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Pedro Abrunhosa

Pedro Machado Abrunhosa (born 20 December 1960) is a Portuguese singer, songwriter, musician and composer. Trained in jazz music, Abrunhosa started his career in the 1980s playing in jazz bands and teaching in music and art schools in Porto. He is a co-founder of the Jazz School of Porto.

In 1994 Abrunhosa launched a solo career in pop music with his debut album Viagens. This album made Abrunhosa the fastest-selling artist in Portuguese record-industry history at the time, reached number-one in the Portuguese album charts and sold over 140,000 copies. His second album Tempo (1996) continued the success and confirmed Abrunhosa's status as a major artist in the Portuguese music industry. Six of his eight studio albums have reached number-one in the Portuguese album charts. Aside from his music, he is known for always wearing sunglasses in public. Abrunhosa also played himself in the 1999 Manoel de Oliveira film The Letter. He is a board member of the Portuguese Authors Society.

Early life
Abrunhosa was born in Porto, Portugal. After studying at the Ruvina Music School, in 1972 he began his musical studies at the Music School of Porto, under the guidance of Professors Álvaro Salazar and Jorge Peixinho, in the subjects of Analysis, Composition, and History of Music, having already initiated his studies in the double bass. (He has often been approached by the Calouste Gulbenkian Foundation to attend and participate in the Meetings of Contemporary Music in that same institution.)

Once admitted into the "Conservatório de Música do Porto", he studied musical composition under the direction of Professor Cândido Lima. At that time, he was invited to take part in the Madrid Contemporary Music Group, under the direction of Spanish composer Enrique X. Macias. This afforded him the opportunity to take part in a series of shows performed in Portugal and Spain. In 1981, he received a diploma for the Courses of Musical Pedagogy from Belgian Professor Jos Wuytack.

1984–1994: Early career
In 1984, he went to Madrid to study with double-bass player Todd Coolman and with musicians Joe Hunt, Wallace Rooney, Gerry Niewood and Steve Brown. In that same year, he finished the General Course of Composition in the "Conservatório de Música do Porto" and started studying double-bass with Alejandro Erlich Oliva.

In 1985, returning to Spain, he took part in the International Jazz Seminar, and worked again with Todd Coolman, Billy Hart, Bill Dobbins, David Schnitter, Jack Walrath and Steve Brown. In that same year, together with Spanish guitar player Joaquin Iglesias, he founded the quartet "Banda de Bolso".

In 1986, he returned to Spain to participate in the third International Jazz Seminar in Seville where he played with Bob Moses, Chip Jackson, Brad Hartfield, Hoku Kim and Stan Strickland. In Portugal, later that year, he participated in the Seminars of Direction and Interpretation of the Big Band. He was chosen as the double-bass player of the newly formed orchestra. He also participated in two other Jazz Seminars with Danish saxophonist John Tchicai and bassist Peter Danstrup and the American musicians Paul Motian, Bill Frisell, and Joe Lovano.

In 1987, he worked with David Liebman, Billy Hart, Ron McClure and Richard Beirach in Barcelona. For one year, he taught double-bass at the Jazz School of Hot-Club in Lisbon. He also directed and produced the program "Até Jazz" in the "Rádio Clube do Porto". Later on, he joined Boulou Ferré, Ramon Cardo, Frankie Rose, Vicent Penasse and Tommy Halferty and extensively toured Portugal and throughout Europe. Additionally, he joined the Teacher's Quartet of Hot-Club of Portugal and Carlos Martin's Quartet.

He composed and recorded the music for the films "Amour en Latin", directed by Serge Abramovic, "Adão e Eva" directed by Joaquim Leitão, and "Novo Mundo". He was awarded Best Soundtrack at the Madrid Film Festival for the latter. He also composed the music for the theatrical pieces "Possessos de Amor", "A Teia", and "O Aniversário da Infanta" (Oscar Wilde). He composed the soundtrack to the video "150 Anos do Bonfim".

He co-founded the Jazz School of Porto, where he taught Harmony, Auditive Training and Group Music, during three years. He assembled and has conducted the orchestra of the Jazz School of Porto, concomitantly, composing most of its arrangements.

He was a teacher at the Higher Arts School of Porto (Cine-Video area), where lectured on the Formation and Analysis of the Soundtrack and at the Caius Music School on Group Music and Musical Production.

He formed and directed the Cool Jazz Orchestra, a musical group essentially devoted to Rhythm & Blues. After three years of intense work it became "Pedro Abrunhosa e a Máquina do Som", performing original pieces, all of which were composed by Pedro Abrunhosa.

1994–1995: Viagens and mainstream success
In 1994, Abrunhosa recorded his debut studio album Viagens with his new band Bandemónio, that included several of his former students. Released by PolyGram, Viagens had the participation of Maceo Parker - the sax player that usually accompanied James Brown. The album was a success, achieving triple platinum with the sale of 140,000 copies in Portugal.

With Viagens, Abrunhosa became "the fastest-selling artist in Portuguese record-industry history"; between October 1994 and January 1995, he performed in over 120 concerts across Portugal, with the estimated total audience surpassing 200,000. The tracks "Não Posso Mais" and "Socorro" were hits at dance clubs in the country, and Billboard considered Abrunhosa's sudden popularity a "music revolution" in a country where "music with jazzy foundations" was met with some reluctance. He was named best act in 1994 by major publications such as Blitz, Público and Diário de Notícias and in 2009 Viagens was considered by Blitz as the best Portuguese album of the 90s.

Under the band name "Pedro Abrunhosa e os Bandemónio", the album F was released. A book illustrating the adventures and trips of the group was also released. The book enjoyed the collaboration of two prestigious individuals in the literary and photographic worlds, respectively: Nuno Galopim and Kenton Thatcher.

In 1995, Abrunhosa was heavily involved in the protests against the sale of one of the most emblematic concert venues in Portugal, Coliseu do Porto, to the Universal Church of the Kingdom of God. The musician chained himself to the building, using his significant popularity to bring public awareness to the eminent sale, that would not be completed.

1996–1998: Tempo
In September 1996, Abrunhosa went to Memphis and Minneapolis where he finished the final phase of mixing and mastering of his second album Tempo. The album was recorded in Porto, Lisbon, Memphis, and Minneapolis. The final mixing process, as well as a substantial portion of the rhythm and voice recording were supervised by Tom Tucker, technical director of Paisley Park and chief engineer on Prince's latest albums.

Supported by his label – PolyGram – he invited The New Power Generation Horns to collaborate on this album, formed by Kathy Jensen, Kenni Holmen, Michael Nelson, David Jensen, Steve Strand, Ricky Peterson and Paul Peterson (these last two being Prince's keyboard player and bassist). He also collaborated with Ozzie Melendez (Tower of Power), Carlos do Carmo, Opus Ensemble, and Rui Veloso. Tempo (Time), was launched at midnight on November 11, 1996. After its first week on the shelves, the album went double platinum with more than 200,000 copies sold in Portugal.

He started his new tour "Tempo Tour 97/98", with concerts across Portugal, as well as in France, Canada, Switzerland, Brazil, and the United States. In order to further the internationalization of his work, he went to Madrid, Paris, and London to record some of Tempo tracks in Spanish, French, and English.

In May of that same year, he returned to London, to film the video "No Way", with the collaboration of Tony Vanden Ende.

He composed the music and authored the script for the musical "O Rapaz de Papel" ("The Paper Boy"), presented to the public in March 1998, integrated into "O Festival dos Cem Dias" (The Hundred Day Festival") and preceding the opening of Expo 98.

He produced the solo debut album by vocalist Diana Basto, Amanhecer (Dawn), released by PolyGram. He was responsible for the lyrics and music. It was recorded together with Tom Tucker, and was mixed and mastered in Minneapolis and Los Angeles.

He was invited by Caetano Veloso to integrate his show in Expo 98 that has, so far, broken all the booking-office records.

Invited by Expo 98, he performed his show at the Sony Plaza in September. It was the only performance from Portugal's Expo 98 which was broadcast all over the world.

He was later invited to participate in the Manuel de Oliveira film, La Lettre (The Letter), together with Chiara Mastroianni and Françoise Fabian, where he played the leading role. The film was awarded the Prix du Jury in the 1999 Cannes Film Festival.

He produced his third album of originals Silence, finished in November 1999, which includes the presence of Caetano Veloso's percussionists, Nina Miranda (of Smoke City) and the strings section usually used by Radiohead and dEUS.

He won four Blitz Awards: Record of the Year, Artist of the Year, Best Song, and Best Group. A Bordalo, an award given by the press; a Globo de Ouro ("Golden Globe") awarded for the song “Se Eu Fosse Um Dia O Teu Olhar”; and five Nova Era Radio awards, given by radio stations and institutions.

1999–present
In 1999, he gave a number of lectures throughout Portugal, mostly in libraries, schools, and universities, on topics related to artistic production and creation, literature, music and cinema. Some of lectures were published.

In 2002, he performed two shows at the Cultural Center of Belém, after a one-year hiatus. “Intimidade” was received favorably by the critics and public alike. The show, backed by IPAE, toured Portugal and proved to be an artistic and box-office success.

His album Momento (2002) was written and composed solely by him. It has the participation of the Helicon String Quartet. Manoel de Oliveira, the famous Portuguese director, directed the short film "Momento", as a video for the first single and title track off the album.

In Portugal, Momento reached double platinum, and was the most played album on radio. Pedro Abrunhosa released the album in Brazil through Universal, with the participation of local artists such as Zélia Duncan, Lenine, Sandra de Sá, and Adriana Calcanhoto. (His songs are performed in Brazil by a number of artists such as Elba Ramalho, Zeca Baleiro, Sandra Sá, and Rio Soul or Syang, among others.)

His first DVD, Intimidade went double platinum in just 2 weeks.

He is a standing board member of the Portuguese Authors Society.

Public persona
Abrunhosa is known for always wearing sunglasses in public. He was an influent personality in Portugal during the 90s, with a "strong image" and a "coherent and articulate speech".

Discography

 * Viagens (1994)
 * Tempo (1996)
 * Silêncio (1999)
 * Momento (2002)
 * Luz (2007)
 * Longe (2010)
 * Contramão (2013)
 * Espiritual (2018)

title: Pedro Abrunhosa


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Clytie (Oceanid)

Clytie (Κλυτίη) or Clytia (Κλυτία) is a water nymph, daughter of the Titans Oceanus and Tethys in Greek mythology. She is thus one of the 3,000 Oceanid nymphs, and sister to the 3,000 Potamoi (the river-gods).

According to the myth, Clytie loved the god of the sun Helios in vain, but he left her for another woman, the princess Leucothoe, under the influence of Aphrodite, the goddess of love. In anger and bitterness, she revealed their affair to the girl's father, indirectly causing her doom as the king buried her alive. This failed to win Helios back to her, and she was left lovingly staring at him from the ground; eventually she turned into a heliotrope, a violet flower that gazes at the Sun in its diurnal journey.

Clytie's story is mostly known from and fully preserved in Ovid's narrative poem Metamorphoses, though other brief accounts and references to her from other authors survive as well.

Etymology
Her name, spelled both Klytie and Klytia, is derived from the ancient Greek adjective κλυτός (), meaning "glorious" or "renowned". It derives from the verb κλύω, meaning 'to hear, to understand', itself from the Proto-Indo-European root *ḱlew-, which means 'to hear'.

Ovid
Ovid's account of the story is the fullest and most detailed of the surviving ones. According to him, Clytie was a lover of Helios, until Aphrodite made him fall in love with a Persian mortal princess, Leucothoe, in order to take revenge on him for telling her husband Hephaestus of her affair with the god of war Ares, whereupon he ceased to care for her and all the other goddesses he had loved before, like Rhodos, Perse and Clymene. Helios, having loved her, abandoned her for Leucothoe and left her deserted. Now no longer loved by him, she "scorned by [Helios], still seeks [his] love and even now bears its deep wounds in her heart." Angered by his treatment of her, and still missing him, she informed Leucothoe's father, King Orchamus, about the affair. Since Helios had defiled Leucothoe, Orchamus had her put to death by burial alive in the sands. Helios arrived too late to save the girl, but he did make sure to turn her into a frankincense tree by pouring nectar over her dead body, so that she would still breathe air (in a way). Ovid seems to think that Helios bears some responsibility over Clytie's excessive jealousy because he writes that Helios's passion was never "moderate" when he loved her.

Clytie intended to win Helios back by taking away his new love, but even though "her love might make excuse of grief, and grief may plead to pardon jealous words" her actions only hardened his heart against her, and now he avoided her altogether, never going back to her. In despair, she stripped herself and sat naked, accepting neither food nor drink, for nine days on the rocks, staring at the sun, Helios, and mourning his departure, but he never looked back at her. After nine days she was eventually transformed into a purple flower, the heliotrope (meaning "sun-turning" ), also known as turnsole (which is known for growing on sunny, rocky hillsides), which turns its head always to look longingly at Helios the Sun as he passes through the sky in his solar chariot, even though he no longer cares for her, her form much changed, her love for him unchanged.

Variations

The episode is most fully told by Roman poet Ovid in his poem the Metamorphoses; Ovid's version is the only full surviving narrative of this story, but he must had had a Greek original source, for the myth's origins and plot lie in the etymology of the flower's Greek name. According to Lactantius Placidus, he got this myth from seventh or sixth century BC Greek author Hesiod. Some scholars however doubt this particular attribution to Hesiod. Like Ovid, Lactantius does not explain how Clytie knew about Helios and Leucothoe, or how Helios knew it was Clytie who had informed Orchamus. It is possible that originally the stories of Leucothoe and Clytie were two distinct ones before they were combined along with a third story, that of Ares and Aphrodite's affair being discovered by Helios who then informed Hephaestus, into a single one either by Ovid or Ovid's source.

One of the ancient paradoxographers identifies the girl who betrayed the secret as Leucothoe's sister instead, and their father's name as Orchomenus, giving her neither a name nor a motivation behind her actions. Orchomenus is also the name of a town in Boeotia, implying that this version of the story took place there rather than Persia. Pliny the Elder wrote that:

"I have spoken more than once of the marvel of heliotropium, which turns round with the sun even on a cloudy day, so great a love it has for that, luminary. At night it closes its blue flower as though it mourned."

Edith Hamilton notes that Clytie's case is unique in Greek mythology, as instead of the typical lovesick god being in love with an unwilling maiden, it is a maiden who is in love with an unwilling god.

Culture
Similar to the story of Daphne used as an explanation for the plant's prominence in worship, Clytie' story might have been used for similar purposes in connecting the flower she turned into, the heliotrope, to Helios.

An ancient scholiast wrote that the heliotropium that Clytie was turned into was the first preservation of the love for the god.

Identity of the flower
Modern traditions substitute the purple turnsole with a yellow sunflower, which according to (incorrect) folk wisdom turns in the direction of the sun. The original French form tournesol primarily refers to sunflower, while the English turnsole is primarily used for heliotrope. Sunflowers however are native to North America, and were not found in antiquity in either Greece or Italy, making it impossible for ancient Greek and Roman authors to have included them in their etiological myths, as sunflowers were not part of their native flora and they would have not known about them and their sun-turning properties.

It has also been noted that the heliotropium itself poses some difficulties for identification with Clytie's flower; heliotropium arborescens, which is the vivid purple variant, is not native to Europe either, instead coming from the Americas just like the aforementioned sunflower. Native variants of heliotropium or other flowers called "heliotrope" are also the wrong colour, either white (heliotropium supinum) or yellow (vilossum), when Ovid described it as "like a violet" and Pliny "blue". Both however lived in the post-Hellenistic period after the conquests of Alexander the Great, and could have been aware of the heliotropium indicum, a variant that can have a purplish or bluish corolla. Moreover, even heliotropium europaeum, a variant native in Europe which is normally white in colour, can have pale lilac flowers.

Identity of the god
Much like with Phaethon, another ancient myth featuring Helios, some modern retellings connect Clytie and her story to Apollo, the god of light, but the myth as attested in classical sources does not actually concern him; Ovid identifies twice the god Clytie fell in love with as Hyperione natus/e (the son of Hyperion), and like other Roman authors does not conflate in his poem the two gods, who remain distinct in myth. Clytie's lover whom she was jilted by is also connected to the story of Phaethon, as the boy's father, a distinctly solar but non-Apolline figure, who in turn is not a sun god or given any solar characteristics as far as Ovid is concerned. Joseph Fontenrose argued that despite Ovid's works being largely responsible for the prevalence of the two gods being the same one in post-classical times, he himself did not actually identify them in either the story of Phaethon or the story of Leucothoe and Clytie.

Bust (Townley collection)
One sculpture of Clytie, found in the collection of Charles Townley, might be either a Roman work, or an eighteenth century "fake".

The bust was created between 40 and 50 AD. Townley acquired it from the family of the principe Laurenzano in Naples during his extended second Grand Tour of Italy (1771–1774); the Laurenzano insisted it had been found locally. It remained a favorite both with him (it figures prominently in Johann Zoffany's iconic painting of Townley's library (illustration, right), was one of three ancient marbles Townley had reproduced on his visiting card, and was apocryphally the one which he wished he could carry with him when his house was torched in the Gordon Riots – apocryphal since the bust is in fact far too heavy for that) and with the public (Joseph Nollekens is said to have always had a marble copy of it in stock for his customers to purchase, and in the late 19th century Parian ware copies were all the rage.

The identity of the subject, a woman emerging from a calyx of leaves, was much discussed among the antiquaries in Townley's circle. At first referred to as Agrippina, and later called by Townley Isis in a lotus flower, it is now accepted as Clytie. Some modern scholars even claim the bust is of eighteenth century date, though most now think it is an ancient work showing Antonia Minor or a contemporaneous Roman lady in the guise of Ariadne.

Bust (George Frederick Watts)

Another famous bust of Clytie was by George Frederick Watts. Instead of Townley's serene Clytie, Watts's is straining, looking round at the sun.

Literature
Clytie is briefly alluded to in Thomas Hood's poem Flowers, in the lines "I will not have the mad Clytie,/Whose head is turned by the sun;". William Blake's poem Ah! Sun-flower has been suggested to allude to the myth of Clytie.

"Ah Sun-flower! weary of time, Who countest the steps of the Sun: Seeking after that sweet golden clime Where the travellers journey is done.

Where the Youth pined away with desire, And the pale Virgin shrouded in snow: Arise from their graves and aspire, Where my Sun-flower wishes to go."

The sunflower (which was not Clytie's original flower) ever since her myth, has "been an emblem of the faithful subject", in three or four ways: the "image of a soul devoted to the god or God, originally a Platonic concept", as "an image of the Virgin devoted to Christ"; or "an image - in the strictly Ovidian sense - of the lover devoted to the beloved". Northrop Frye claimed that Clytie's metamorphosis tale is at the 'core' of the poem.

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

title: Clytie (Oceanid)


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British Rail Class 423

The British Rail Class 423 (4 VEP), electric multiple unit passenger trains were mostly built by British Rail (BR) at York Works from 1967 to 1974, although the MBSOs and TSOs of the first 20, 7701-7720, were built at Derby Works. They have manually opening doors next to every seating row and were the last coaching stock built in this pattern for BR. They were mostly found working outer-suburban services in South London and rural services in Kent, Sussex and Hampshire, up to 2005 when they were finally replaced by Electrostar and Desiro units. The fleet had a working life of 38 years.

Standard units
Ordered in 1965, 194 standard four-car 4 VEP units were built between 1967 and 1974, numbered 7701-7894; subsequently becoming class 423 under TOPS. They were subsequently renumbered in the 1980s into the 30xx and 31xx series in order to make numbers TOPS compliant. Between 1988 and 1995 the units were internally facelifted. The work involved fitting fluorescent lighting and public address equipment, and also rebuilding the MBS (motor brake second) vehicles with an additional two bays of seating in space formerly used for luggage. On refurbishment only the first 20 units were renumbered in order, in the 34xx series. All other units were renumbered from 3421 onwards, in the order they were refurbished. All units ended up swapping motor vehicles on refurbishment - the additional work on these cars made the work take longer than that carried out on trailer vehicles.

8 VAB unit
In 1968, due to a shortage of suitable stock for the Bournemouth electrification scheme, BR formed an eight-carriage 8 VAB unit, no. 8001. The unit was formed of carriages from three standard sets, nos. 7739/41/42, plus a conventional locomotive-hauled buffet carriage. Three MBSOs were required within the make-up as the standard 'TRB' was not through-wired for traction power distribution. In view of this the two MBSOs in the five-car portion had collector shoes fitted to one bogie on each. The unit worked on occasions with a 4TC; this usually had a Class 33 attached to provide ETH and train lighting in the TC unit, as the 8 VAB was not fitted with ETH jumper cables on the unit ends. Its normal running formation was with another 4 VEP to make a 12-car set. The 'TRB' vehicle retained its gas-powered appliances so, unlike 4 REP buffet cars, was able to provide hot food and beverages while on diversions away from third-rail areas. Adjacent MBSO 62203 had most of its doors locked out of use and tables fitted across them for the service of meals on a 2-and-2 basis (across seats intended for five persons normally); this vehicle also had most of its luggage racks removed. The unit was later reclassified as Class 480 following the introduction of TOPS.

The numbering of individual vehicles are shown in the table below.

The unit was disbanded in 1974, following deliveries of 4 REP stock, but one of the original units, no. 7739, was not reformed, as spare vehicles from the unit had replaced crash-damaged VEP vehicles in the meantime.

4 VEG units
In 1978 12 units, nos. 7788-7799, were fitted with extra luggage racks by removing the squabs and cushions from certain seats and reclassified as Class 427 4 VEG units. The units were renumbered into the range 7901-7912 in the same sequence. These units were dedicated to the Gatwick Express services from London Victoria to Gatwick Airport. Externally these units were marked by an orange/yellow (dayglo) coloured band at cantrail level with lettering 'London-Gatwick express service'. They were used on Victoria to Bognor Regis services attached at the rear from Victoria and detached at Gatwick Airport so that airline passengers did not have to rush to get off the train. The unit then attached to the front of an Up Bognor Regis service back to Victoria.

In 1984 they were replaced on this service by Class 73 electro-diesel locomotives operating in push-pull with Class 488 coaching sets and Class 489 luggage vans. The twelve units were then converted back to standard sets, and regained their original unit numbers.

Vehicle numbering
The numbering of individual vehicles and details of when units were built are shown in the table below.

Final operations
Following the privatisation of British Rail the three southern train operators all inherited large fleets of 4 VEP units. A franchise commitment of all operators was to replace all of the units, along with all other Mark 1 rolling stock, by the end of 2005, as the units did not meet modern health and safety requirements. The fleet of each franchise is described below.

South Eastern Trains
South Eastern Trains operated the largest fleet of 4 VEP units. The franchise was originally operated as Connex South Eastern, which lost the franchise in 2003. The fleet contained several unusual units, including no. 3473, which contained a driving trailer with the compartments removed, and no. 3582, which contained former 4TC driving trailer 76275.

Many units survived into 2005 because of the closure of the Folkestone—Dover section of railway for tunnel refurbishment. This ended in September 2005. The final passenger service was operated on 7 October 2005, using units 3565, 3545 and 3568.

All the South Eastern Trains 4 VEP units are withdrawn. One driving trailer from unit 3568, and another from unit 3545, have been claimed by the National Railway Museum, and the former 4TC driving trailer from unit 3582 have been preserved.

South Central/Southern
The Network SouthCentral division inherited a fleet of 50 standard Class 423/1 units. The franchise was originally won by Connex South Central, which soon applied its yellow and white livery to the fleet. However, following poor levels of service and financial mismanagement, the franchise was transferred to South Central Trains in 2000, which was later renamed as Southern in 2004. Only one unit, no. 3514, was ever repainted in Southern's green livery.

In 1998-1999, whilst still under the control of Connex, 19 units were modified to operate inner suburban South London "Metro" services. The work involved removal of internal compartments and declassification of first class seating. The units were reclassified as Class 423/9, or 4 VOP, and renumbered in the range 3901-3919. Due to the lack of first class seating and toilets, these units were generally not used on long-distance services.

In 2003, with the general run-down of slam door trains, it was decided to reform some of the 4 VOP units by swapping one driving trailer with that from a standard unit, the standard units gaining the ex 4 VOP driving trailer. The new hybrid units were reclassified as Class 423/8 (or 4 VIP) and renumbered in the range 3813-3844. This was to give all units some first class seating, thus making diagramming of units easier. But in the event only eight units were reformed, namely nos. 3813/14/21/22/41-44.

By 2004 Southern had started to introduce Class 377 "Electrostar" units into service. Although first introduced in 2002, this did not initially affect the Class 423 as the older 'Phase 1' Class 421 4 CIG units were withdrawn first, due to their age and lower seating capacity. However, as more new units entered traffic, the first Class 423 units were withdrawn. Units selected for withdrawal were usually those with high mileage or in poor condition. By mid-2005 only a handful of units remained in traffic. The final diagrammed passenger service out of London was the 17:17 London Victoria to Eastbourne and Seaford on 19 August 2005, formed of units 3486 and 3535, plus 4 CIG unit 1866. Six units were subsequently retained for emergency cover. Unit 3514 was used on the Sussex Slammer railtour on Saturday 19 November 2005.

The following Saturday saw the final slam door trains on Southern, when units 3490, 3505 and 3535 formed the 09:19 Brighton to London Victoria and 11:06 London Victoria to Brighton services (via Lewes due to engineering works); this being the last scheduled mainline passenger service using southern-electric slam-door stock (the very last passenger being an off-duty HM Inspector of Railways). Following this trip the stock was withdrawn from service and initially put into Lover's Walk depot before being moved (under its own power) to Battersea Stewart's Lane Depot (road 12) from where it was hauled away at 12:26hrs on 3 January 2006 by a class 47 locomotive for scrapping.

One complete 4 VIP unit has been preserved, and two 4 VOP units remained in departmental use until March 2013.

South West Trains
South West Trains (SWT) inherited the second-largest number of units, with an initial fleet size of 62 units. The entire fleet was composed of standard Class 423/1 units. Later, a further four units (nos. 3809-3812) were transferred from Connex South Eastern. These were also standard units, but were numbered in the 38xx series to denote they were leased from Porterbrook rather than HSBC Rail.

SWT quickly repainted its fleet of units into a new livery, based on the previous Network SouthEast (NSE) livery, but with the addition of an orange stripe and the absence of the grey band. All but four units (3415 and 3809-3811) were repainted. These four units were deliberately retained in NSE livery, meaning that in the final days of slam-door trains they attained "celebrity" status among rail enthusiasts.

In 2001 SWT placed an order for 785 new carriages with Siemens to allow it to replace its fleet of slam-door trains, in accordance with its franchise commitment to do so by 2005. To assist Siemens in the design of third rail units, 4 VEP no. 3810 was transferred to a test site in Germany to undergo tests. Following its return to Britain it became popularly known as the "Great Escape".

South West Trains started to replace its slam-door fleet from early 2004, with the introduction of the first Class 444 and Class 450 Desiro units. Around this time SWT repainted one unit, no. 3417, into its original BR Blue livery to commemorate the final months in traffic of the slam-door fleet. This unit was chosen because it was one of the last to receive major works attention, and therefore had the longest life-expectancy. It was named 'Gordon Pettitt' after a former manager of the Southern Region of British Railways.

In the final months of traffic several units, including the first-built, no. 3401, were reformed in order to allow the vehicles in the best condition to be retained in service. Withdrawals of units picked up pace, with several large culls of units, the last of which occurred in March 2005. Beyond this date only a handful of units remained in traffic, namely nos. 3401/17/81 3516/20/36/76 and 3811. The final normal passenger service was operated on 26 May 2005 from London Waterloo to Bournemouth, using 4 VEP 3536 sandwiched between 4 CIG units 1396 and 1398. Following withdrawal most units were rapidly towed away for scrap. The "celebrity" blue unit, no. 3417, has since been sold to the Bluebell Railway.

Further use
Following withdrawal from normal service, several vehicles have seen further use in departmental service.
 * 4 VOP units 3905 and 3918 were converted into tractor units. They were used to haul Class 375 units to and from Ashford Works.
 * MBSO 62138 (ex-unit 3567) was renumbered to 977981 and was used as a motor coach in the Hitachi V-Train no. 960201 during third-rail testing. It has since been scrapped.

Accidents and incidents

 * On 26 January 1985, units 7754 and 7703 formed a train with 4 CIG unit 7395 which was halted by a landslip at Popham, Hampshire and was run into by Class 33 locomotive 33 104 due to the traincrew failing to protect the rear of the stranded train. Twelve people were injured. The Class 33 was written off.
 * On 6 November 1985, unit 7724 collided with 4 CIG unit 7390 at Copyhold Junction, near Haywards Heath, West Sussex due to a lack of braking and poor rail adhesion. Forty people were injured.
 * On 12 December 1988, a train comprising units 3033, 3119 and 3005 formed the 07:18 Basingstoke - Waterloo service which was run into by the 06:14 Poole - Waterloo service, formed of 4 REP unit 2003 and 4TC units 8027 and 8025 at Clapham Junction. An empty stock working comprising units 3004 and 3425 running in the opposite direction on an adjacent line was struck by the derailed trains. Thirty-five people were killed, nearly 500 were injured.
 * On 4 March 1989, unit 3441 is run into by a passenger train comprising 4 CIG units 1280 and 1295, which had overrun signals at Purley, Surrey. Five people were killed and 88 were injured.
 * On 1 August 1990, Class 119 diesel multiple unit L576 collided with a passenger train comprising 4 VEP units 3508 & 3504, and 4 CIG unit 1304 at Reading due to overrunning signals. Forty people were injured.

Preservation
So far two complete units (highlighted in table below) and two individual driving trailers have been preserved. In addition the former 4TC driving vehicle from set 3582 has been preserved.

The more high-profile unit preserved is the former South West Trains (SWT) "celebrity" unit painted in BR blue livery with painted aluminium window frames, no. 3417. The unit was initially used on Wimbledon depot as a shunter, but with SWT needing to get it off its books it was sold to the Bluebell Railway for the nominal sum of £1. It was moved to Eastleigh Works for storage, after having been used initially as the centrepiece for the Bluebell in a ceremony at East Grinstead railway station to mark the commencement of work at the station site as part of the line's work on the northern extension. The unit returned to East Grinstead for further use and storage in September 2010. In late April, the unit sustained minor damage to its shoegear as it was being driven from sidings at Clapham Junction Yard prior to movement under tow to the Swanage Railway. This resulted in the traction current being discharged in the yard whilst repairs were carried out. The unit was then moved back into the sidings and then dragged to Swanage the following day. The unit was for some time stabled in the open at Clapham Junction, having previously been stored in the shed at the yard. The unit was then moved to Ilford as part of a deal brokered by the unit's support group for a full repaint. After the completion of this bodywork restoration, it was transferred to Strawberry Hill in South West London where the interior underwent long-term refurbishment by volunteers from the Southern Electric Traction Group. It was returned to the National Rolling Stock Library on 16th January 2024.

The second set, no. 3905, was turned into a tractor unit before being used for spares by the 5 BEL Trust to restore a 5 BEL set. It was donated for preservation and was stored at the Dartmoor Railway. In 2016 the termination of lease by Dartmoor Railway meant the unit would leave the railway and find a new home at the East Kent Railway in Sheperdswell.

One other set, no. 3822, was briefly preserved until 2010 when it was scrapped. It was located at the Churnet Valley Railway and was partially restored. In 2008 half of the set was returned to as-built BR Blue and received internal repairs. The other half remained in "as withdrawn" Connex condition, and the set operated at several special events throughout that year.

There was an attempt to preserve unit 3810 (the unit that was briefly exported to Germany), but this failed and ultimately it was scrapped.

Fleet details
Original-condition units Facelifted units

Modelling
Hornby produce the 4 VEP model in OO gauge. The model represents the main 2 variations:
 * 1) Original units - with the full brake area in the MBS;
 * 2) Refurbished units - as undertaken from 1988 onwards, with a reduced brake compartment replaced with extra seating bays.

title: British Rail Class 423


text:
Seth Harding

Seth Harding (17 April 1734 – 20 November 1814) was an officer in the United States Navy during the American Revolutionary War. In 1776, he was the captain of the Defence.

Biography
Seth Harding, also known as Hest was born in Eastham, Province of Massachusetts. He went to sea early in his life and commanded several merchant ships during the French and Indian War. He moved to Liverpool N.S., and briefly served in the 5th General Assembly of Nova Scotia, representing Liverpool Township from Oct. 12, 1773 to 1774.

At the beginning of the American Revolution, he offered his services to Connecticut and was commissioned commander of the state brig Defence. Harding captured many British ships while in command of this and two other vessels. In September 1778, Harding accepted a Continental Navy commission and took command of Confederacy. He cruised along the U.S. coast in company with Deane during 1779, taking three prizes and performing convoy duties.

He was ordered to take John Jay, newly appointed minister to Spain, to Europe in September 1779, but the ship was dismasted 10 days out. Harding, through skillful seamanship, sailed his ship to Martinique for repairs, his passengers continuing on another ship. Confederacy raided British merchantmen and guarded convoys until 18 April 1781, when she was forced to surrender to two British ships, Roebuck and Orpheus. Harding was subsequently exchanged, commanded the letter of marque Diana, but was captured again. After this release, the fighting captain volunteered to serve as First Lieutenant to John Barry in Alliance, and was wounded on board during the last engagement of the revolution with HMS Sybil, off Cape Canaveral, Florida. He was known as "the Harding" by the king of France. He had a great relation to France.

Harding spent his last years as a merchant sailor and in retirement in Schoharie, New York, where he died.

Namesake
Several ships called USS Harding were named in his honor.

title: Seth Harding


text:
Hohes Kreuz

Hohes Kreuz is a former municipality in the Eichsfeld in Thuringia, Germany. The municipality was created in 1991 by merging the municipalities of Bischhagen, Mengelrode, Siemerode, and Streitholz. On 1 January 2024 it became part of the town Heilbad Heiligenstadt.

title: Hohes Kreuz


text:
Talk:Nagaland

Nagaland GDP Agriculture
Hello, you can find the sector distribution among the infographics. I will make sure to use a better link Ly.n0m (talk) 01:20, 25 April 2024 (UTC)
 * , please describe the precise location in the source here. -- Kautilya3 (talk) 09:40, 25 April 2024 (UTC)
 * In the third infographic there's a category "economic snapshot" which includes data about GSVA by economic sector for 2022-23 (in the center of it) Ly.n0m (talk) 13:23, 25 April 2024 (UTC)
 * You have cited a web page and the term "economic snapshot" doesn't appear on that page. What is meant by "third infographic"? Where is it?
 * You should also follow WP:BRD. Your current conduct constitutes WP:edit warring, for which you can be sanctioned. -- Kautilya3 (talk) 18:04, 25 April 2024 (UTC)

title: Talk:Nagaland


text:
Reinholterode

Reinholterode is a municipality in the district of Eichsfeld, Thuringia, Germany.

title: Reinholterode


text:
Talk:Clytie (Oceanid)

Comments
This may need a merge or delete. I'm not sure. I discovered, after writing, that there is an article at Clytia. That article gives a different father and makes the two rival women sisters. My source is Lempriere's Dictionary, which does have occasional errors. I will re-read the relevant section of Metamorphoses (4) and see which is correct. If this is correct, I'll make that a redirect here. If that is correct, I will delete this. Geogre 00:41, 3 Oct 2004 (UTC)

Redirect of Clytia
I re-read Metamorphoses 4, and Ovid provides nothing to suggest that Clytia was the sister of Leucothoe. Since Clytia is mentioned elsewhere as a daughter of Oceanus, and since Ovid does indicate that there is some vast distance between Clytia and Leucothoe (dying amid ocean rocks vs. desert sands), I have redirected Clytia to this Clytie. Geogre 14:39, 3 Oct 2004 (UTC)

Pronounciation
How is this pronounced? Clai-tai? Clithy?

I'm also unsure how clythia should be pronounced. Pantheon.org gives me no help in this regard.

Weirdly Phrased Sentence
"which turns its head always to look longingly at Apollo dude chariot of the sun"

Um... Apollo dude chariot? What the heck is that? —The preceding unsigned comment was added by Noneko (talk • contribs) 06:32, 15 December 2006 (UTC).

Leucothoe not Daphne and Helios not Apollo
The Narrative section is unsourced. In Metamorphoses, Clytie appears in regards to the sun god's love for Leucothoe in Book IV, while Daphne is in Book I.

Finally I think it is Helios, the titan (or son of), rather than Apollo, who is the sun god in the story since it is mentioned he is "Hyperion's son" and Helios' son Phaeton is also mentioned. — Preceding unsigned comment added by 71.202.20.21 (talk) 02:16, 28 May 2012 (UTC)

External links modified
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I have just modified 2 external links on Clytie (Oceanid). 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://archive.is/20120913090736/http://www.thebritishmuseum.ac.uk/explore/highlights/highlight_objects/gr/m/marble_bust_of_clytie.aspx to http://www.thebritishmuseum.ac.uk/explore/highlights/highlight_objects/gr/m/marble_bust_of_clytie.aspx
 * Added archive https://web.archive.org/web/20070927194632/http://www.thebritishmuseum.ac.uk/explore/highlights/highlight_objects/pe_mla/p/parian_bust_of_clytie.aspx to http://www.thebritishmuseum.ac.uk/explore/highlights/highlight_objects/pe_mla/p/parian_bust_of_clytie.aspx

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title: Talk:Clytie (Oceanid)


text:
USS Talbot (DD-114)

USS Talbot (DD-114) was a Wickes-class destroyer in the United States Navy during World War I and later designated APD-7 in World War II. She was the first ship named in honor of Silas Talbot.

Construction and commissioning
Talbot was laid down on 12 July 1917 at Philadelphia by William Cramp & Sons. The ship was launched on 20 February 1918, sponsored by Miss Elizabeth Major. The destroyer was commissioned on 20 July 1918, Lieutenant Commander Isaac Foote Dortch in command.

Service history
Talbot stood out of New York on 31 July and steamed to the British Isles. She made three more round-trip voyages to England and, in December, called at Brest, France. In 1919, she joined the Pacific Fleet and operated with it until 31 March 1923 when she was decommissioned at San Diego. On 17 July 1920, the ship was designated DD-114 while in reserve.

Talbot was recommissioned on 31 May 1930, and joined Destroyer Squadron (DesRon) 10 of the Battle Force at San Diego. She remained with Battle Force until 1937 when she went to Hawaii to support Submarine Force, Pacific Fleet for a year. In 1939, she served with the Battle Force and the Submarine Force. In 1940 and 1941, the destroyer was based at San Diego.

World War II
The day after the Japanese attack on Pearl Harbor, Talbot got underway in the screen of the aircraft carrier USS Saratoga (CV-3) and headed for Hawaii. She arrived at Pearl Harbor exactly a week after the Japanese raid, patrolled off the islands for ten days, and returned to San Diego. In February 1942, the ship joined the Patrol Force of the 12th Naval District and escorted convoys along the Pacific coast.

Late in May, Talbot stood out of Puget Sound to escort the submarines USS S-18 (SS-123), USS S-23 (SS-128), and USS S-28 (SS-133) to Alaska. They arrived at Dutch Harbor on 2 June and were subjected to a small and unsuccessful air attack the next day. With the exception of three escort trips back to Seattle, the destroyer performed patrol and escort duty in Alaskan waters for the next seven months. On 31 October 1942, the ship was reclassified a high-speed transport and redesignated APD-7. Talbot departed Dutch Harbor on 31 January 1943 to be converted by the Mare Island Navy Yard into a small but fast troopship. The work, enabling Talbot to transport 147 combat troops, was completed on 15 March.

The next day, the high-speed transport got underway for Hawaii, and she arrived at Pearl Harbor the following week. On 2 April, she headed for Espiritu Santo to join Transport Division (TransDiv) 12. For two months, the APD participated in training exercises with her division and also escorted ships to New Caledonia, New Zealand, Australia, and Guadalcanal.

In mid-June, she joined Task Group (TG) 31.1, the Rendova Attack Group, for the invasion of New Georgia. She and USS Zane (DMS-14) were to capture two small islands that controlled the entrance to Roviana Lagoon from Blanche Channel. The two ships embarked troops of the 169th Infantry Regiment at Guadalcanal, and, on 30 June, they were off their assigned beaches when the assault began. Heavy rains obscured the islands, and Zane ran aground at 0230. After landing her troops and supplies without opposition, Talbot attempted to pull the minesweeper free but failed. Then, USS Rail (AM-26) arrived and pulled Zane free while Talbot provided air protection. During the operation, enemy aircraft could be seen attacking the main landing force. On the night of 4 July, the ship and six other high speed transports arrived off Rice Anchorage. During the landing of assault troops the next morning, a Japanese "long-lance" torpedo sank USS Strong (DD-467), one of the destroyers of the bombardment group.

Talbot returned to Guadalcanal to prepare for the occupation of Vella Lavella. On 14 August, she sortied with TG 31.5, the Advance Transport Group of the Northern Landing Force. The assault forces went ashore from the destroyer transports the next morning, unopposed. However, two hours later, the Japanese began air attacks against the ships and kept up the raids throughout the day. Nevertheless, the American fleet suffered no damage and claimed to have shot down 44 of the enemy planes.

The high-speed transport next devoted over a month to escorting smaller ships and carrying supplies to various islands in the Solomons. Late in September, she joined Admiral George H. Fort's Southern Attack Force for the conquest of the Treasury Islands. Eight APDs and 23 smaller landing ships were loaded with troops of the 8th New Zealand Brigade Force. The smaller ships departed Guadalcanal on 23 October and 24 October, and the faster destroyer transports left on 26 October. The following day, the troops landed on Mono and Stirling islands, and the transports had cleared the area by 2000.

On 3 November, Talbot called at Noumea to embark reinforcements for troops who, two days before, had landed on the beaches of Bougainville at Empress Augusta Bay. She arrived on 6 November, disembarked her soldiers, loaded 19 casualties and screened a group of landing ship tanks (LSTs) to Guadalcanal. On 11 November, she was back at the beachhead with a resupply echelon. Four days later, she got underway for Guadalcanal. The high-speed transport loaded troops, ammunition, and rations; held a practice landing; and headed for Bougainville. On 16 November, the destroyer transport and her five sister ships rendezvoused with a group of LSTs and destroyers. At 0300, a Japanese snooper aircraft dropped a flare astern of the convoy. It was followed by enemy bombers which attacked for almost an hour before hitting USS McKean (DD-90) and setting her afire. Although under constant air attack, Talbot's boats rescued 68 crew members and 106 marine passengers from the stricken ship.

Talbot continued to Cape Torokina and arrived there in the midst of another air attack. She landed her troops and headed for Guadalcanal.

After her engines were overhauled at Nouméa in December, the ship made a round-trip to Sydney. On 8 January 1944, she departed New Caledonia for Espiritu Santo to pick up a convoy and escort it to Guadalcanal. She arrived off Lunga Point on 13 January and patrolled between there and Koli Point for two weeks. On 28 January, the fast transport embarked elements of the 30th New Zealand Battalion and a group of intelligence and communications specialists of the United States Navy and headed for the Green Islands to participate in a reconnaissance in force.

On the night of 30 January, the destroyer transports landed the raiding party; withdrew from the area; and returned the next night to pick them up. Talbot disembarked the New Zealanders at Vella Lavella and the Navy men at Guadalcanal. On 13 February, Talbot reembarked New Zealand troops and sortied with TF 31, the Green Islands Attack Group. She was off Bara-hun Island on 15 February and launched her part of the assault wave. She then shuttled reinforcements and supplies from Guadalcanal to the Green Islands.

On 17 March, the transport loaded elements of the 2d Battalion, 4th Marines, at Guadalcanal and sailed with the amphibious force to the St. Matthias Islands. The Marines peacefully occupied Emirau on 20 March, and Talbot returned to Purvis Bay. She headed to New Guinea on 4 April to participate in practice landings with the 168nd Army Regimental Combat Team (RCT). Two weeks later, she loaded 145 men of that regiment and sortied with TG 77.3, the Fire Support Group, for the assault on Aitape. On 22 April, Talbot landed her troops; shelled Tumleo Island; and returned to Cape Cretin. She escorted resupply echelons to the landing area until 10 May when the transports were released by the 7th Fleet.

Talbot joined the 5th Fleet at Guadalcanal on 13 May and began training with underwater demolition teams. On 4 June, she joined a convoy to the Marshalls and arrived at Kwajalein on 8 June. Two days later, the high-speed transport joined TG 53.15 of the Southern Attack Force and got underway for the Marianas. However, she collided with the battleship USS Pennsylvania (BB-38) during an emergency turn; and the resulting flooding of several of her compartments forced her to return for repairs. Talbot got underway two days later, rejoined the group southeast of Saipan, and was off the beaches there on 15 June, D-Day. During the first days of the operation, she screened the bombardment group. On 17 June, she captured a survivor of a wrecked Japanese boat. The ship developed engine trouble and anchored in the transport area where an enemy plane dropped a stick of bombs off her port bow, but caused no damage. She transferred her underwater demolition team to USS Kane (DD-235) and joined a convoy for Hawaii. She was then routed back to San Francisco for an overhaul that lasted from 11 July to 28 August.

Talbot returned to Pearl Harbor early in September and steamed onward to Eniwetok and Manus. She embarked Underwater Demolition Team No. 3 on 12 October and sortied with TG 77.6, the Bombardment and Fire Support Group, for Leyte. On 18 October, her swimmers made a daylight reconnaissance of the waters between San Jose and Dulag. Although opposed by enemy machine-gun and mortar fire, the team reembarked with no casualties. The transport departed with a convoy and arrived at Seeadler Harbor on 27 October, where she transferred the demolition team to USS President Hayes (APA-20) on the last day of the month.

Talbot headed toward Oro Bay, joined USS George Clymer (APA-27), escorted her to Cape Gloucester, and returned to Seeadler Harbor on the 8th. Two days later, she was anchored there, only some 800 yd from USS Mount Hood (AE-11), when that ammunition ship suddenly exploded and showered her with over 600 lb of metal and debris. The transport was holed in several places and some crew members were injured. Talbot's boats searched for survivors but found none.

On 15 December 1944, after the high-speed transport's damage had been repaired at Manus, Talbot got underway and proceeded, via Aitape, to Noemfoor Island to participate in amphibious exercises with the 158th RCT. On 4 January 1945, she embarked troops and sortied with Task Unit 77.9.8 for Lingayen Gulf. The ship landed reinforcements at San Fabian the following week and continued on to Leyte. She embarked troops of the 11th Airborne Division on 26 January and headed for Luzon with a convoy. On 31 January, she disembarked the troops as the second wave against Nasugbu and steamed to Mindoro. She loaded mortar and rocket boats and delivered them to Leyte.

On 14 February, the high-speed transport embarked units of the 151st Infantry Regiment and steamed to Bataan. She landed the troops at Mariveles Bay the next morning and returned to Subic Bay. On 17 February, she took a load of reinforcements to Corregidor. The transport escorted a convoy back to Ulithi and remained there for several weeks before being ordered to Guam. Talbot and USS LSM-331 proceeded to Parece Vela to conduct a survey of the reef and determine the feasibility of erecting a radio, weather, and observation station there. She returned to Guam on 20 April and reached Ulithi the next day.

On 22 April, Talbot joined a convoy bound for Okinawa. Five days later, she began antisubmarine patrols south of Kerama Retto and then, on 30 April, joined a convoy for Saipan. She returned to Kerama Retto and served as a picket ship from 22 May to 6 June when she went back to Saipan. From the Marianas, the high speed transport was routed to Eniwetok, Hawaii, and the United States.

Talbot arrived at San Pedro on 6 July and was to be reconverted into a destroyer. Her classification reverted to DD-114 on 16 July. However, a Board of Inspection and Survey recommended that she be inactivated. Talbot was decommissioned on 9 October and struck from the Navy list on 24 October 1945. She was sold to the Boston Metals Company, Baltimore, Maryland, on 30 January 1946 and scrapped.

Awards
Talbot received eight battle stars for World War II service.

title: USS Talbot (DD-114)


text:
McSweeney's

McSweeney's Publishing is an American nonprofit publishing house founded by Dave Eggers in 1998 and headquartered in San Francisco. The executive director is Amanda Uhle.

McSweeney's first publication was the literary journal Timothy McSweeney's Quarterly Concern in 1998. Since then, the company has published novels, books of poetry, and other periodicals.

Company history
McSweeney's distributor was Publishers Group West (PGW) from 2002 until the end of 2006, when its parent company, Advanced Marketing Services, filed for bankruptcy. At the time of the filing, PGW owed McSweeney's about $600,000. To recover the funds, McSweeney's accepted a deal from the publishing group and distributor, Perseus Books Group, that offered payment of 70 cents on the dollar owed by PGW. In June 2007, McSweeney's held a successful sale and eBay auction to help make up the difference.

Since 2013, McSweeney's archives have been held in the Harry Ransom Center at the University of Texas. They include rare material from the company's founding and early history.

On the company website in October 2014, Dave Eggers announced that McSweeney's would become a nonprofit publisher and asked readers for donations for several projects. Eggers cited declining sales and more fundraising opportunities as the reasons for McSweeney's long-discussed change to a nonprofit publishing house.

In 2015, McSweeney's expanded into brand copywriting, working in partnership with marketers at Converse, Warby Parker, and Airbnb.

In 2019, McSweeney's began publishing Illustoria magazine, founded by Joanne Meiyi Chan.

Company name
In 2004, Eggers said that when he was a child his family received letters from someone named Timothy McSweeney, who claimed to be a relative of his mother. Eggers says that the letters arrived as a result of the coincidence that his grandfather, who delivered Timothy at birth, and the family who adopted Timothy had the same last name: McSweeney.

Publications
In addition to a book list of approximately ten titles a year, McSweeney's publishes the quarterly literary journal, Timothy McSweeney's Quarterly Concern, the daily-updated humor site McSweeney's Internet Tendency, and Illustoria, an art and storytelling magazine for children ages 6 to 11.

McSweeney's also established and incubated the bimonthly magazine The Believer, the quarterly food journal Lucky Peach, and the sports journal Grantland Quarterly, in association with sports and pop culture website Grantland.

McSweeney's runs additional imprints occasionally, including McSweeney's McMullens, a children's book department; McSweeney's Poetry Series; and the Collins Library, which reprints unusual titles.

The Organist, a podcast produced by the editors of The Believer and KCRW, launched in 2012.

A quarterly DVD magazine, Wholphin, was decommissioned in 2012.

Authors
Dozens of emerging writers have been involved with McSweeney's, including Rebecca Curtis, Paul Legault, Philipp Meyer, and Wells Tower. Contributors include Chimamanda Ngozi Adichie, Michael Chabon, Stephen King, David Foster Wallace, George Saunders, Michael Ian Black, Nick Hornby, Joyce Carol Oates, Hilton Als, and Rachel Z. Arndt.

McSweeney's has also published the work of musicians, critics and artists including David Byrne and Beck. The band One Ring Zero gained popularity by performing at early McSweeney's events in New York and solicited lyric-writing assistance from McSweeney's contributors for the 2004 album, As Smart As We Are.

McSweeney's was the subject of the They Might Be Giants song, "The Ballad of Timothy McSweeney."

Non-McSweeney's collections
These titles are typically compilations of McSweeney's works either from print or online sources. The publisher of the works is listed at the end.

 * McSweeney's Mammoth Treasury of Thrilling Tales by Michael Chabon (2003, Vintage)
 * Created in Darkness by Troubled Americans by Dave Eggers (2004, Knopf)
 * McSweeney's Enchanted Chamber of Astonishing Stories by Michael Chabon (2004, Vintage)
 * Created in Darkness by Troubled Americans by Dave Eggers (2005, Vintage)
 * The McSweeney's Joke Book of Book Jokes (2008, Vintage)
 * Mountain Man Dance Moves: The McSweeney's Book of Lists (2006, Vintage)
 * Greetings from the Ocean's Sweaty Face: 100 McSweeney's Postcards (2009, Chronicle)

Reception
Fast Company ranked McSweeney's #7 on their list of the most innovative media companies in the US in 2012. McSweeney's literary journal is a 3-time winner of the National Magazine Award for Fiction, and an 8-time finalist. In 2001, the New York Times was less flattering when it noted "The McSweeneyites may be the current emperors of cool, but they're starting to need some new clothes."

In 2019, Vida hailed Timothy McSweeney's Quarterly Concern as the magazine that publishes the highest percentage of women and trans writers (71%) compared to peer publications.

In 2021, Axios reported that readership tripled across McSweeney's web and print publications.

826 Valencia Publications
These titles are releases of/by non-profit organization 826 Valencia, published by McSweeney's/826.

 * 826 Quarterly Vol. 1 Students in Conjunction With 826 Valencia 2003/05/01
 * 826 Quarterly Vol. 2 Students in Conjunction With 826 Valencia 2003/09/01
 * 826 Quarterly Vol. 3 Students in Conjunction With 826 Valencia 2004/09/01
 * 826 Quarterly Vol. 4 Students in Conjunction With 826 Valencia 2005/05/01
 * 826 Quarterly Vol. 5 Students in Conjunction With 826 Valencia 2005/10/28
 * 826 Quarterly Vol. 6 Students in Conjunction With 826 Valencia 2006/10/01
 * 826 Quarterly Vol. 7 Students in Conjunction With 826 Valencia 2007/10/28
 * 826 Quarterly Vol. 8 Students in Conjunction With 826 Valencia 2007/11/28
 * 826nyc Review: Issue One Students in Conjunction With 826 Valencia / Seeley, Scott / Potts, Sam 2005/08/01
 * 826nyc Review: Issue Two Students in Conjunction With 826 Valencia / Seeley, Scott / Potts, Sam 2006/06/01
 * 826nyc Review: Issue Three Students in Conjunction With 826 Valencia / Seeley, Scott / Potts, Sam 2008/09/28
 * 826NYC Art Show: A Limited Edition Catalog of 23 Original Pieces by Prominent Contemporary Artists 826NYC (EDT) 2007/08/28

title: McSweeney's


text:
Talk:Beck's Brewery

Nutrition
How many calories, carbohydrate count and outright sugar content is contained in Beck's Beer? —Preceding unsigned comment added by 205.188.116.208 (talk • contribs) 00:47, 3 October 2004

Beckz
Some IP editors and user Fadgearse have been attempting to do wholesale edits on this page, citing a page on the Becks website. This is despite;

 * the part of the Becks website cited is a humour section, written by a professional comedian (http://www.becks.com/#/dailydifferent/).
 * It was published April Fool's day
 * Companies generally don't change 136 year old brand names simply to make "a clear distinction between ourselves and David Beckham. And girls named Rebecca."
 * No other reputable sources have taken up the story.

Fadgearse in particular has been attempting to claim the story is genuine, so I have been treating the edits as vandalism. -- Escape Orbit (Talk) 22:22, 1 April 2009 (UTC)

calories
How many calories does a Beck Beer have? —Preceding unsigned comment added by 99.160.250.86 (talk) 01:49, 29 April 2009 (UTC)

Wrong / right
This is wrong!!!!!!!

The Reinheitsgebot of 1516 is frequently cited in advertising and marketing material, but modern commercial breweries do not adhere to its requirement.(advertising and marketing material, this meets for many other Countries like USA but not for Germany)!

This is right!!! The Reinheitsgebot of 1516 is not only frequently cited in advertising and marketing material. It ensures that the beer is clean(clear and purity) and harmless to drink in contrast to many other foods. In medival in Germany beer was an food also for kids(with less alcohol) because of its cleaness/purity.

Today if you want to call your drink beer(write beer on the bottle) you have demonstrate the clearness/purity. On the other side is american beer in it could be putted everything the food act allows. —Preceding unsigned comment added by 88.153.199.243 (talk) 08:43, 3 July 2009 (UTC)

Yeast and the German Purity Law
The article currently states "as with virtually all modern beers, cultured yeast is an ingredient" and goes on to mention that yeast was not allowed in the 1516 German Purity Law (though it was later added as an amendment). I am looking at the ingredients for a bottle of Becks beer, and it does not contain yeast. My understanding is, only becks that is brewed under license in other countries contains yeast, but the official Becks beer brewed in Bremen does not contain yeast. --Abhi Beckert (talk) 07:08, 4 March 2011 (UTC)

You can't produce a beer without yeast. What the "purity law" didn't specify was added yeast, because nobody knew about it. In those days, you just mixed all the ingredients together and hoped for the best. So much for "purity". The Rheinheitsgebot (did I spell that right?) was about regulation, not quality.

becks beer now being brewed in st louis instead of imported from germany
Ive drank becks beer exclusevly for thirty years, seven twelve pks a week. I know thats not good but thats what i do. I by becks by date! i can tell one month from the other. recently new boxes showed up in supermarkets. has a born on date like freakin budweiser lousy beer. so i call and they tell me its not imported anymore but same recepie and fresher. Its not true. the flavor, bite or cut at the back of your throat is gone and it tastes just like every bad american beer now. I will try stella artrois ,its good but prone to grow old fast also. has to be fresh for me. so now what do i do? My favorite beer should have a budweiser lable on the back now Joemorabito@yahoo.com id love to hear anyones comments, thank you — Preceding unsigned comment added by 24.105.234.205 (talk) 02:25, 24 February 2012 (UTC)
 * Typically I would delete this per WP:FORUM, but instead I am going to just suggest you try Hofbrau Dukel instead of Beck's Dark or Spaten instead of regular Beck's. Spaten Lager is a much better substitute than Stella.   Erikeltic ( Talk ) 04:23, 24 February 2012 (UTC)

Contradiction?
It says: "... is the world's best selling German beer ..." but only a few words later "... ranks fifth among Germany's best selling breweries." Isn't that contradictory? --193.175.206.234 (talk) 15:40, 17 December 2012 (UTC)

Not German
Since Becks sold in the U.S. — which has to be one the brand's biggest markets — hasn't been made in Germany for a year now, one would assume its long-advertised status as "the best-selling German beer in the world" might no longer be applicable.

For my part as a beer aficionado, I find InBev's action in turning the brand over to the General Motors of Fizzy American Froth, Anheuser-Busch, obnoxious and deceptive. First they changed the time-honored label — presumably, to get rid of the part that said "BREMEN, GERMANY" — then they changed the product by assigning U.S. production to AB. Now I suggest they change the name to Ersatz Becks — either that or "Bud's Becks" — and admit that their packaging stamped repeatedly with the legend "German Quality" is deceptive advertising. There's nothing German about it.

Of course, from InBev's point of view, it's just another part of that never-ending story known in German as the Jagd nach Geld.

Sca (talk) 16:32, 13 January 2013 (UTC)

the can opppeners
Not working raiser and appeture do no appear so can not poor from the can. Will consider going into another brand. — Preceding unsigned comment added by 54.220.11.0 (talk) 23:04, 26 January 2014 (UTC)

From: chris conf edit@email.com
I emailed you before, but I have not received any results. I simply asked you to provide REAL GERMAN BEER in 24ounce bottles like you used to. You have not. The "pints" in aluminum cans you provide are an insult to what Beck's beer is all about. It tastes like Budweiser and Coors in an aluminum can. It taste like CRAP just like Budweiser and Coors do. CRAP! Do you hear me? You might sell more in the aluminum can pints you provide, yet it taste like shit. DO YOU HEAR ME? PLEASE GOD!: Bottle your beer in 24 ounce bottles like you used to do--I used to buy a lot more of your beer that way. By the way, your beer in aluminum SUCKS SHIT! Did you get that message? So PLEASE, start producing your beer either in 24 ounce bottles and BECKS the REAL beer of Germany! Stop relying on St Lou71.33.38.226 (talk) 05:10, 26 March 2014 (UTC)is, MS to brew your freakin' beer! Got me! I mean: COME ON! You're Germans, you're the best producers of beer in the world! WORK with me here

Chris MacLaughlin, Professional editor and Freelance Writer, and, previously an almost religious buyer of BECK's BEER... that is not brewed like the Coors or Budweiser category. I will not buy any BECK's beer until you start brewing it yourself again, IN GERMANY! In addition, I will tell all my friends--and I have a lot of friends as a successful writer and editor--not to buy Beck's beer until you make it BECK's BEER AGAIN! REAL GERMAN BEER! St Louis, MS. is simply another place to brew Budweiser and other beers to brew other than all the other cheap-ass beers--which typically is not at all at Beck's quality. Will you please listen to me and present German beer that's acceptable to drink? I'm Scott-Irish, but I love genuine Beck's beer, it's the best lager in the world: PLEASE GOD, go back to your original brew and make it GENUINE GERMAN BEER and stop brewing it in St Louis, MS and other places in the U.S.! And don't hate me because I'm Scott-Irish!

Thank you for your time Chris MacLaughlin

Unsourced 1
The following is all unsourced; moving it here until it can be sourced per WP:VERIFY

The brewery was formed under the name Kaiserbrauerei Beck & May o.H.G. in 1873 by Lüder Rutenberg, Heinrich Beck and Thomas May. In 1875, Thomas May left the brewery which then became known as Kaiserbrauerei Beck & Co.

Beck's logo, a silver key on a red shield, is the mirror image of the coat of arms of Bremen. Since Beck's is located on the river of a port city, it was easy to ship out its product to the world at large. Beck's is known for its pilsner consisting of two-row, spring barley from the south of England, yeast, water from the "Rotenburger Rinne" and Hallertau hops from southern Germany.

Although Beck's marketing material claims that it follows the strict Reinheitsgebot, the German Purity Law of 1516 by the Duke Albrecht the Fifth of Bavaria, as with virtually all modern beers, cultured yeast is an ingredient, which was later approved in an amendment to the original purity law. Beck's was the first German beer company to use green bottles, while in the United States it was the first to be served in 24oz bottles now known as bombers. The term bomber is taken from Beck's early advertising where the 24oz bottle is referred to as a Beck's bomber.

The St. Pauli Girl Brewery is housed within the Brewery in Bremen. Although Beck's and St. Pauli Girl beers are very similar in nature, the latter has only recently begun to be sold in Germany.

The main brand is Beck's which has for many years also been brewed under license in Namibia, which prior to World War I was a German colony. It is also today brewed internationally in a number of other countries. In Germany itself, the Spatenbräu-Löwenbräu Group in Munich is producing Beck's Beer for the markets in southern Germany and southern Europe.

Although Beck's in the UK was formerly imported from Germany, as of 2014 it is brewed in the UK, despite "German Brewing Heritage" and "Bremen, Germany" appearing prominently on the front of Beck's bottles.

NB - the one citation is not a source we accept, so included here. -- Jytdog (talk) 02:55, 2 June 2016 (UTC)

Unsourced 2
The following is unsourced; moved here per WP:VERIFY. Also problematic per WP:NOTWEBHOST and WP:NOTCATALOG.

- Jytdog (talk) 02:56, 2 June 2016 (UTC)
 * Products
 * Beck's - the main brand, a German-style pilsner
 * Haake Beck - a beer produced for the Bremen region
 * Haake Beck Kräusen - very select product with extra yeast added after fermentation (only sold on tap within the city of Bremen)
 * Beck's Blue (Alcohol Free)
 * Beck's Premier Light
 * Beck's Gold
 * Beck's Green Lemon
 * Beck's Green Lemon Alcohol Free
 * Beck's Chilled Orange
 * Beck's Twisted Orange
 * Beck's Level 7
 * Beck's Lime
 * Beck's Ice
 * Beck's Asia
 * Beck's NEXT
 * Beck's Dark
 * Beck's Oktoberfest (only U.S. Market -forbidden in Germany because it is not brewed by a Munich Brewery)
 * Beck's VIER
 * Beck's Sapphire
 * St. Pauli Girl (rarely sold in Germany)

 * By this measure, wouldn't List_of_breweries_in_Montana need a pretty extensive overhaul? I think it's a good idea. Those extensive lists seemed to be WP:Promotion. Prof. Mc (talk) 16:47, 2 June 2016 (UTC)
 * eh there is a whole thing with stand alone lists that i just steer clear of. I generally don't like them as most of them are WP:Listcruft created by fans and discussions around them turn into street fights.  Most of them are deletable as there is no indication that the topic is actually notable -- see Notability. Jytdog (talk) 17:08, 2 June 2016 (UTC)
 * Agreed. In the past I've deleted them, but if someone puts it back I give up. Prof. Mc (talk) 17:13, 2 June 2016 (UTC)

Unsourced 3
This is unsourced; moving here per WP:VERIFY

The following awards have been given to Beck's Brewery from the World Beer Cup.
 * World Beer Cup Awards

== Jytdog (talk) 02:57, 2 June 2016 (UTC)

Unsourced 4
This content from "Art labels" was unsourced:

Famous artists, who have been as well featured on the label, have been: Jeff Koons, Yoko Ono, Andy Warhol and many others.

Nevertheless, the Campaign which originated in the United Kingdom has recently spread over to many other countries, including for the first time in the United States, New Zealand, Australia, Germany and others. Beck's has also modified their sponsorship program over the years.

Beck's 2010 limited-edition art labels were designed by the musical group Phoenix and other emerging artists. With each art label, consumers could download a free track from play.com.

-- Jytdog (talk) 03:02, 2 June 2016 (UTC)

Unsourced 5
Unsourced; moving here per VERIFY

 * Sponsorships

The Beck's Brewery beer Haake-Beck sponsors Bundesliga club Werder Bremen.

Beck's beer has previously sponsored the Beck's Futures British art prize given to contemporary artists.

-- Jytdog (talk) 03:05, 2 June 2016 (UTC)

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title: Talk:Beck's Brewery


text:
Steinbach

Steinbach may refer to:

Businesses

 * Steinbach (store), a defunct American department store chain in Asbury Park, New Jersey
 * Steinbach Credit Union, a Canadian credit union in Manitoba
 * Worthmann & Steinbach, a defunct American architectural firm in Chicago

Name

 * Steinbach (surname), a German surname

Austria

 * Steinbach am Attersee, in the district of Vöcklabruck
 * Steinbach am Ziehberg, in the district of Kirchdorf an der Krems
 * Steinbach an der Steyr, in the district of Kirchdorf an der Krems

Belgium

 * Steinbach, Gouvy, a village in the municipality of Gouvy

Canada

 * Steinbach, Manitoba, a city in southeastern Manitoba and largest community with this name
 * Steinbach (electoral district), a provincial riding encompassing the city of Steinbach and surrounding area

France

 * Steinbach, Haut-Rhin, a commune in the Haut-Rhin département

Germany

 * Steinbach (Baden), a locality of Baden-Baden, Baden-Württemberg
 * Steinbach, Eichsfeld, a town in the district of Eichsfeld, Thuringia
 * Steinbach (Fürstenfeldbruck), a locality of Moorenweis, Bavaria
 * Steinbach-Hallenberg, a town in Thuringia
 * , a locality of Johannesberg, Bavaria
 * Steinbach (Külsheim), a locality of Külsheim, Baden-Württemberg
 * Steinbach, Rhein-Hunsrück in the Rhein-Hunsrück district, Rhineland-Palatinate
 * Steinbach (Taunus), in Hesse
 * Steinbach, Wartburgkreis, a town in Thuringia
 * Steinbach am Donnersberg in the Donnersbergkreis, Rhineland-Palatinate
 * Steinbach am Glan in the district of Kusel, Rhineland-Palatinate
 * Steinbach am Wald, a town in the district of Kronach in Bavaria
 * Steinbach, part of the City of Lebach in Saarland

Rivers of Germany

 * Steinbach (Sassnitz), of Mecklenburg-Vorpommern, in Sassnitz
 * Steinbach (Vilicher Bach), of North Rhine-Westphalia, in the district Beuel of Bonn
 * Steinbach (Laerbach), of Lower Saxony and of North Rhine-Westphalia, tributary of the Laerbach
 * Steinbach (Bühler), of Baden-Württemberg, tributary of the Bühler
 * Steinbach (Jagst), of Baden-Württemberg, tributary of the Jagst
 * Steinbach (Gersprenz), of Hesse, tributary of the Gersprenz
 * Steinbach (Nidda), of Hesse, tributary of the Nidda
 * Steinbach (Hafenlohr), of Bavaria, tributary of the Hafenlohr
 * Steinbach (Kahl), of Bavaria, tributary of the Kahl
 * Steinbach (Main), of Bavaria, tributary of the Main
 * Steinbach (Paar), of Bavaria, tributary of the Paar
 * Steinbach (Reichenbach), of Bavaria, tributary of the Reichenbach
 * Steinbach (Saalach), of Bavaria and Austria, tributary of the Saalach

Schools

 * In Steinbach, Manitoba, Canada:
 * Steinbach Bible College, an Anabaptist college
 * Steinbach Christian School, an independent day school
 * Steinbach Regional Secondary School

Sports

 * TSV Steinbach, from Steinbach, near Haiger, Germany
 * Steinbach Black Wings 1992, from Linz, Austria
 * Sports teams based in Steinbach, Manitoba, Canada
 * Steinbach Hawks
 * Steinbach Huskies
 * Steinbach North Stars
 * Steinbach Pistons

title: Steinbach


text:
User talk:Madame Sosostris

Look, a talk page.

Articles needing attention

 * Henry Wriothesley, 3rd Earl of Southampton
 * Henry George Grey, 3rd Earl Grey
 * John Copley, 1st Baron Lyndhurst
 * Henry Peter Brougham, 1st Baron Brougham and Vaux
 * John Campbell, 1st Baron Campbell of St Andrews
 * A. J. P. Taylor
 * Frederick Temple
 * Henry Edward Yelverton, 19th Baron Grey de Ruthyn
 * Archibald Douglas, 5th Earl of Angus
 * Archibald Douglas, 8th Earl of Angus
 * William Douglas, 10th Earl of Angus

Ashlee Simpson: Threat Or Menace?
Ironically, I do work on several topics related to communism, and I've generally done so uncontroversially. What do you think, is it everyone else, or just me? Maybe it is just me.. Everyking 19:27, 11 Jan 2005 (UTC)
 * Okay... with all due respect, I think it is you, but I think it's largely a misunderstanding. Reading over the disputes, it seems to me that you're misconstruing people's efforts to tighten up the articles as attempts to remove the information you've collected (which is indeed impressive). Those articles could be condensed quite a bit, I think, without any appreciable loss of information -- it's a matter of grammar and style edits, mainly -- but you seem oddly resistant to any edits, whether or not they change the actual content.
 * That being said, I think it might be in everyone's best interests if you were to take a break from editing the Ashlee Simpson stuff for the time being and let other people take a crack at it. (I'd actually like to try my hand, but I haven't because I was kind of afraid that you'd revert me.) You might be pleasantly surprised at what others have to offer to the project. Madame Sosostris 20:23, 11 Jan 2005 (UTC)
 * I've seen their work; take a look at the article now—that's their work. They're doing more than taking a crack at it; they've taken over. And it's downright scary, I tell you; since they know next to nothing about the subject, their liberal editing results in all kinds of factual errors and misleading phrases that they don't realize. And earlier today I was actually reverted when I tried to fix an error! You really want me to take a break? What if, God forbid, somebody actually came to the article looking for information while it's in such a state? Everyking 21:32, 11 Jan 2005 (UTC)
 * I understand your concern, but I guess I'm not quite as worried about it; I haven't seen anything that I would call a major error (checking against the provided sources), and subsequent editors can clear up the minor errors later. My concern is that you seem to have taken these articles as your personal province, and I don't think that's at all compatible with the Wikipedia environment. It's not the articles' content, or their length, or their topic which seems to be at the root of this conflict; rather, it's your emotional attachment to them and your desire to maintain control over them that has caused people to become worried.
 * You asked whether it was everyone else or just you; there seems to be a consensus that you're "too close" to these articles, and while the people who say that may be completely off the mark, I'd ask you to consider that they may have a point. I proposed that you recuse yourself from the articles in question because it would alleviate people's fears, but also because it would be a chance for you to step back from the situation and gain some perspective. It would also stop the current dispute-resolution process from going any further and help to smooth over the conflicts between you and the other users, which is really the most important thing. Madame Sosostris 02:20, 12 Jan 2005 (UTC)

I've filed an arbitration request against Everyking. Please comment; brickbats for my foolhardiness are more than welcome. [[User:Johnleemk|Johnleemk | Talk 07:49, 16 Jan 2005 (UTC)

Joshua Gardner
I removed two refs from this article that I don't feel are proper: Joshua Gardner. However, it is more of a gut feeling, and I don't have great reasons. I was hoping you could look at them and decide what you think, since you have had some interest there. I won't dispute if you decide to replace them. Then again, if you don't really care, just ignore this message and thanks for your time. --DanielCD 18:08, 14 January 2006 (UTC)
 * I understand your objection, but I think they should stay; they're primary documents, and as long as they're publicly available we should let people know they're there. Anyway, Mackensen went and reverted you, so I think it's out of our hands. :) Madame Sosostris 19:37, 14 January 2006 (UTC)

 * OK, no problem. I just wanted another set of eyes. --DanielCD 20:05, 14 January 2006 (UTC)

Robin Artisson
This guy is legendary in the pagan community as a troublemaker, and my commentary on the deletion page is exceptionally mild. Somehow I doubt he'll last very long here at Wikipedia. :) --Modemac 21:48, 17 January 2006 (UTC)
 * I'd appreciate it if, in future, you could leave the commentary out altogether; this is a encyclopedic content issue, not a witch-war. Madame Sosostris 22:30, 17 January 2006 (UTC)

Hi
Hi, how are you? Terryeo 23:24, 13 March 2006 (UTC)

Noch ein
--Mackensen (talk) 03:58, 6 April 2007 (UTC)
 * Charles Frederick Field

Image
I've listed Image:Dorothy75.jpg at WP:PUI. If you know more about its copyright status, please comment there. Thanks. Chick Bowen 01:14, 28 May 2007 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:14, 30 November 2015 (UTC)

title: User talk:Madame Sosostris


text:
Steinbach, Eichsfeld

Steinbach is a municipality in the Eichsfeld in Thuringia, Germany.

title: Steinbach, Eichsfeld


text:
Talk:Kinderwhore

Notability?
Does this obscure neologism really deserve a Wikipedia page? I was a fan of L7 and Babes in Toyland (and to a lesser extend Hole) in the late 90s, and I'm familiar with typical punk purist vs. punk unitarian debates about whether or not any of those bands counted as Riot Grrrl or not, but today is first time I've ever come across the term "kinderwhore". I'm not a deletionist, but I do think this article is still a stub, and needs a lot more work to establish why the topic is notable enough to have its own page. It sounds like a phrase coined by alt-right attack trolls to disparage stroppy female musicians who don't conform to the unwritten rules of pop glamour looks. That said, a quick web search didn't turn up any women objecting to the use of the term. I did find an article by Mish Way of White Lung, who attributes its origin to "Melody Maker journalist Everett True" (http://i-d.vice.com/en_us/article/my-kinderwhore-education), and she seems to embrace "kinderwhore" identity in the same way that homosexuals have embraced "queer" identity, so maybe more references that support this might help to establish notability? --Danylstrype (talk) 06:57, 31 October 2016 (UTC)

[Untitled]
This doesnt really say what it is

"...Grunge and Riot Grrl had both emanated from the D.C. rock scene" i guess you should write "washington" (state) instead of D.C., shouldn't you?

Picture
Aa picture would pass far more information than writing for this kind of an article. If someone has a picture that depict the fashion, please upload it here wkm

Hmmm, Shonen Knife's first album was in 1983...and their look has pretty much been the same since the beginning, I think? It seems hard to credit these people with their look. Also, Babes in Toyland recorded one of the songs on the Shonen Knife tribute album (see the Shonen Knife article for details), so it seems likely the influence was mostly the other direction. I'm deleting that sentence. --Skalchemist 14:03, 4 August 2006 (UTC)

Origin of the name
I´m curious to the origin of the name kinderwhore. A whore child would be in dutch kinderhoer, where kinder stands for child.

The kinder in this has been picked up from things like kindergarden and kinder surprise. Its not a direct reference to the dutch. Bride of lister 09:11, 3 January 2007 (UTC)

Kinder means 'child' in german. so, 'Child Whore.' Dutch is a germanic language.
 * The German "kindergarten" is also used in English but now other terms e.g. nursery education are more usual. Would a link to child prostitute (i.e. a child who is also a prostitute) be useful?--Felix Folio Secundus (talk) 11:54, 19 August 2012 (UTC)

forever
kinderwhore and riot grrl are "forever linked?" Where is the citation for that? It sounds to me like hyperbole since the article is about a very small and short-lived niche fashion trend which is already dead and gone.

The Slits?
The Slits are precursors of Hole&Babes in Toyland musically, in attitude and image. Looking at photo's from the early 80's, especially, for instance the photo you see all the characteristics of the Kinderwhore-look (the combination of innocence with provocative sexuality). Is this far-fetched, or could we add this to the article?

Btw, I think derivation from Kindergarten likely; in form it may well be Dutch (kinderliedje=children's song), but it seems an American term and Kindergarten is a known term there, in contrast to Dutch compound words. It would be interesting to track its first use in the press.

WvdPut 13:06, 30 September 2007 (UTC) (from Amsterdam)

the slits connection is not far fetched

The Slits girls are just wearing petticoat skirts, which have always been popular with rocker girls. The essential items of the kinderwhore look are babydoll dresses (not just skirts and a t-shirt), maryjanes, and messy makeup (as if applied by a child). 98.246.184.50 (talk) 15:35, 5 May 2009 (UTC)

Pronounciation
Should you really be using a compound word that uses the word being defined as a key for pronouncation? Saying "kinder is pronounced like kinder" isn't exactly helpful, which is what the comparison to "kindergarten" is essentially doing. —Preceding unsigned comment added by 71.246.234.24 (talk) 06:12, 9 December 2007 (UTC)

it's meant to differentiate it from the long i pronunciation kind of whore —Preceding unsigned comment added by 69.125.110.223 (talk) 18:27, 11 January 2008 (UTC)

LOL @ Kinder whore vs. kinderwhore. "A new, kinder whore! Buy it now!"

No actual riot grrrls dressed kinderwhore...
...so I edited the part that was misleading about that. Babes in Toyland and Hole were not riot grrrls, and kinderwhore was not part of riot grrrl's success. Actual riot grrrl had very little success, in commercial terms. Much less than Babes in Toyland and, especially, Hole. They were completely different things that were happening in different circles, and the only things connecting them are the sex of the musicians, the time frame, and the constant mislabelling (and the fact that they were in the Pacific Northwest music scene).

Also, I am by no means very familiar with Lush, but in all the photos of the band I've seen they're sporting pretty ordinary clothes, not "tidied-up kinderwhore". What's up with that? But I'm not editing that part, since, as I've said, I don't know the band enough.

title: Talk:Kinderwhore


text:
Wingerode

Wingerode is a municipality in the district of Eichsfeld in Thuringia, Germany. In 1996, Wingerode celebrated its 850th anniversary. It was founded in 1146.

In 1174 Henry the Lion, Duke of Bavaria and Saxony, bought the village from Volkenroda Abbey. Since the 17th century, the local Ignatius chapel has been the object of pilgrimages. Wingerode belonged to the Electorate of Mainz until the secularization of 1802 and was subject to the jurisdiction of the von Hanstein family. From 1802 to 1807, the village was Prussian, and then it came to the Kingdom of Westphalia. From 1815 to 1945 it was part of the Prussian Province of Saxony. At the end of World War II, it was in the Soviet occupation zone and in 1949 became part of East Germany. From 1961 until reunification in 1990, Wingerode was affected by the closure of the nearby inner German border. Since 1990, the municipality is part of the re-established state of Thuringia.

title: Wingerode


text: User talk:66.74.238.174

title: User talk:66.74.238.174