at Bogarts, Long Beach, California.
 * 1) "Sappy" – 4:27 (mislabeled as track 12 on the cover)
 * 1990 Sub Pop music video. Director: Steve Brown.
 * 1) "In Bloom" – 4:28 (mislabeled as track 11 on the cover) (Pre-Nevermind version, featuring Chad Channing on drums, recorded April 1990 at Smart Studios, Madison, Wisconsin. Producer: Butch Vig)
 * September 22, 1990 show at the Motor Sports International Garage, Seattle, Washington.
 * 1) "School" – 2:33
 * October 11, 1990 show at North Shore Surf Club, Olympia, Washington. (Drummer Dave Grohl's first show)
 * 1) "Love Buzz" – 3:40
 * April 17, 1991 show at OK Hotel, Seattle, Washington.
 * 1) "Pennyroyal Tea" (first live performance) – 1:55
 * 2) "Smells Like Teen Spirit" (Kurt Cobain/Dave Grohl/Krist Novoselic) (first live performance) – 6:16
 * 3) "Territorial Pissings" – 2:45
 * October 31, 1991 show at the Paramount Theatre, Seattle, Washington.
 * 1) "Jesus Doesn't Want Me for a Sunbeam" (Eugene Kelly/Frances McKee) – 3:32
 * October 4, 1992 show at the Crocodile Cafe, Seattle Washington.
 * 1) "Talk to Me" – 3:35
 * January 22, 1993 studio session at BMG Ariola Studios, Rio de Janeiro, Brazil. Producer: Craig Montgomery.
 * 1) "Seasons in the Sun" (Terry Jacks) – 3:40

Personnel
Nirvana
 * Kurt Cobain – lead vocals, electric and acoustic guitars, bass and percussion on "Don't Want It All", drums on "Seasons in the Sun"
 * Krist Novoselic – bass, accordion on "Jesus Doesn't Want Me for a Sunbeam" (rehearsal), guitar on "Seasons in the Sun"
 * Dave Grohl – drums, backing vocals, lead vocals and guitar on "Marigold", bass on "Drain You" and "Seasons in the Sun"
 * Aaron Burckhard – drums on tracks 1-5 (disc one)
 * Dale Crover – drums on tracks 4-10 (disc one) and track 8 (disc two)
 * Chad Channing – drums on tracks 16, 17, 21-23 (disc one), tracks 6, 7 (disc two) and tracks 1-12 (DVD)
 * Dan Peters – drums on track 13 (DVD)
 * Jason Everman – 2nd guitar on track 17 (disc one) and track 10 (DVD)
 * Pat Smear – 2nd guitar on track 15 (disc three)

Additional personnel
 * Tony Poukkula - guitar on track 1 (disc one)
 * Mark Lanegan – guitar on tracks 19, 20 (disc one)
 * Mark Pickerel – drums on tracks 19, 20 (disc one)
 * Melora Creager – cello on track 15 (disc three)

Recording and release
Sliver: The Best of the Box is a compilation album by the American rock band, Nirvana, released in November 2005. It contains 19 tracks from the band's 2004 rarities box set, With the Lights Out, as well as three previously unreleased recordings: "Spank Thru", from the 1985 "Fecal Matter" demo, a 1990 studio recording of "Sappy", and a 1991 boombox demo of "Come as You Are". Sliver: The Best of the Box opened at number 21 on the Billboard 200. Nielson Soundscan reported that as of 2016, Sliver: The Best of the Box has sold 376,000 copies in the U.S.

Artwork
According to Rolling Stone, the title and cover photograph for Sliver: The Best of the Box were chosen by Frances Bean, the daughter of Cobain and Courtney Love. The cover photograph depicts a cardboard box filled with Nirvana and Cobain tapes, including a copy of the Fecal Matter demo. Some of the tapes have spilled out of the box and are strewn across the floor.

Track listing

 * 1) "Spank Thru" (December 1985 Fecal Matter demo) – 3:45
 * 2) "Heartbreaker" (March 1987 show in Raymond, Washington) – 2:59
 * 3) "Mrs. Butterworth" (Summer 1987 band demo) – 4:05
 * 4) "Floyd the Barber" (January 23, 1988 show in Tacoma, WA) – 2:33
 * 5) "Clean Up Before She Comes" (1988 home demo) – 3:12
 * 6) "About a Girl" (1988 home demo) – 2:44
 * 7) "Blandest" (June 6, 1988 studio session in Seattle, Washington. Produced by Jack Endino) – 3:56
 * 8) "Ain't It a Shame" (August 1989 studio session in Seattle, WA) – 2:02
 * 9) "Sappy" (January 1990 studio session in Seattle, Washington. Produced by Jack Endino) – 3:33
 * 10) "Opinion" (September 25, 1990 KAOS radio show) – 1:35
 * 11) "Lithium" (September 25, 1990 KAOS radio show) – 1:49
 * 12) "Sliver" (1990 home demo) – 2:10
 * 13) "Smells Like Teen Spirit" (March 1991 boombox demo) – 5:40
 * 14) "Come as You Are" (March 1991 boombox demo) – 4:10
 * 15) "Old Age" (May 1991 studio session for Nevermind) – 4:21
 * 16) "Oh, the Guilt" (April 1992 studio session in Seattle, WA) – 3:25
 * 17) "Rape Me" (May 1991 solo acoustic home demo) – 3:23
 * 18) "Rape Me" (October 1992 studio session in Seattle, WA) – 3:03
 * 19) "Heart-Shaped Box" (January 1993 studio session in Rio de Janeiro, Brazil) – 5:32
 * 20) "Do Re Mi" (1994 boombox demo solo acoustic) – 4:24
 * 21) "You Know You're Right" (1994 boombox demo solo acoustic) – 2:30
 * 22) "All Apologies" (undated boombox demo solo acoustic, circa 1992) – 3:33

title: With the Lights Out


text:
User:Chane~enwiki

Eric is making ends meet in Somerville, MA.

title: User:Chane~enwiki


text:
Talk:With the Lights Out

Titles
I am a Nirvana fanatic and I cannot stand incorrect titles. Regardless of what it says on the box, the correct titles should be put there. And it is spelled "Vendetagainst" not "Vendettagainst". yutsi (talk) 02:24, 26 August 2009 (UTC)

Guys, Come ON
We can't switch the song titles to "correct" titles based solely on ORIGINAL RESEARCH done by fanatics on a message board. Unless you guys can cite verifiable sources that shows that titles like Erectum and Seed are in fact the correct titles for the songs, then we need to keep the titles as given on the box set. 71.202.127.62 (talk) 04:30, 2 January 2009 (UTC)
 * Kurt Cobain's own journals don't count? Johnny "ThunderPeel2001" Walker (talk) 18:02, 23 March 2009 (UTC)
 * They do when they specifically link those songs to those titles, which they don't. 209.213.214.242 (talk) 21:31, 30 March 2009 (UTC)

Song Titles
Is it really appropriate to "correct" the titles of songs, i.e. Vendettagainst instead of Help Me I'm Hungry? I understand the intent, but I think that it would be more appropriate to list the song titles as they are on the release and add notes regarding the title. The problem with Vendettagainst is that there's no official confirmation that this is the real title; it's conjecture on the part of the fans, albeit almost certainly correct conjecture. Additionally, if we're going to list that track as Vendettagainst, it's inconsistent to list track 12 as Don't Want it All; it's well known that the song's actual title is Seed.

Thoughts?206.15.76.98 (talk) 18:13, 27 February 2008 (UTC)

Track listing
Removed unecassary, excesvie & messy infomation. Not needed. Was fine the way it was.

Do Re Mi
Is there any confirmation that Do Re Mi was Cobain's "Last song"? seems like speculation to me, changed unless someone has proof. -Stu

It's Lead Belly
Everybody: it's "Lead Belly", not "Leadbelly". See the discusion. -- Face 10:49, 29 October 2006 (UTC)

Ain't it a Shame
It said "the band's" cover of "Ain't It a Shame" but it is not Nirvana, it's actually Mark Lanegan from Screaming Trees and Kurt...

 * More info on this session is at http://livenirvana.com/sessions/studio/august-1989.php. --jh51681 02:21, 14 November 2006 (UTC)
 * To call it "Mark Lanegan and Kurt's" is insulting to Krist and Mark Pickeral, both of whom play on the recording. I've edited the line as such.206.15.76.98 (talk) 16:21, 18 March 2008 (UTC)

Beans
Awwwwwwwwwww, you guys removed the page Beans had to itself? I actually made that page! and I was quite proud of it too, it was pretty in depth and well done, I thought. Wasn't relevant enough for you I guess? I mean, it is one of the most bizarre sounding songs Kurt made, and I think many people are curious about it. There's tons of other songs that get their own page, but not this one, just because Wikipedia deems it to be obscure? The page was there already when I ended up finishing it as it was before you removed it. I guess people will just have to do their own research about the meanings/origins/intentions of the song instead of easily referring to our trusty online encyclopedia where you can look up anything...

Oh wait, ALMOST anything. Thanks Wikipedia!

~John —Preceding unsigned comment added by 98.20.207.205 (talk) 08:43, 7 June 2008 (UTC)

 * Damn... I'd like to have read that Johnny "ThunderPeel2001" Walker (talk) 18:05, 23 March 2009 (UTC)
 * i think beans should get it's page back, such a goated song. its better than 99% of nirvana's material, second best song, probably should belong on the Rolling Stone's 500 Greatest Songs of All Time. Crazyeditor23 (talk) 12:34, 19 April 2022 (UTC)

What with all theses links ?
Links to the song "Do Re Mi", "Talk To Me", and maybe others songs redirect here. Why linking a song to this article since we have to be on this article to click the link, eh ? Fanofo 23:25, 25 October 2008 (UTC)

What with all theses links ?
Links to the songs "Anorexorcist", "Curmudgeon", and maybe others songs of this album redirect here. Those songs had pages!! and That pages were deleted! That pages were well written. It's revolting. The portuguese version of wikipedia is better than english in this. Why linking a song to this article since we have to be on this article to click the link? Rodrigo7887 (talk) 00:34, 13 November 2008 (UTC)

title: Talk:With the Lights Out


text:
User:Lst27/Blankfaze

Blankfaze is rude, makes personal attacks and hurts other people's feelings on RfA. Helllllllllllllllllllllllllllllllllllllllllllllllll no. His comments are very inappropriate. Also, he vandalised my talk page.

title: User:Lst27/Blankfaze


text:
File:UserSilverfish.JPG

A picture of me, under a Plaque celebrating William Rowan Hamilton's discovery of Quaternion. This was taken at the same time as the picture included in the Quaternions article.

I would appeciate it if you asked before using the image, at least the bit with me on. If you just want the bridge and plaque, then I have other images available, which don't have me on.

title: File:UserSilverfish.JPG


text:
PartiallyClips

PartiallyClips is a webcomic, created by Rob Balder, which ran from 2002 to 2015. At the start of 2010, Balder handed authorship of the comic to Tim Crist, the comedy musician behind Worm Quartet.

Premise
PartiallyClips is a constrained comic. Each three-panel strip consists of a single clip art image – the comic has no original art – repeated and unchanged in each panel, with added speech balloons and/or captions to create the joke.

PartiallyClips tends to use dark humor; frequently, the picture used is rather idyllic, which is common in public-domain clip art, but the added dialogue or captions twist the scene. PartiallyClips also frequently comments on modern life and culture, especially aspects of Internet culture. There are no recurring characters or plots.

Its name is a mondegreen: "Partially Clips" sounds similar to "Partial eclipse".

Distribution and reception
PartiallyClips was updated twice weekly, on Sundays and Thursdays. The partiallyclips.com website stopped updating on 17 June 2015. During 2018, the PartiallyClips website went down and as of July 2023 remains unavailable. The archives were available on the Erfworld domain, but are no longer available after that domain has largely been taken down due to personal tragedy.

In addition to its online audience, the strip was also self-syndicated to print, targeted at alternative weekly newspapers. It appeared in roughly 25 newspapers and magazines, and was published in a book, Suffering For My Clip Art: The Best Of Partially Clips Volume 1. Material from PartiallyClips was included in Attitude 3: The New Subversive Online Cartoonists.

PartiallyClips was included in a 2009 short list of webcomics included in an NPR article. The article's author, Glen Weldon, described it as "a combination of found art, a finely honed comic sensibility, and awesomeness run rampant."

title: PartiallyClips


text:
Talk:SpaceShipOne flight 17P

X2

 * http://www.msnbc.msn.com/id/6110323/ Sept. 28, 2004 | 5:30 p.m. ET Lining up for space history: This event  known as "X1," as opposed to the "X2" flight tentatively scheduled for next Monday  has attracted far lighter advance crowds than June's historic SpaceShipOne flight. But Howard felt he had to be here in Mojave for the start of the prize run. http://www.xprize.org/ The X-Prize organization also calls it "X1", MSN had it as the X1 spaceshot in a newsblurb. X-Prize has it as the X1 Flight. http://www.xprize.org/press_room/press_releases/press.php?articleID=121 The second spacelaunch is called X2 (no Flight) in this press release. If you rewatch the 16P spaceflight, you'll note that at the press conference in front of SSO, Peter Diamandis calls it the X1 flight 132.205.15.4 15:16, 3 Oct 2004 (UTC)

red stripe on the nose
A pre-flight image of SpaceShipOne shows a red stripe covering the nose and extending along the underside of the fuselage. What is this? Does it fly with it? (I haven't found an in-flight photo that was clear enough to tell.) If it does fly with it, which flight was the first to have it? Looks like it could be more thermal protection, matching what's on the leading edge of the wing, but I'm dubious about that. 195.167.169.36 08:57, 5 Oct 2004 (UTC)

Vandalism in this article?
In the "Spectacle" section of this article, the last entry lists:

Rick A Lick, special man

as one of the "distinguished attendees" of this SpaceShipOne flight. This smells like vandalism, agreed? If I receive no repies to the contrary, I will edit this out in a few days.

File:SpaceShipOne Takeoff photo Don Ramey Logan.jpg to appear as POTD soon
Hello! This is a note to let the editors of this article know that File:SpaceShipOne Takeoff photo Don Ramey Logan.jpg will be appearing as picture of the day on August 21, 2017. You can view and edit the POTD blurb at Template:POTD/2017-08-21. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. — Chris Woodrich (talk) 01:31, 9 August 2017 (UTC)

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title: Talk:SpaceShipOne flight 17P


text:
Bits

Bits or BITS may refer to:

Technology

 * Plural of bit, computer memory unit.
 * Drill bits, cutting tools used to create cylindrical holes
 * Background Intelligent Transfer Service, a file transfer service
 * Built-in tests

Institutions

 * BITS Pilani (Birla Institute of Technology and Science), a technical university in Pilani, India
 * Business and Information Technology School, a former business school in Iserlohn (Germany), now merged into University of Europe for Applied Sciences
 * Bukareshter Idishe Teater-Studie or Bucharest Yiddish Studio Theater, a theater in Bucharest
 * Plural of Bilateral investment treaty (BITs)

Art

 * Bits (album), the fourth and final album by American indie rock band Oxford Collapse
 * Bits, a 2012 play by the Catalan mime comedy group Tricicle
 * Bits (TV series), a British television entertainment program, on air 1999–2001
 * Boyz in the Sink, a fictional boy band.

title: Bits


text:
User:Savioz~enwiki

Arnaud Savioz
I contribute mostly on the french version of wikipedia.

My user page on fr.wikipedia.org

That's about it. I'll try to write more someday ;)

title: User:Savioz~enwiki


text:
Joseph Keter

Joseph Keter (born June 13, 1969) is a former Kenyan athlete, winner of 3000 m steeplechase at the 1996 Summer Olympics.

Born in Lessos, Nandi District, Joseph Keter, an officer of Kenyan Army, had only one good season throughout his athletics career, which culminated with an Olympic gold medal.

Career
In Atlanta, the hot favourite to 3000 m steeplechase gold medal was a world record holder Moses Kiptanui. But in the Olympic final, Kiptanui was strongly challenged by his Armed Forces' colleague Keter. The Kenyan pair reached the final water jump side by side, but then Keter slowly edged ahead to win the gold medal by 1.11 seconds.

After the Olympic Games, Keter beat Kiptanui again in Zürich, running his personal best 8.05.99. After that glorious season, Keter kept running for some seasons and won the IAAF Grand Prix in 3000 m steeplechase in 1997.

title: Joseph Keter


text:
Worlds Apart (...And You Will Know Us by the Trail of Dead album)

Worlds Apart is the fourth studio album by ...And You Will Know Us by the Trail of Dead. It was released on January 25, 2005 by Interscope Records and reached #92 on the UK Albums Chart.

The album's first single, "The Rest Will Follow", was played on college radio and on some alternative stations throughout America. "Caterwaul" also received some airplay. Worlds Apart sold 13,000 copies in its first week of release in America, and went on to sell 56,000 albums in total, approximately half of what Source Tags & Codes sold in America.

Production
The album release was postponed from the winter of 2004 to January 2005 by Interscope to protect it from late-year releases by Eminem (also released on Interscope) and Destiny's Child., in effect giving a better selling market. Vocalist Conrad Keely commented: "I have constant anxiety that the record won't sell. We hope we appeal to not just people of this generation, but people of future generations. We're trying to do something that's timeless and timely. Something that's culturally significant. To have it overlooked would be, for me, a nightmare."

Design
In an interview with PopMatters, Keely described the development of the Worlds Apart cover art, stating that while he typically incorporates his free time drawings and paintings into the band's albums, this cover collage was more specifically designed. However, Interscope insisted that he cite and clear all sources of his art, much of which was found in museums around the world. Given the improbability of the task, illustrator Cyril Van der Haegen was hired to paint Keely's design and tweak various elements. Keely also summarized the theme of the collage: "'I wanted an allegory depicting the history of human conflict. I wanted everybody to be fighting, like in Marvel Comics' Secret Wars, where all the superheroes are fighting each other. I actually wanted to sneak in one of the New Mutants.'"

Reception
The album so far has a score of 67 out of 100 from Metacritic based on "generally favorable reviews". Filter gave the album a score of 92% and called it "the best album Trail of Dead has ever made." Neumu.net gave it nine stars out of ten and called it "a stunning showcase for AYWKUBTTOD's mature sound, full of unexpected subtleties, musical wild-cards and detours." E! Online gave it an A− and called it "killer stuff for any frame of mind." Billboard gave it a very favorable review and stated that "Trail of Dead has made the album of its career." Yahoo! Music UK gave it eight stars out of ten and called it "A frequently astonishing album that combines bruising rock and limp-wristed flourish in almost equal measure." Playlouder gave it four stars out of five and called it "a delicately violent piece of art." The A.V. Club gave it a favorable review and stated that "With Worlds Apart, the band takes a confident, blind leap toward a potentially confounding future, and lands solidly and triumphantly." Spin gave it a B and stated that "Between these boy-noise roils you can see how much the band want to be their generation's Yes." Under the Radar gave it seven stars out of ten and stated that "The band's musical scope has significantly expanded... and for the better." Drowned in Sound gave it seven out of ten and said that the band might have " missed the bullseye. But that's no reason to yell "sell out!", or to deride them as poseurs."

Other reviews are either average, mixed, or negative: Mojo gave the album three stars out of five and stated that "for all that bombast... there's a disappointing, un-Texan restraint." Uncut also gave it three stars and said it was "no less viscerally thrilling [than its predecessor] but pursues a number of ear-bogglingly unlikely paths." Blender likewise gave it three stars and called it "Unexpectedly clean-cut... the time-signature shifts and feedback swirls that earned [the band] minor adulation are sidelined in favor of pushy, arena-sized choruses." Likewise, Alternative Press gave it three stars and called it "The least pretentious--and most accessible--thing AYWKUBTTOD have ever released. That's probably because it sounds a lot like your record collection." Tiny Mix Tapes also gave it three stars out of five and said, "All these flowery production choices can at times be quite seductive, despite the glaring mishandling of the vocals astride them." The Village Voice gave it a mixed review and stated that "the band relies almost entirely on Keely, who dabbles in major-chorded piano balladry, a Southern rock opera complete with down-home piano and backup voices, whispery Beth Orton-style trip-hop, and high-pitch heart-on-sleeve emoting. It's all so precious; let's hope they still break shit live." Drawer B also gave it a very mixed review and said that "Trail of Dead sounds utterly reinvigorated yet dangerously reinvented." NME, however, gave it a score of three out of ten and said that the album "reads like a suicide note of a band that's tried to intellectualise its place in the canon of Western music and, in doing so, recognised its own irrelevance."

Track listing
† features a violin solo by Hilary Hahn ‡ different from the live video from "The Secret of Elena's Tomb"

"Ode to Isis"
The whole song follows a pattern of three bars of 5/4 followed by one bar of 6/4. It starts at a soft volume with only a piano, builds in volume and intensity, comes to include strings, and operatic-style singing, and ends with a woman's shrill scream. The melody stays essentially the same throughout the whole song and from bar to bar, the only deviation being the last quarter note of the 6/4 phrases. The song starts with the basic melody played staccato on the lower end of the piano's register. Tom-tom drums, a tambourine, singing and strings begin quietly at the start of the second melody cycle and steadily grow in intensity and volume throughout the whole song. The muted screams of women can be heard throughout the latter half of the song. At the very end of the song, a woman's voice starts in the left channel and ends in the right as she says the name of the band. Aside from this spoken phrase, the lyrics are:
 * Isis, Horus, Ra, Set
 * Isis, Horus, Ra, Set
 * Isis, Horus, Ra, Set
 * Isis, Horus, Anubis

"Will You Smile Again?"
"Will You Smile Again?" is about "the idea of the composer who is unable or unwilling to face the weight of their own genius, and allow their fears to stop them from accomplishing great work." The band wanted a picture of Brian Wilson, who was releasing Smile at the time, to accompany the song on the CD artwork. However, an art director at Interscope Records said they couldn't, and so a picture of Bach appears instead.

"Worlds Apart"
"Worlds Apart" is a protest song, bemoaning the current state of American popular culture and recent United States foreign policy, specifically the War on Terrorism, also against MTV, soccer moms, and the state of parenting in today's society. It makes explicit reference to the September 11, 2001 attacks with the lyrics "How they laugh as we shovel the ashes / Of the twin towers. / Blood and death, we will pay back the debt / Of this candy store of ours." These lyrics are also briefly heard in a chanted reprise of this song, at the end of "The Best".

Track appearances
"Let It Dive" was featured in the EA Sports video game MVP Baseball 2005. "Will You Smile Again?" was the emotional charge in a scene to end of 7th episode titled "Hurts" of The Shield in season 4. It also appears in the Codemasters video game Colin McRae: Dirt 2 and the 2005 movie Goal!. "Caterwaul" can be heard in the 2007 movie The Invisible (2007 film), where the main character is watching a girl dance to the music. "The Rest Will Follow" can be heard at the end of Letterkenny episode 3 of season 5.


text: Category:Galveston County, Texas

title: Category:Galveston County, Texas


text:
Licensing Act 1737

The Licensing Act 1737 (10 Geo. 2. c. 28) is a former Act of Parliament in the Kingdom of Great Britain, and a pivotal moment in British theatrical history. Its purpose was to control and censor what was being said about the British government through theatre. The act was repealed by the Theatres Act 1843, which was itself replaced by the Theatres Act 1968. The Lord Chamberlain was the official censor and the office of Examiner of Plays was created under the Act. The Examiner assisted the Lord Chamberlain in the task of censoring all plays from 1737 to 1968. The Examiner read all plays which were to be publicly performed, produced a synopsis and recommended them for licence, consulting the Lord Chamberlain in cases of doubt. The act also created a legal distinction between categories of "legitimate theatre" and "illegitimate theatre".

Forerunner
The function of censorship of plays for performance (at least in London) fell to the Master of the Revels by the time of the reign of Queen Elizabeth I. The power was used mostly with respect to matters of politics and religion (including blasphemy). It was certainly exercised by Edmund Tylney, who was Master from 1579 to 1610. Tylney and his successor, George Buck, also exercised the power to censor plays for publication. The Master of the Revels, who normally reported to the Lord Chamberlain, continued to perform the function until, with the outbreak of the English Civil War in 1642, stage plays were prohibited. Stage plays did not return to England until the Restoration in 1660. During the creation of the Licensing of 1737, Robert Walpole was the standing Master of the Revels

Purpose of the Act
Laws regulating theatre in the early 18th century were not strictly enforced. People had free rein to say anything they wanted through theatre, including all their troubles with the government. Free speech in theatre was seen as a threat to the government, facilitating the spread of revolutionary ideas. The act enhanced government control and censorship.

Examiner of Plays
In addition to reading plays and writing Reader's Reports for the Lord Chamberlain the Examiners were expected to visit theatres to ensure their safety and comfort and to see that the Lord Chamberlain's rules were carried out with regard to the licences. They were also required to appear at subpoenas in law cases relating to licensing, and to examine Play Bills. From 1911 Examiners were required to write reports on plays for the Lord Chamberlain. A copy of the play script and Reader's Report were held by the Lord Chamberlain's office and are now held by the British Library in the Lord Chamberlain's Plays collection.

In the years 1922–1938 when The Earl of Cromer was the Lord Chamberlain nearly 13,000 plays were licensed, an average of 820 a year; under 200 plays were refused a licence, an average of 12 per year.

There were 21 Examiners of Plays between 1738 and 1968. The Examiners had a variety of qualifications and experience for the position. Edward Pigott (1824–1895) was a journalist on the Daily News and had an extensive knowledge of European literature and languages. George Redford (d. 1916), a playwright, resigned his post in 1913 to become the first president of the British Board of Film Censors. Ernest Bendall (1846–1924) had been a clerk in the Paymaster-General's Office for 30 years retiring in 1896 to become a journalist and drama critic for several London newspapers. Charles Brookfield was an actor, playwright and journalist. George Street was an essayist, novelist and playwright. Henry Game (d. 1966) trained as an artist, was an amateur actor and was known for his knowledge of the theatre. Charles Heriot (d. 1972) was an actor and producer. Sir St Vincent Troubridge (1895–1963) was in the military as well as being a theatre historian. Ifan Kyrle Fletcher (d. 1969) was a theatre historian and antiquarian bookseller. Timothy Harward studied theatre and literature at university, becoming a theatre journalist for the Irish Times and lecturer at Regent Street Polytechnic.

title: Licensing Act 1737


text:
Mickey Blue Eyes

Mickey Blue Eyes is a 1999 American romantic comedy crime film directed by Kelly Makin. Hugh Grant stars as Michael Felgate, an English auctioneer living in New York City who becomes entangled in his soon-to-be father-in-law's mafia connections. Several of the minor roles are played by actors later featured in The Sopranos.

The film's title comes from Michael being forced to impersonate a gangster, who is spontaneously named "Kansas City Little Big Mickey Blue Eyes"; coincidentally, it is also a play on "Jimmy Blue Eyes," nickname of real-life mobster Vincent Alo. Later on, the film served as an inspiration for 2007 Bollywood film Welcome.

The film was released on August 20, 1999. It received mixed reviews from critics and grossed $54.3 million against its $20 million budget.

Plot
Michael Felgate is an English auctioneer living in New York City where he manages the Cromwell auction house. He proposes marriage to his girlfriend Gina Vitale, but is disheartened to be turned down. Gina tearfully explains that her father Frank and most of her cousins and uncles are gangsters deeply involved in a Mafia crime family, and she is concerned that Michael will be forced into their world. Michael assures her that he will not let this happen, but barely is their engagement party over before he is unwittingly involved in a money laundering scam, and soon the FBI takes an interest in him.

When one of the money laundering scams at Michael's auction house goes wrong, Gina's cousin Johnny confronts and attacks Michael. Gina takes his gun and fires a warning shot into the ceiling, which ricochets and accidentally kills Johnny. Johnny's father Vito finds out, and he tells Frank he will kill Gina unless Frank kills Michael during his wedding speech. Having grown fond of Michael, Frank confesses what Vito has ordered him to do to Michael and the two of them turn to the FBI in return for protection. The FBI set up an elaborate operation in which Michael's execution will be faked at the wedding reception. Michael is given a hidden recording device and is tasked with trying to record Vito into admitting his criminal activity on tape before he is "executed".

Michael's plan fails, and when Vito realises that his execution is a set-up, he orders Vinnie to kill Michael. Vinnie shoots Gina in what appears to be an accident. Vito is arrested for ordering Michael's execution. As Frank and Michael mourn Gina's apparent death in the back of her ambulance, it is revealed that her death was faked as well, and that Vinnie and Gina were also involved with the FBI as a back-up plan.

Production
On November 4, 1997, Hugh Grant was announced as a cast member of the film.

The film was originally set to be released internationally by PolyGram Filmed Entertainment, through a financing agreement with one of the film's producers Castle Rock Entertainment, but it ended up being released by Universal Pictures International instead. This is one of a handful of films, and among the last, until 2007, to be self-released by Universal internationally, and shortly afterwards, the theatrical distribution arm was merged into United International Pictures.

Box office
The film earned $10.2 million in its opening weekend. It went on to gross $33.9 million in the United States and a total of $54.3 million worldwide. According to the Los Angeles Times the film was a "marginal money loser".

Critical response
On Rotten Tomatoes, the film holds an approval rating of 45% based on 78 reviews, with an average rating of 5.3/10. The site's critics consensus states: "High-brow humorists doing low-brow humor never hit their stride." At Metacritic, the film has a weighted average score of 49 out of 100, based on 30 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.

Links to The Sopranos
The film is notable for the number of actors who would go on to appear in the HBO TV series, The Sopranos, including:

 * Tony Sirico - Paulie Gualtieri
 * John Ventimiglia - Artie Bucco
 * Vincent Pastore - Sal "Big Pussy" Bonpensiero
 * Aida Turturro - Janice Soprano
 * Frank Pellegrino - Bureau Chief Frank Cubitoso
 * Joseph R. Gannascoli - Vito Spatafore
 * Burt Young - Robert "Bobby" Baccalieri, Sr.
 * Tony Darrow - Lawrence "Larry Boy" Barese
 * Melissa Marsala - Kelly Aprile

The film is mentioned in the season 2 Sopranos episode "D-Girl", when Amy Safir explains to Christopher Moltisanti that there isn't a demand for mob-related scripts because of this film.

title: Mickey Blue Eyes


text:
Talk:Worlds Apart (...And You Will Know Us by the Trail of Dead album)

is it really necessary to create a new article for each song?--Concluding 05:40, 14 October 2005 (UTC)
 * Not really. This band isn't that prolific and some of the articles are just testaments to how overly pretentious their fans can be. I'd say start listing them for deletion as soon as possible. With the exception of the first track, they were all stubs and half of them were not even properly categorized. This goes beyond stupidity. —The preceding unsigned comment was added by 63.233.75.100 (talk • contribs) 05:40, 29 December 2005 (UTC)

The article of the first track, Ode to Isis, was merged here per Articles for deletion/Ode to Isis. —Centrx→talk • 05:41, 1 July 2006 (UTC)

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

 * All song titles serve as redirects to this album or have been placed at the appropriate disambiguation pages.--Hraefen Talk 22:20, 11 July 2006 (UTC)

inspired by Worlds Apart the boygroup
I remember reading an interview in which was said by AYKUBTTOD members that this album is a concept record inspired by boygroupism, and especially the act Worlds Apart and their supposedly wild and non-conform behaviour towards the industry behind the scenes. Is that true?

Fair use rationale for Image:0075021036932.jpg
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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

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 * Added archive https://web.archive.org/web/20121004140638/http://www.stylusmagazine.com/reviews/and-you-will-know-us-by-the-trail-of-dead/worlds-apart.htm to http://stylusmagazine.com/reviews/and-you-will-know-us-by-the-trail-of-dead/worlds-apart.htm

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text:
Hop-up

Hop-Up may refer to:

 * Hop-up (airsoft), a piece of rubber increasing range of airsoft gun with Magnus effect.
 * Hop-up (TT-01), aftermarket gears for R/C chassis made by Tamiya

title: Hop-up


text: Category:Latvian fighter aircraft

title: Category:Latvian fighter aircraft


text: Category:Latvian military aircraft

title: Category:Latvian military aircraft


text:
Internet archive (disambiguation)

Internet Archive is a nonprofit organization based in San Francisco, California, United States.

Internet archive may also refer to:
 * Marxists Internet Archive

title: Internet archive (disambiguation)


text:
File:GBA Advance Wars.png

Summary
Screenshot from the GBA video game Advance Wars, made myself.

title: File:GBA Advance Wars.png


text:
User talk:Lst27/Blankfaze

Isn't this itself a personal attack? J OHN C OLLISON | (Ludraman) 15:31, 3 Oct 2004 (UTC)

title: User talk:Lst27/Blankfaze


text: Category:Ian Brown albums

title: Category:Ian Brown albums