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Shornemead Fort

Shornemead Fort is a now-disused artillery fort that was built in the 1860s to guard the entrance to the Thames from seaborne attack. Constructed during a period of tension with France, it stands on the south bank of the river at a point where the Thames curves sharply north and west, giving the fort long views up and downriver in both directions. It was the third fort constructed on the site since the 18th century, but its location on marshy ground led to major problems with subsidence. The fort was equipped for a time with a variety of large-calibre artillery guns which were intended to support two other nearby Thamesside forts. However, the extent of the subsidence meant that it became unsafe for the guns to be fired and the fort was disarmed by the early 20th century.

Shornemead Fort was in use from its completion in 1870 to its abandonment in the 1950s. Much of it was demolished by the Army Demolition School of the Royal Engineers in the 1960s. The barracks and administrative buildings have been completely destroyed and only the front of the casemates survives along with the magazines underneath, though the latter are now flooded and inaccessible. The surviving fragments of the fort and the area around it are part of a nature reserve and can be visited by the public.

Early development
The Thames was guarded by a number of forts built around Gravesend and Tilbury in the 16th and 17th centuries but these were inadequate against the threat of the new generation of artillery that had emerged by the end of the 18th century. An artillery battery was established farther downriver at Shornemead in 1795–96, during the Napoleonic Wars, along with two other batteries at Lower Hope Point on the Kent side and Coalhouse Point on the Essex side. It was a small pentagonal structure with earthen ramparts, within which four 24-pdr. guns were mounted in open emplacements, with a range of 2.3 km. The first Shornemead Fort was provided with a barracks, magazine and defensible gorges and was planted with walnut trees nearby to supplement the garrison's food supply and provide wood for the stocks of their muskets.

After the defeat of Napoleon the battery was abandoned. It was rebuilt in the mid-1840s, along with Coalhouse Fort. The second Shornemead Fort was constructed between 1848–52 to a polygonal plan inspired by the ideas of the French military engineer Montalembert, in a novel move away from the bastioned trace design used in other British forts of the time. It was an open battery like the first fort, but with much more numerous and powerful artillery – thirteen 32-pdr. guns on traversing carriages, each with a range of 2.7 km. The ramparts occupied three sides of the fort, facing the river. A barracks was constructed on the remaining two (landward) sides, along with bomb-proof magazines and defensive caponiers to flank the fort's ditch. The marshy ground caused major problems and the fort was not completed until 1853. Subsidence badly cracked the cookhouse and barracks, and one of the caponiers split away from the rest of the structure.

By the late 1850s, Britain and France were locked in an arms race. A new generation of increasingly accurate and powerful guns had been developed (of the Rifled Muzzle Loader (RML) and Rifled Breech Loader (RBL) types), mounted on fast-moving, manoeuvrable steam-powered ironclad warships such as the French La Gloire and the British HMS Warrior (1860). Britain's coastal defences had not been substantially upgraded since the Napoleonic Wars and the country's existing fortifications were largely obsolete. The Thames possessed several naval installations of great importance, including the victualling yards at Deptford, the armaments works of Woolwich Arsenal, the shipbuilding yards at North Woolwich, and the magazines at Purfleet. It was not possible for large warships to reach central London, as the river was not yet deep enough to take ships of more than 400 tons above Deptford. As the American Civil War soon showed, it was quite possible for the warships of the day to run past forts and attack up coastal rivers.

The government's response was to appoint a Royal Commission on the Defence of the United Kingdom, which published a far-reaching report in 1860. It recommended that a triangle of forts should be established on the lower Thames, east of Gravesend. This would involve replacing the old Coalhouse Fort on the Essex shore with a new fortification, similarly replacing the existing Shornemead Fort and building a wholly new fort at Cliffe. The location of the forts would enable interlocking arcs of fire from their guns. It was originally intended that the forts would form part of a line of defences running all the way to Chatham, but the rest of this chain was never built. Shornemead was regarded as being in a particularly strategic location as it commanded river bends at which ships would have to slow down, making them more vulnerable.

Construction
The third and final iteration of Shornemead Fort was constructed between 1861 and 1870 at an estimated cost of £211,063. The fort and its counterparts at Coalhouse Point and Cliffe were designed, except for their ironwork, by Captain Siborne of the Royal Engineers. The iron and steel shields of their casemates were developed by Captain English and Lieutenant English of the Royal Engineers. It was substantially larger than its predecessor, replacing the vulnerable open emplacements with immensely strong casemates capable of resisting direct artillery fire. They were over 635 mm thick, with layers of steel and wood faced with granite. The original plans envisaged the roof of the fort being used to emplace fourteen guns behind shields and a masonry parapet. Two pivot guns and twenty other guns would be housed at ground level within casemates. However, subsidence caused by the marshy ground was again a problem for the fort builders. The design could not be realised in its original form and it underwent substantial changes in 1867, part-way through construction.

In the final design, the plan to put guns on the fort's roof were abandoned. Instead, eleven casemates were placed in an arc on one side of the D-shaped fort, pointing downriver towards Lower Hope Point. An open battery stood at the west end of the casemates, mounting three guns that pointed upriver toward Gravesend and Tilbury. This was to enable artillery support for the older forts at those two towns, which were now relegated to the second line of defence. A single-storey defensible barracks built from Kentish Ragstone stood at the rear of the fort. It was equipped with loopholes so that the garrison could fight off an attack from the landward side. Three caponiers protected the perimeter and an open parade ground occupied the centre of the fort. A ditch originally lay in front of the casemates and open battery but was filled in during the 1880s. The magazines underneath the casemates and open battery consisted of a line of storerooms for shells and cartridges, linked by a lighting passage at the rear and an ammunition passage at the front.

Operational history
Shornemead Fort was initially equipped with eleven 11-inch rifled muzzle loaders (RMLs) in casemates, with a range of 5.5 km, plus another three 9-inch RMLs in the west-facing open battery. They were mounted on special garrison carriages to absorb their recoil and could be trained using traverse rails to alter their direction of fire. In 1895 two 6-pdr. quick-firing (QF) guns were installed on the fort; they were intended to protect a minefield that would be installed in the river in the event of war. Searchlights were also installed in separate emplacements to the west of the fort. Around the same time, a submarine mining establishment was constructed, also located to the west of the fort.

At some point between 1895 and 1907, Shornemead Fort was disarmed. Subsidence had made it structurally unsafe for its emplaced guns to be fired, and it was in any case strategically redundant by that point. It was used for a time by the Thames Militia Division (Submarine Miners), Royal Engineers, as a training facility linked with the nearby submarine mining depot. It was temporarily re-armed in 1913 with two 12-pdr. QF guns in emplacements outside the fort and again in 1941 when it was designated as an emergency battery. Two 5.5-inch naval guns were installed in the same emplacements as the 1913 guns, 250 m east of the fort, with concrete gun houses protecting them. An embarkation hard was constructed on the riverside below the fort to support the D-Day operation. Aerial photographs from the time show the battery, fort, associated concrete pillboxes and searchlights surrounded by dense tangles of barbed wire. The fort was reduced to care and maintenance status in November 1943, while the battery was deactivated in 1945 and demolished around 1976.

The barrack accommodation of Shornemead Fort was used for many years by soldiers training on the nearby Milton rifle range. A permanent staff was based at the fort, and the barracks included lecture rooms, staff accommodation and even a swimming pool built to the east of the fort. The fort was abandoned after the end of World War II and was demolished in the 1960s by the Army Demolition School of the Royal Engineers as part of a training exercise. The staff accommodation and remains of the mining establishment were demolished in the 1970s.

Current status
The fort is now in a mostly destroyed condition with only the front of the casemates standing above ground. Some tidying-up has been performed, but the ruins are vulnerable to vandalism. Nothing remains of the barracks and administrative buildings of the fort. The magazines still exist below ground; they are flooded and were sealed off in 2008. The site can be visited by the public, as it is now part of the Royal Society for the Protection of Birds' Shorne Marshes Nature Reserve. It is linked to the Lower Higham Road by a concrete road originally built by the military to provide access, and is passed by the Saxon Shore Way long-distance footpath.

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

title: Shornemead Fort


text:
Talk:Swing (Java)

More lightweight/heaviweigth discussion
The following phrase seems to be a leftover and does not make sense in the current context.

"The disadvantage of lightweight components is slower execution. The advantage is uniform behavior on all platforms."

71.112.18.252 (talk) 02:15, 28 November 2007 (UTC)

Swing Origins
I had a recent assignment to find the origin of the name of Swing (Java) and one student submitted this link stating that the name was based off the 1930's dance craze. Can anyone else confirm or deny this claim with sources? I already googled and looked through the Sun website.
 * Closest reference I can find is from an 1998 version of the Swing website: "Swing was the project name chosen by the developers of the new high-level components. Although these components are now part of the JFC software, the Swing name persists." I would not be surprised if the Swing team chose the name based on the dance (as opposed to the several other meanings of that word). I seem to recall hearing something to that effect at the time, but can't track down a reference. -- BrianDuff

I wondered about this, and found this article which seems kosher. https://blogs.oracle.com/thejavatutorials/entry/why_is_swing_called_swing Ety uncertain (talk) 07:24, 30 June 2009 (UTC)

Swing on Vista
Suggest we get a section on (and screenshots of) Swing in Vista - apparently it's rather more than just a port from XP. Some links : http://weblogs.java.net/blog/chet/archive/2006/10/java_on_vista_y.html http://weblogs.java.net/blog/chet/archive/2005/08/mustang_swing_a.html

--Wootery 23:09, 12 December 2006 (UTC)

Lightweight/heavyweight distinction
Was just skimming through the article for some general information on Swing and found the comparison with AWT unclear:

"...every Swing lightweight interface ultimately exists within an AWT heavyweight component because all of the top-level components in Swing ... extend an AWT top-level container."

A little more explanation of the relationship between the two would be helpful: if the AWT components are tied to native OS controls, and the Swing components are extensions of AWT components, how then do the Swing components manage to be "lightweight"? Are these AWT top-level containers so abstract as to not involve any of the "heavyweight" code? Do the Swing components extend them just to retain a consistent interface?
 * Only the top level components like windows are heavyweight, the components inside them (buttons, scrollbars, text fields, etc) are not - for the most part they're drawn using Java graphics routines. So it means that a JButton exists within a JWindow and therefore within a Window. --Jamoche 18:49, 8 October 2006 (UTC)

Hello World doesn't run?
I've tried compiling the hello world code, it compiles fine but gives very many errors when run. I've fixed it and would like some feedback.Thatfunkymunki 06:19, 20 March 2006 (UTC)

 * All you did was remove the package statement? The package statement is simply a source file organization issue, not a code correctness issue.  (The Java package article is in need of some serious work—it doesn't currently provide a whole lot of clarity about the implied directory structure of packages.)  I suppose we could add to the article the fact that the package statement implies that the source files are placed in a "helloworld" directory placed in the CLASSPATH, but then again, many IDEs don't require this organization.  (Also, when you make a semantic change, such as modifying the source code, you should not mark the edit as minor.) —Doug Bell talk•contrib 07:25, 20 March 2006 (UTC)

I think the example isn't great. I have removed the anonymous class, but really it just shows what a poor example it is.. something along these lines would be clearer.. Simonjl
 * You, Simon, should read up on Swing's requirements in regard to thread safety. Your example handles components off of the EDT, which is SPECIFICALLY not correct. Do NOT spread knowledge you do not posses. Stolsvik (talk) 07:53, 30 June 2010 (UTC)

public class HelloWorld { // NOTE NOTE!! THIS IS A INCORRECT AND BROKEN EXAMPLE. // THE EXAMPLE HANDLES SWING COMPONENTS OFF OF THE EVENT DISPATCH THREAD. // IT IS A THREADING AND CORRECTNESS DISASTER IN WAITING. Stolsvik (talk) 07:53, 30 June 2010 (UTC) public static void main(String[] arg) { JFrame f = new JFrame ("Hello, World!"); f.setDefaultCloseOperation (JFrame.DISPOSE_ON_CLOSE); f.getContentPane.add (new JLabel("Hello, World!")); f.pack; f.setVisible(true); EventQueue.invokeLater (new Thread); } }'''

This is a cleaned up version of HelloWorld.java

import javax.swing.JFrame; import javax.swing.JLabel; public class HelloWorld implements Runnable {   public void run {       JFrame f = new JFrame ("Hello, World!"); f.setDefaultCloseOperation (JFrame.EXIT_ON_CLOSE); f.getContentPane.add (new JLabel("Hello, World!")); f.pack; f.setVisible(true); }   public static void main(String[] args) {       HelloWorld hw = new HelloWorld; javax.swing.SwingUtilities.invokeLater (hw); } } Ncmathsadist (talk) 00:24, 29 January 2012 (UTC)ncmathsadist

Cryptic example
What's the Event Dispatch Thread?

This is where the event queue lives. Events come from the user; they consist of such things as mouse clicks, button clicks, menu selections keystrokes and other interactions between the program user and the GUI. As these occur, they are registered onto the event queue. This queue lives in a single thread, so the events are serviced in the order in which they arrive. Were this not so, the application would behave in a manner disconcerting to the user. Ncmathsadist (talk) 00:35, 29 January 2012 (UTC)ncmathsadist

What's an anonymous Runnable class?

The runnable interface is a contract requiring the implementation of the method

public void run

You can create a nameless class as follows.

new Runnable{ public void run {       .....    } }

Such a class is an anonymous runnable class. Ncmathsadist (talk) 00:35, 29 January 2012 (UTC)ncmathsadist

Why do I have to go to the Concurrency tutorial to just show a label and a button? What rules changed in 2004? OK I don't really ask these questions, but I doubt that anyone who don't know about Swing will understand something about Swing with the example. Maybe he will understand that Swing is an overcomplicated affair and that he should stay clear of it and use Flex or C# instead ;) I'm kidding because I love to use Swing, but I doubt that in it's current state this example is useful at all, even if it is legit. Hervegirod (talk) 00:31, 6 November 2009 (UTC)

Use the outline I placed in the article itself. Do not use wildcard imports as the person who modified it did. Ncmathsadist (talk) 00:35, 29 January 2012 (UTC)ncmathsadist

 * Yes this is a bit awkward. However it only requires 4 lines

EventQueue.invokeLater(new Runnable {           @Override            public void run {             ....  }});
 * of standard boiler plate code to get thread safe behaviour. You can miss this out and it will probably work. However, I don't think it would be right to show technically incorrect code and bad practice.
 * One way of organising this would be to have a code fragment first with just the Swing bits. Then introducing the threading example later.--Salix (talk): 07:34, 6 November 2009 (UTC)
 * It's a few years later, but I've added a better explanation as to why we are using the EDT. I also note that you can indeed run code without it, but that it's considered better form to use SwingUtilities.invokeLater. Thunderforge (talk) 15:20, 28 October 2013 (UTC)

JAVA SWING
Swing is a set of classes that provides more powerful and flexible functionality that is possible with standard and advanced AWT(Abstract Window Toolkit) components.These are not implemented by platform specific code. Instead they are written entirely in Java, therefore, they are platform independent. Fundamentals of swing is the JApplet class that extends the Applet class. Applets that use Swing must be subclasses of the JApplet class —The preceding unsigned comment was added by AbhishekDutta1987 (talk • contribs) 02:22, 1 May 2007 (UTC)

The article says that Swing is derived from Applet. This is not true in the strict sense. Applet does not appear in the inheritance tree of most Swing components. Ncmathsadist (talk) 01:02, 29 January 2012 (UTC)ncmathsadist

Origin of Name
The official word on the name's origin.

http://blogs.sun.com/thejavatutorials/entry/why_is_swing_called_swing

Jon914 18:38, 15 September 2007 (UTC)

 * archived copy (April 26, 2009) Would this be considered a reliable source for citation, or  should I send an email to Sharon Zakhour asking for an official quote from Jeff Dinkins (one of the original Swing engineers at Sun), and whether I can that email on WikiMedia so it becomes part of the Collective Sourced Quotes Of The Age and can be properly cited?

Hello world
The Hello world example used on this article is not really a Hello world IMHO: I have no problem to modify the example myself, but I'm asking for comments on this proposal before ;-) Hervegirod (talk) 10:23, 23 February 2008 (UTC)
 * the use of Runnable and threading stuff is not necessary in such a basic program as this one, making the example more complex that it should. Threading stuff vs Swing should be in a new paragraph.
 * There's too much comments in the code, which should be outside the code, in the paragraph.
 * Centering the frame in the middle of the screen is also not necessary in this example.
 * since I have received no comment since February (more than one month), I assumed people agree with my proposal. Hervegirod (talk) 12:29, 28 March 2009 (UTC)

Disadvantages
Swing has some disadvantages. Most important one seems to be single threaded model, this is very limiting. Also Swing component takes more time to render. Im pretty sure that regular users of Swing can find others. —Preceding unsigned comment added by 82.145.248.24 (talk) 05:02, 6 June 2009 (UTC)

Every GUI framework that puts pixels on screens are single threaded, it's just a question of how they present it to the user. Flex disallows threading entirely, for example. Really Swing has only one thread allowed to touch pixels and objects representing the widgets, but any number of threads that can do anything else. Swing is merely upfront about it's nature. 75.173.228.67 (talk) 04:43, 28 June 2009 (UTC)

download
does anyone know if the seperate release of swing for use on older versions of java is still available for download and if so from where? Plugwash (talk) 15:33, 19 November 2009 (UTC)

Messy Code
That code at the end is a mess. I've written cleaner code and I'm 13. --75.166.224.107 (talk) 21:41, 22 November 2009 (UTC)

I rewrote this code. Someone has changed it to use wildcard importing, which I do not consider good style. It violates the principle of keeping namespaces small. You always want to know exactly what classes you are making visible.

You will notice that I made the whole class a Runnable so you do not need an anonymous class in the main method. You just instantiate the class and pass it to javax.swing.SwingUtilities.invokeLater. — Preceding unsigned comment added by Ncmathsadist (talk • contribs) 00:13, 29 January 2012 (UTC)

Use on the web
Added section about possibility to use Swing on web with third party product (similar section to for example http://en.wikipedia.org/wiki/Standard_Widget_Toolkit#Use_on_the_web). Change reveted by Salix_alba (reason: advert for AjaxSwing). Don't want to advert anything, want to show web possibility of Swing as compared to SWT, currently shows SWT as having that advantage over Swing. Would be glad to hear any comments or suggestions on that revision. —Preceding unsigned comment added by 79.135.222.215 (talk) 18:18, 20 October 2010 (UTC)

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Why this example is needed?
I do not understand why the following example "Game" is needed in this article. This article is meant as a clear and concise description of the Swing widget toolkit not as a tutorial. Wikipedia articles provide information not serve as tutorials, there are other resources for that. If we take a look at the articles of other widget-toolkits I'm sure we won't find a "game-example".

Moreover the code in this example isn't very good Java code. It uses deprecated features and is certainly not well-written. The wording of the given explanation is also not clear and for some reason the text "File:C:\Users\Travor\Pictures\GameSample.png|thumb|class MoveObj run in Windows NT 6.2" has been inserted below it.--Furquanahmad (talk) 17:02, 13 May 2016 (UTC)

 * Hi Furquanahmad I agree its not needed and adds nothing so I have removed it. KylieTastic (talk) 15:02, 14 May 2016 (UTC)

History
I added people who were on the Swing team to the history, along with sources. However, one source was not accepted. I am not sure if there is another way of finding the information.

JavaFX successor POV issue
There are currently three mentions in the article text to JavaFX as Swing's 'successor', which seems strange to me, as they have different goals. Also, as time has shown, Swing is still in the base JDK/JRE, while JavaFX was jettisoned into an independent library.

The successor claims seem to be uncited, and blame suggests the mentions were introduced arbitrarily by proponents of JavaFX. I propose removing them. Chabala (talk) 05:36, 20 March 2024 (UTC)

title: Talk:Swing (Java)


text:
Wikipedia:Articles for deletion/Kid Kawaii

Kid Kawaii
Non-notable DJ. Article was created by anon 66.185.84.208 (Talk) who seems to have a history of vandalism. jni 13:34, 3 Oct 2004 (UTC)
 * Delete as non-notable Joyous 16:59, Oct 3, 2004 (UTC)
 * Delete: nobody in particular. Wile E. Heresiarch 14:47, 4 Oct 2004 (UTC)
 * Delete. Non-notable musician vanity.   — Gwalla | Talk 18:06, 4 Oct 2004 (UTC)
 * Delete non-notable --ScottyBoy900Q ∞ 18:37, 04 Oct 2004 (UTC)
 * Delete: I almost speedy deleted it. Not notable to the point of glaring. Geogre 14:12, 8 Oct 2004 (UTC)


text:
Talk:Mecha

Xenogears
I added a section on the square playstation release Xenogears. I feel that this addition fits NPOV as everything written was properly referenced in the Xenogears entry. 63.175.233.162 (talk) 01:28, 8 May 2010 (UTC)

Steampunk Mecha?
The first thing that comes to mind in this genre is the giant spider "mecha" in the movie Wild Wild West. I'm sure that within the Steampunk movie genre, there are plenty of other mecha and powered armor devices. I thought that I'd throw this idea into the arena before making an edit on the page. Smokeybehr (talk) 17:28, 23 October 2010 (UTC)

Starship Troopers
Hello,

I don't think that the reference to the Power Armour in Starship Troopers belongs in this article. For me there is a clear distinction between a Mech and Power Armour because the latter is like an extension of your body, it's something you wear while the former is something you have to pilot or to operate. I thought I'd ask before I remove it, though. 81.210.220.22 (talk) 21:26, 27 May 2011 (UTC)

Hey;

Tomino's development of the Gundam Mobile Suit specifically (and mobile suits in general) is a loose adaptation of Heinlein's Power Armor. The fact that it's a pilot operationg a suit of mechanized armor is one of the principal and pertinent features that distinguishes an object as being a "mech" as opposed to a "super robot". — Preceding unsigned comment added by 93.220.91.157 (talk) 16:45, 18 January 2016 (UTC)

Shouldn't this be moved to "Mech"?
Shouldn't this article be moved to Mech per WP:SINGULAR? Leonxlin (talk) 02:30, 22 July 2011 (UTC)

 * Is there a citation for mecha being plural? For example a "mecha monster" is singular, as is various other uses "that gundam is a giant mecha robot". 121.45.61.80 (talk) 22:03, 18 August 2011 (UTC)
 * Agree with above comment. Mech and mecha are both just short for mechanized or mechanical. The 'mecha' form just includes one more letter.--72.58.48.140 (talk) 01:09, 5 December 2011 (UTC)
 * "Mecha" is short for "mechanical," so apparently it is singular as is. Though I guess it is understandable if this is a counter-intuitive way of abbreviating things in English.--Tosiaki! (talk) 04:10, 26 April 2014 (UTC)

Robotics project attention needed

 * Prose
 * Refs
 * Content check
 * Reassess

Such wonderful sentences as: "large walking, usually bipedal, robot, including ones on treads and animal shapes."

Now, can someone please tell me how a robot "walk[s] ... on ... animal shapes."? No? I am not surprised! Chaosdruid (talk) 10:41, 24 March 2012 (UTC)

Steel Battalion
A reference to the Steel Battalion controller in regards to simulation would be beneficial to this article. Seriously, that controller is probably the closest you will ever get to piloting a real mecha, unless Japan makes one of those plane simulation things but for mechas. 68.147.201.180 (talk) 13:05, 24 May 2012 (UTC)

In terms of images, Japanese mechs are underrepresented
I'm not a weeaboo or anything but Japanese Mecha deserves an image better than a tiny blurry glimpse of the Metal Gear on the Metal Gear 2 box cover. When people think Mecha, they think anime first. That should be represented. Plus, there's too much star wars. I mean, the AT-AT and the AT-TE are basically the same thing design wise, they are both awesome, but its the same thing twice. Its not visually interesting. I'd like to see something like a zaku from Gundam, or a Valkyrie from Macross, or an Armored Trooper from Votoms. Something bold and interesting, distinct from the rest of the article. — Preceding unsigned comment added by 216.162.154.21 (talk) 09:00, 14 February 2013 (UTC)

AI: Artificial Intelligence
I’ve not removed the mention, but couldn’t help noticing that mention of the Hayley Joel Osment character in AI.

He get’s described as a mecha in the piece: which struck me as arguable, as most of the examples given — of mecha — are driven or operated: unlike robots and androids, usually depicted as artificial, self aware life-forms.

Does anyone else agree … ?

I think one can ALSO — possibly — include Daleks, in this section, as they’re living beings driving/operating mechanical suits: but realise that’s JUST as arguable.

Cuddy2977 (talk) 15:34, 30 December 2013 (UTC)

No thank to someone in previous discussion, current definition of word mecha is...none. So there is no ground to remove something if it doesn't fit. L-Zwei (talk) 06:25, 31 December 2013 (UTC)

Mecha is a term for Japanese style robots and unsuitable for most of this article
Robots,mechs, walkers etc are what would best describe a lot of the things mentioned in this article contrasted with mecha robots in anime. In fact I think it would be better if the actual article was split in two to reflect this.Pleasetry (talk) 23:24, 21 February 2014 (UTC)

Actually, Japanese usually just use term "robot". When the term mecha is used by Japanese, it's usually simply stand for "mechanic". Then again, thank to someone in previous discussion, word mecha is now meaningless. So there is no ground to tell if it fit or now. L-Zwei (talk) 05:24, 22 February 2014 (UTC)
 * Hi,
 * Mecha is used in Japanese for big robot with pilot and is not meaningless, see メカ.
 * But this is true that many things in this article are not directly related to メカ.
 * Best regards, --Lacrymocéphale 21:14, 26 April 2014 (UTC)

Super Sentai, Spider-Man Toei series, and Power Rangers
Why aren't these referenced or even mentioned in the article? They are very important to mecha pop culture and history. Plus Super Sentai DX mecha is one of Bandai's most successful mecha toy lines behind Gundam, and Super Sentai and Spider-Man both predate Gundam. — Preceding unsigned comment added by Acdcguy1991 (talk • contribs) 19:59, 18 November 2015 (UTC)

Walker robot?
it may be that the title of this article reflects the problem identified on the head of article tag. In ictu oculi (talk) 18:40, 26 March 2017 (UTC)
 * Category:Walking robots would seem a better place for the real robots in the bottom third of the article. In ictu oculi (talk) 18:43, 26 March 2017 (UTC)

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The amplified man
In a Modesty Blaise story arc published in The Sun newspaper there was a mecha used by the baddies to rob a train. The machine was called "the amplified man" and was piloted by "Jules" (who was killed because he couldn't duck to avoid a hand grenade). I can find no mention of it on the WWW unfortunately, and do not identify the arc name from any mentioned in our articles, although I'm sure the name was explicitly published in the first installment of the story (as was the practice for this particular comic strip). Andrewa (talk) 16:28, 26 December 2017 (UTC)

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Move discussion in progress
There is a move discussion in progress on Talk:Mech (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 19:17, 27 August 2019 (UTC)

Mecha are walking vehicles
Is it just me who thinks that a mecha is by definition a walking vehicle, and that describing mecha as "humanoid mobile robots" is rather misleading due to how the term "robot" is specifically defined as "a machine capable of carrying out a complex series of actions automatically" and would only truly apply if the mecha had no pilot (e.g. the Mobile Dolls from Mobile Suit Gundam Wing)? MarqFJA87 (talk) 15:05, 18 September 2021 (UTC)

title: Talk:Mecha


text:
Coalhouse Fort

Coalhouse Fort is an artillery fort in the eastern English county of Essex. It was built in the 1860s to guard the lower Thames from seaborne attack. It stands at Coalhouse Point on the north bank of the river, at a location near East Tilbury which was vulnerable to raiders and invaders. It was the last in a series of fortifications dating back to the 15th century and was the direct successor to a smaller mid-19th century fort built on the same site. Constructed during a period of tension with France, its location on marshy ground caused problems from the start and led to a lengthy construction process. The fort was equipped with a variety of large-calibre artillery guns and the most modern defensive facilities of the time, including shell-proof casemates protected by granite facing and cast-iron shields. Its lengthy construction and the rapid pace of artillery development at the time meant that it was practically obsolete for its original purpose within a few years of its completion.

The fort's armament was revised several times during its 70 years of military use, as its role evolved in the river's defensive system. It was initially a front-line fortification, supported by Shornemead Fort and Cliffe Fort located to the south and east respectively on the Kent shore. Over time, as batteries and forts further downriver became the front line of the Thames defences, Coalhouse Fort was stripped of its main weapons and it was altered to support smaller quick-firing guns intended to be used against fast-moving surface and aerial targets. Its last military use was as a training facility for a few years after the Second World War.

Decommissioned in 1949, the fort was used as a storehouse for a shoe factory before it was purchased by the local council. The surrounding land was developed into a public park, but the fort itself fell into dereliction despite its historical and architectural significance. From 1985 it was leased to a voluntary preservation group, the Coalhouse Fort Project, which had been working to restore the fort and use it for heritage and educational purposes. Funding for its restoration was provided in part by the Heritage Lottery Fund and the Warner Bros. film studio, which used the fort as a location for the opening scenes of the 2005 film Batman Begins. The group closed in 2020.

Early defences
East Tilbury, which stands at the western end of the section of the Thames known as Lower Hope Reach, was fortified long before the building of Coalhouse Fort due to its vulnerability to seaborne attackers. Settlements on both sides of the Thames were raided by the French in 1379 during the second phase of the Hundred Years' War. The attack prompted the building of Cooling Castle on Kent's Hoo Peninsula between 1380 and 1385 but there was initially no corresponding move to improve the defences of East Tilbury.

Appeals from the local people led to the Crown agreeing in July 1402 to build an earthen rampart and towers to protect the settlement. The site of these early defences is not known but might have been near where St Catherine's Church now stands. A ditch of unknown date in that vicinity may represent a fragment of the medieval defences.

Henrician defences
Henry VIII ordered the construction of an artillery blockhouse at East Tilbury in 1539–40 as part of a major scheme to fortify the coastline of England and Wales. It followed his break from the Pope and the Catholic Church, which led to fears that the Catholic powers of Europe would seek to invade so as to reimpose Papal authority. Five blockhouses were built along the Thames between Gravesend and Higham – two on the north bank at Tilbury and East Tilbury and three on the south bank at Gravesend, Milton (near the present New Tavern Fort) and Higham.

The East Tilbury Blockhouse was built partly with stone taken from St Margaret's Chapel in Tilbury, which was dissolved in 1536. Its form is not known but it probably consisted of a brick and stone structure, perhaps in a D-shape, with a rampart and ditch to enclose its landward side. It was recorded as having fifteen iron and brass cannon of various calibres in 1540; these had been increased to 27 by 1539–40. It had a small permanent garrison, consisting of a commander and his deputy, a porter, two soldiers and four gunners. The blockhouse may have been altered in 1545 but in 1553 it was disarmed. Although the corresponding blockhouse at Gravesend continued in use and that at Tilbury was eventually incorporated into Tilbury Fort between 1670 and 1683, the one at East Tilbury seems to have been abandoned before the end of the 16th century. By 1735 it had been inundated by the river and was in ruins. Its site by the shoreline has since been eroded away by tidal action, though it is possible that remains from the blockhouse may still survive under the river mud.

Coalhouse Battery
The June 1687 Raid on the Medway by the Dutch fleet during the Second Anglo-Dutch War exposed the weaknesses of the Thames defences. It took another hundred years for the defences on Gravesend Reach to be improved, in the form of new works at Gravesend and Tilbury built in the 1780s, but even then the potential of forward defence – to prevent enemies accessing the lower Thames – continued to be neglected. It was not until the outbreak of the French Revolutionary Wars that the need for effective forward defence was addressed. Lieutenant Colonel Hartcup of the Royal Engineers carried out a survey of the Thames in 1794 in which he recommended building a triangle of artillery batteries to guard the entrance to Gravesend Reach and the next reach of the river, Lower Hope Reach. Two of the batteries would be located on the south bank at Shornemead, about 1.5 mi north-west of Higham; at Lower Hope Point, about 1.8 mi north-west of Cliffe; and on the north bank at East Tilbury, about 0.5 mi north of the old Henrician blockhouse. The batteries would have a maximum range of about 1.5 mi and their arcs of fire would overlap, enabling them to support each other.

The new battery was constructed during 1799 on marshy ground a short distance south-east of St Catherine's Church. It took its name from the nearby Coalhouse Point, which was named for a coal wharf that once existed there to serve East Tilbury. The soft soil caused many problems but the work was completed by July of that year. It was equipped with four 24-pounder (pdr.) cannon mounted on traversing carriages, which enabled the gunners to track targets much more easily than had been the case with traditional garrison carriages. The battery faced the river with a semi-circular earthen rampart on which the guns were mounted. A walled-off area to the rear enclosed a barracks, magazine and shot kiln (for heating shot to set wooden ships on fire). The whole structure was surrounded by a polygonal water-filled ditch. It was modified in 1810 to raise the height of the rampart and to add a small expense magazine where ammunition was stored for immediate use. The French did not test the Thames defences, despite an invasion scare in 1804, and the battery was abandoned along with those at Lower Hope Point and Shornemead following Napoleon's final defeat in 1815.

First Coalhouse Fort
Renewed tension between Britain and France in the 1840s led to a modernisation of some of Britain's coastal defences. The batteries at Shornemead and Coalhouse Point were reinstated and upgraded, though the one at Lower Hope Point was never restored. In the case of the Coalhouse battery, it was substantially expanded between 1847 and 1855 to convert it into a fort. The work was slow as the marshy ground caused the foundations to crack and the structure to subside, and the contractor was unsatisfactory.

The new fort was built as an extension to the north-west of the existing battery, and thus took an irregular plan. The rampart was extended to accommodate more guns – a total of seventeen 32-pdrs. – and a much enlarged interior replaced the old barracks and magazine. Caponiers at the east side and firing positions on the other sides facilitated musketry defence against land-based assailants. The fort was surrounded by a wide water-filled ditch. A bridge on the west (landward) side provided the only access route.

Second Coalhouse Fort
By the late 1850s, Britain and France were locked in an arms race. A new generation of increasingly accurate and powerful guns had been developed (of the rifled muzzle loader (RML) and rifled breech loader (RBL) types), mounted on fast-moving, manoeuvrable steam-powered ironclad warships such as the French La Gloire and the British HMS Warrior (1860). Such vessels posed a serious threat to the important naval installations on the Thames, including the victualling yards at Deptford, the armaments works of Woolwich Arsenal, the shipbuilding yards at North Woolwich, and the magazines at Purfleet. It was not possible for large warships to reach central London, as the river was not yet deep enough to take ships of more than 400 tons above Deptford. (Capital dredging later enabled much larger ships to reach as far as the Pool of London.) As the American Civil War was soon to show, it was quite possible for the warships of the day to run past forts and attack up coastal rivers.

The new weapons meant that the existing coastal and riverine forts were rendered largely obsolete. The American Civil War was soon to demonstrate that traditional brick and masonry forts could be reduced to rubble by rifled guns. The government's response was to appoint a Royal Commission on the Defence of the United Kingdom, which published a far-reaching report in 1860. The Royal Commission recommended that a triangle of forts should be established on the lower Thames, east of Gravesend. This would involve replacing the existing Coalhouse Fort on the Essex shore with a new fortification, similarly replacing the existing Shornemead Fort and building the wholly new Cliffe Fort opposite Coalhouse Point, which would replace the abandoned 18th-century battery at Lower Hope Point. The locations of the forts would enable interlocking arcs of fire from their guns. A boom defence and a minefield would be installed off Coalhouse Point in wartime to further boost the strength of the defences.

The design of the new fort was similar to that of the other Royal Commission forts on the Thames, with an arc of granite-faced casemates, reinforced by iron shields. These, it was believed, would be virtually invulnerable to enemy fire. It was originally envisaged that the fort would have two tiers (in a design similar to that of Garrison Point Fort at Sheerness) mounting around 56 guns; 28 in casemates and the rest in barbettes on the fort's roof. Construction began on this basis in July 1861 but as the work progressed the design was changed, leaving the fort with only a single tier of casemates. Like its predecessors, its construction was seriously affected by the poor ground conditions and was disrupted by shifting and cracking foundations. Colonel Charles George Gordon, who was later to die in the siege of Khartoum, supervised its final phases of construction. The fort cost a total of £130,000 to build.

19th century
It was originally intended that Coalhouse Fort would be armed with 68-pdr. smooth-bore guns, but these had become obsolete by the time it was completed in 1874. More powerful armour-piercing weapons were required, so the casemates were provided with four 12.5-inch and thirteen 11-inch RMLs with a range of about 5500 yard. A further three 9-inch RMLs were emplaced in the open battery. They were mounted on metal traversing platforms that could be elevated and traversed using hand-operated gearing devices. Operating the guns presented significant challenges; the 12.5-inch RMLs weighed up to 38 lt apiece, used a charge weighing 78 kg to fire a shell weighing 375 kg to their maximum range, and broke windows half a mile away when they were fired. The detonations and clouds of choking black smoke generated when firing them presented a serious physical hazard to the gun crews.

The guns were controlled from a Battery Commander's Post on the roof, from where commands to the gun detachments could be relayed via voice pipes. Three depression range finders were installed on the roof by the late 1890s to aid the guns' targeting. A well-trained crew could fire each gun once every two minutes. Rather than firing all the guns at once, the guns were positioned so that they could be fired in sequence as an enemy ship passed by. When combined with the fire from Shornemead and Cliffe Forts on the Kent shore, this would ensure that constant fire could be maintained from three different sides.

The rapid development of artillery weapons in the late 19th century meant that the casemate style of fortification had become virtually obsolete within a decade of the fort's completion. Its original purpose of defending the river against large warships was taken over by a new East Tilbury Battery, constructed in 1891 about 600 m to the north-west just outside East Tilbury village. This contained six much more powerful breech-loading (BL) guns on Moncrieff disappearing carriages within concealed emplacements facing east up the river. A similar battery was built at Slough Fort on the Hoo Peninsula a few miles downriver.

At the same time, a new threat had emerged in the shape of the fast and highly manoeuvrable torpedo boat. Large guns were virtually useless against such vessels, so the fort was supplemented with another new battery built in 1893 some 365 m to the south where 6-pdr. quick-firing guns were installed. Similar batteries were built on the opposite shore at Shornemead and Cliffe Forts.

Early 20th century
By the start of the 20th century the fort's casemates had been put out of use as they were too vulnerable to modern artillery. Instead, part of the fort's front was covered with a sloping glacis made of earth, blocking the casemates and filling the inner defensive ditch. At least one of the front caponiers was also demolished around this time. Most of the old RMLs were retired and replaced with four Mk. VII six-inch BL guns and four 12-pdr quick-firing (QF) BL guns, with ranges of 7 mi and 4.5 mi respectively, mounted on concrete emplacements on the fort's roof. The larger guns were intended to support those at East Tilbury Battery while the smaller ones provided a defence against fast-moving vessels such as destroyers and torpedo boats. Despite their obsolescence, two of the old 12.5-inch RMLs remained at the fort until as late as 1912. They were to be used as "giant blunderbusses" to spray torpedo boats with grapeshot if they got past the other guns.

Coalhouse Fort was manned during the First World War by No. 2 Company, Royal Garrison Artillery, which manned the guns; the 2nd Company London Electrical Engineers operated the electric searchlights. A minefield was installed in the river between Shornemead and Coalhouse forts, with mechanically operated mines in the shallower parts of the river and remotely detonated mines in the navigable channel. Friendly ships could thus pass freely but the mines could be detonated by a shore-based observer if an enemy ship tried to use the main channel. Coalhouse Fort took on the role of an Examination Battery controlling the river traffic in conjunction with the River Examination Service. Incoming vessels were checked by tugs based alongside the old HMS Champion, moored in midriver, and if any vessel was deemed suspect or refused to stop, the fort was authorised to fire across its bows.

The fort's armament was reduced during the war as other forts and batteries took over some of its duties. Two of the six-inch guns were shipped across the river to Cliffe Fort in 1914 and the QF guns on the roof were withdrawn. An anti-aircraft battery was established north-west of the fort for defence against Zeppelins and enemy bombers.

1920s to 1940s
Following the end of the war, it was proposed in 1924 that Coalhouse Fort should be re-equipped with 4-inch guns but post-war defence cuts meant that this plan was abandoned. Instead, the fort was reduced to care and maintenance status and East Tilbury Battery was decommissioned in 1930. The continuing development of artillery firepower meant that the forts and batteries further downriver took on an increased responsibility for the forward defences of the Thames. The forts on Gravesend Reach were relegated to a second line of defence.

Coalhouse Fort became an "emergency" battery during the anti-invasion preparations of the early Second World War. The existing 6-inch guns were replaced in July 1941 with two 5.5-inch guns which had been removed from HMS Hood during a refit in April 1940. These had a range of 12500 yd and were installed in two of the old 6-inch emplacements. A steel shelter was constructed on the fort's roof to protect the guns, which were also camouflaged with netting. A brick observation post on the roof provided range-finding, and two remotely controlled searchlights installed on the roof of the north caponier could illuminate the riverside below. The purpose of these installations was to protect against raids by cruisers and torpedo boats and to counter any landings in the Thames.

The fort's defences were also enhanced with two light anti-aircraft guns, including a Bofors 40 mm gun installed on the roof in August 1943, while the fort's perimeter was surrounded by barbed wire and trenches. Two spigot mortars were installed at the fort's rear; their bases can still be seen today. A detached concrete observation tower was built just north of the fort for use as an Extended Defence Officer's Post, to control the electrically detonated mines that had been laid in the river. A radar tower manned by naval personnel was also built south of the fort by 1941 to cover the approaches to the minefield, and an anti-aircraft battery was built 1100 m to the north-west at Bowaters Farm in August 1939. It was frequently used in defence of the eastern approaches to London and was bombed on more than one occasion.

By 1944 the threat of invasion had abated and the fort was handed over to the Home Guard's No. 356 Coast Battery detachment. Its complement at this time was a captain, two lieutenants and 103 other ranks. They were supplemented by a detachment of Wrens who operated a degaussing range established at Coalhouse Fort in 1943 under the name of HMS St Clement. Outbound ships passed over submerged sensors which detected whether the steel in their hulls had been demagnetised to a sufficient extent to make them undetectable by German magnetic mines. If they were detected, they would be recalled for further degaussing. As one of the Wrens later recalled, they found themselves "surrounded by a wonderful array of young men, soldiers and marines of all ranks – and we were the only girls in sight."

HMS St Clement became a Combined Operations base and evolved into HMS St Clement I, II and III. As HMS St Clement III, the fort's last military designation, it was used after 1946 by the Admiralty for training Sea Cadets and nautical youth groups. It was decommissioned in 1949.

Casemates
Coalhouse Fort is exceptionally well-preserved; it provides one of the finest surviving examples of a mid-Victorian armoured casemate fort. It has twelve casemates arranged in a semi-circle facing south and east towards the river, with an annexed open battery facing south-west. The casemates are faced with massive slabs of granite and have iron gun ports to protect the gunners from splinters dislodged by incoming fire.

Although the casemates have been altered over the years, many of their original features survive. None of the guns remain in situ but the metal rails on which they traversed are still in place. The casemates were divided into two sections. During periods of high alert the gun crews would live next to their weapons in the casemates' rear, an area known as the war accommodation. The front of the casemate was the gun emplacement proper, where the loading and firing took place. The iron shield protecting each casemate was fitted with iron bars from which two mantlets made of thick lengths of rope were hung. These protected the gun crew from splinters and smoke. A loading bar above the gun-port enabled the crew to lift the heavy shells and cartridges up to the mouth of the gun. These were dispensed from the magazines below via lifts on either side of the emplacements.

The guns mounted in the open battery were lighter than those in the casemates and were not enclosed but traversed on rails in the open air. A covered section between each emplacement led to an ammunition lift shaft up which the shells and cartridges were raised using lifting gear that still survives.

Improvements to artillery technology necessitated significant changes to the fort's structure towards the end of the 19th century and the start of the 20th. Closely packed casemates of the type built at Coalhouse Fort were vulnerable to new and more powerful types of explosive shells. To alleviate this threat, massive concrete traverses were constructed in the 1880s to isolate each casemate, preventing a shell bursting inside one casemate from affecting its neighbours and causing a cumulative explosion. The construction of concrete gun emplacements on the fort's roof necessitated the installation of circular concrete pillars within the casemates to support the extra weight on the roof. The ammunition lifts were also extended to serve the new roof-mounted guns.

Magazines, barracks and roof

The magazines, situated deep under the casemates, consist of alternating pairs of shell and cartridge rooms accessed via an ammunition passage at the front and a lighting passage behind. Great care was taken to reduce the possibility of an accidental explosion. The magazine workers wore special clothes and shoes to eliminate the risk of striking sparks and the floors of the cartridge stores were covered by wooden battens. The lighting was provided from oil lamps situated behind glass windows and accessed only from the lighting passage, which was physically separated from the rest of the magazine. Sets of lifting gear enabled the workers to winch the cartridges and ammunition up to the casemates, with which they could communicate via voice tubes.

A defensible barracks made of brick, faced in Kentish ragstone on the fort's exterior, closes off the gorge. Its line is indented to facilitate small arms fire from loopholes and windows with armoured steel shutters. The first floor of the barracks had a veranda facing towards the fort's interior and supported on cast-iron pillars. The barracks provided accommodation for a wartime complement of six officers and 180 NCOs and men, though in peacetime only small maintenance detachments occupied the fort. It also accommodated storerooms and a hospital with room for fourteen patients. Although much of the barracks is now in poor condition, two of the kitchen ranges still survive and two rooms still contain service crests painted on their walls during the Second World War.

An irregularly shaped parade area occupies the middle of the fort, which is divided by a sloping ramp leading up to the casemates. A small brick building – originally used as a laboratory or shell-filling facility – stands to the right of the ramp. The fort is entered through a single gateway on its west side, protected against landward attackers by a caponier. The front of the fort was surrounded by a dry ditch, in which there were originally four caponiers to provide musketry defence. A very wide outer wet ditch blocked access from the riverside.

The roof of the fort, accessed via steps up from the open battery, was altered substantially during the first half of the 20th century to accommodate new guns and other structures. These include emplacements for 5.5-inch and 6-inch guns as well as 12-pdrs, searchlight positions, shelters, an observation post, a fire control building, a machine-gun parapet on the north caponier and a Royal Navy monitoring station.

External facilities
The fort was linked to a jetty, Coalhouse Wharf, on the riverside a short distance to the south. A standard gauge railway track led from the fort's interior to the jetty and was used to bring guns and supplies from the wharf. The heaviest guns were transported to and from Coalhouse Fort (and other Thames forts) aboard two specialised gun barges called Gog and Magog, built in 1886 and 1900 respectively and used until the 1960s. The remains of the jetty are still visible, as are sections of the track within the fort's entrance.

A two-storey concrete structure just north of the fort was used during the Second World War as an Extended Defence Officer's Post to control the minefield outside the fort. It could also serve as a pillbox. A corresponding post stood on the Kent shore. A small concrete structure a further 148 ft north-east of the fort may have been an electrical power house. The minefield was overlooked by a hexagonal radar tower about 1300 ft south of the fort, consisting of a concrete structure on a metal frame on which the radar array was mounted. This stands atop a brick building in which the power plant, electrical equipment radar screen and personnel accommodation were located. It was only used for a short time between 1941 and 1943 and is now considered structurally unsafe. Situated nearby is the detached battery built in 1893 to mount four 6-pdr. quick-firing guns. It is well-preserved and the emplacements, ready-use lockers and magazines are all still largely intact.

Current status

After being decommissioned, Coalhouse Fort was leased and used as a storage facility by Bata Shoes, which operated the nearby Bata shoe factory in East Tilbury. It was also used for a while for emergency housing for demobilised servicemen and their families. In 1959, the parade ground was used as a coal store during a miners' strike. Thurrock Urban District Council (now Thurrock Council) purchased the fort in 1962 and still own it. The council turned the area around the fort into a riverside park but the building itself decayed badly through neglect and vandalism.

Coalhouse Fort and the adjacent artillery defences to the south of the fort were collectively designated as a scheduled monument in 1962, in recognition of their status as "a remarkable group of defensive sites".

The fort was leased to the Coalhouse Fort Project, a heritage charity operated by volunteers between 1985 and 2020. The project undertook the gradual restoration of the fort and held regular open days. Various items of 20th century military equipment were displayed in the interior of the fort; the casemates housed reconstructions and small military-related museums. The project was highly commended in the British Archaeological Awards and the fort has featured both in the BBC series Restoration and in the 2005 film Batman Begins, in which it stood in for a Bhutanese prison in the first five minutes of the film. The British director Christopher Nolan had seen the TV series and decided that he wanted to set the film's opening scenes in the fort.

The poor condition of parts of the structure and its state of slow decay led to it be listed in 2008 on the Heritage at Risk Register. English Heritage provided an emergency grant in 2009, supplemented by Thurrock Council and the filming fee from Warner Bros. for Batman Begins, to help make £200,000 worth of repairs to the gatehouse. These were completed in 2011. Grants from Veolia Thames and Thurrock Council, via the Heritage Lottery Fund, have funded the construction of a new block outside the fort entrance to house a cafe, toilets and information centre. A four-mile (6.4 km) riverside walk known as the Two Forts Way links Coalhouse Fort with its older counterpart Tilbury Fort; it is described as "a challenging route suitable for able bodied walkers and experienced cyclists." Funded by the newly restructured Historic England (formerly English Heritage), a survey of the heritage site was completed in early 2017 and repairs to make the fort watertight were expected to begin in late 2017.

In January 2020, the Coalhouse Fort Project was discontinued in recognition of its success in saving and restoring the fort, leaving the site's future direction to Thurrock Council and the Heritage Lottery Fund.

title: Coalhouse Fort


text:
User:Rl

 * /NPOV My take on the neutral point of view.
 * /Images Commons paintings in chronological order.

title: User:Rl


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Stankonia

Stankonia is the fourth studio album by the American hip hop duo Outkast. It was released on October 31, 2000, by LaFace Records and Arista Records. The album was recorded in the duo's recently purchased Atlanta recording facility Stankonia Studios, which allowed for fewer time and recording constraints, and featured production work from Earthtone III (a production team consisting of Outkast and Mr. DJ) and longtime collaborators Organized Noize.

For the follow-up to their 1998 album Aquemini, the duo worked to create an expansive and experimental musical aesthetic, incorporating a diverse array of styles including funk, rave music, psychedelia, gospel, and rock within a Dirty South-oriented hip hop context. During the recording sessions, André 3000 began moving beyond traditional rapping in favor of a more melodic vocal style, an approach to which Big Boi and several other producers were initially unaccustomed. Lyrically, the duo touched upon a wide range of subject matter, including sexuality, politics, misogyny, African-American culture, parenthood, and introspection. Stankonia featured appearances from a variety of local musicians discovered by the group while they were visiting clubs in their native city of Atlanta, Georgia.

Stankonia received universal acclaim from music critics upon its release and has since been regarded by many to be one of the greatest hip hop albums of all time. The album debuted at number two on the Billboard 200 chart, selling over 530,000 copies the first week. It was supported by three singles: "B.O.B", "Ms. Jackson", and "So Fresh, So Clean"; "Ms. Jackson" became the group's first single to reach number one on the Billboard Hot 100. At the 44th Annual Grammy Awards, Outkast won Best Rap Album for Stankonia and Best Rap Performance by a Duo or Group for "Ms. Jackson". In 2003, the album was ranked number 359 on Rolling Stone 's list of the "500 Greatest Albums of All Time", 361 in a 2012 revision, and 64 in a 2020 reboot of the list. A re-issue of the album for its 20th anniversary with previously unreleased remixes was released on October 30, 2020.

Background

In 1998, OutKast released their third album Aquemini to critical acclaim while diversifying and expanding their sound. The album's success also attracted national attention to the Southern hip hop scene. Having collaborated on the Aquemini track "Skew It on the Bar-B", the Wu-Tang Clan member Raekwon later recalled the duo's impact at the time: "Before that, the South just wasn't played in New York. But that song was hot, the flows was crazy. The cycle changed. It really opened up the door for Southern rappers."

In March 1998, OutKast purchased a studio nearby Northside Drive in Atlanta. Formerly owned by the R&B singer Bobby Brown, the studio was the first place the duo had ever recorded vocals together – on a remix of TLC's "What About Your Friends" (1992) – and held sentimental value for them. Outkast named the studio "Stankonia", a word created by André 3000 as a portmanteau of the words "stank" (a slang synonym for "funky") and "Plutonia" (the title of a poster in his bedroom depicting a futuristic city). As he explained, "Stankonia is this place I imagined where you can open yourself up and be free to express anything".

Recording
The recording of Stankonia began in spring of 1999 and lasted for about a year. Owning a studio helped the band expand creatively, as the duo did not need to worry about time constraints that would occur with a rented studio. André 3000 observed, "You can sit there and fuck with just a kick and a snare all day long if you want to ... You're not working on the clock. Really, you're just working on your mind." Big Boi spent the majority of the recording time in the studio, while André 3000 worked at home, creating beats and experimenting with an acoustic guitar. One song that came from a jam session on the guitar was "Ms. Jackson", the album's second single. André 3000 also created song lyrics by writing words on the walls of his home: "I had planned to paint my house anyway; writing on the walls was just something I would do." One stray lyric on his wall eventually developed into "Gasoline Dreams".

Much of the album was formulated during "vibe sessions" in which the group and producers would visit clubs in downtown Atlanta, select performers they saw, and invite them to the studio. They would then "sit around, smoke a few, drink a few", and create ideas for new songs. However, recording sessions became difficult as André 3000 grew tired of rapping on songs, which made Big Boi and the producers uneasy about how the music would sound. To maintain musical cohesion with Big Boi while continuing to expand his vocal palette, André decided to combine rapping with soul-inspired crooning, which had a major influence on Stankonia's sound. "Snappin & Trappin'" features a guest appearance from the then-unknown rapper Killer Mike. The rapper noted that while working with Outkast, he used the opportunity to try to "compete" with the duo to improve his rapping skills. Big Boi was impressed with Killer Mike's abilities, noting, "When I first heard him spit, his voice was just so commanding. He's a very intelligent guy."

Music and style
While OutKast's previous albums were considered to be laid-back, mellow efforts, Stankonia contains faster, more high-energy tempos, partially to reflect the "chaotic times" at the end of the 20th century. The group took note of new, harder drugs hitting the hip-hop scene and teenagers using ecstasy, cocaine, and methamphetamine. Big Boi reflected, "Niggas living this life at a fast speed don't know what's going on around them. If you live fast, you gonna come out of here real fast, so the music need to show that." While recording Stankonia, the band refrained from listening to hip-hop, "That music was starting to sound real comfortable. There wasn't any adventure to it." Instead, the duo drew influence from musicians such as Jimi Hendrix, Little Richard, Prince, and George Clinton, as well as Clinton's Parliament-Funkadelic collective. However, the band refrained from producing a throwback sound with the record and instead hoped to utilize these influences in a modern, experimental fashion. André 3000 stated that "I don't want this to be the generation that went back to '70s rock. You gotta take it and do new things with it."

On Stankonia, OutKast experimented with a wide variety of musical genres. According to M. Matos of Vibe, Stankonia "turned the South's predominantly reclined hip-hop sound into something freaky and menacing." AllMusic's Steve Huey said their experimentation resulted in "a trippy sort of techno-psychedelic funk". "B.O.B" features "jittery drum'n'bass rhythms" and has been classified as a "stylistic tour de force" combining "Hendrix-ian" guitars, organs, and gospel vocals. On the track, André 3000 and Big Boi employ a "frantic" flow in order to keep pace with the song's high-speed tempo, which runs at 155 beats per minute. "Humble Mumble" is a salsa-influenced track that evolves into a club groove, while "Ms. Jackson" "marries early Prince with late P-Funk". The smooth melodies of "I'll Call Before I Come" have also been likened to Prince. "Gasoline Dreams" has been classified as a "gritty rock scorcher" comparable to the work of Public Enemy. David Bry of Vibe detected a "polished 80's pimp strut" in "So Fresh, So Clean" and an "appreciative, fat-ass bounce" in "We Luv Deez Hoes". The album ends with three psychedelic-influenced tracks, "Toilet Tisha", "Slum Beautiful", and "Stankonia (Stank Love)". "Stankonia (Stank Love)" has also been described as an "homage of sorts" to gospel choirs and '60s doo-wop groups, while also including a slowed down coda reminiscent of chopped and screwed hip hop.

Lyrics
According to Miles Marshall Lewis, Stankonia is among the most "eclectic" of mainstream progressive rap albums from its time. Paul Lester of The Guardian described OutKast's lyrical style on the album by saying, "They are, in a way, post-hip-hop, combining PM Dawn's kooky confections with the Pharcyde's hallucinatory whimsy, Public Enemy's hardline politicking with De La Soul's cartoon dementia, to fashion something vital and new." "Gasoline Dreams" assails the "bling-bling" aspirations of contemporary black culture, instead presenting a sobering view of circumstances upending the world in Outkast's perspective ("I hear that Mother Nature's now on birth control / The coldest pimp be lookin' for somebody to hold"). "Red Velvet" discusses the materialistic nature of the hip hop scene in particular, while "Humble Mumble" addresses critics who make negative assumptions about hip hop based on preconceived notions; André 3000 raps in the song: "I met a critic / I made her shit her draws / She said she thought hip hop was only guns and alcohol / I said oh hell naw / but yet it's that too / You can't discrima-hate cause you done read a book or two."

The album commonly features the words "stank" and "smell" in their blues-rooted definition to mean "low-down, blunt, pungent: a measure of authenticity". Outkast often incorporates word play into the lyrics, including "Humble Mumble"'s references to the "underground smellroad" and chants of "I stank I can, I stank I can", an allusion to The Little Engine That Could. The duo offers encouragement for maturity and facing adversity on the song, beginning with Big Boi's verse advising that "everything in life don't always happen like it's supposed to" while referencing Isaiah 54:17 ("No weapon formed against me prospers"). Meanwhile, André 3000 frames his perspective in the context of progressing African Americans collectively: "The game changes every day, so obsolete is the fist and marches / Speeches only reaches those who already know about it". Erykah Badu, his ex-girlfriend and friend at the time, concludes "Humble Mumble" with a "soaring metaphysical gospel verse that celebrate[s] the circle of life", as pop-culture writer Roni Sarig details.

Much of the album discusses the status of women in the South, and contrasts with the misogynistic attitudes common in hip hop music. In his book Classic Material: The Hip-Hop Album Guide, Oliver Wang writes that songs such as "Slum Beautiful" and "Toilet Tisha" "reimagine 'round the way girls, not only as just more than one-dimensional accessories, but as objects of affection with lives and concerns that are worth exploring." In "Toilet Tisha", the duo empathizes with suicidal pregnant teenagers. "Ms. Jackson" is dedicated to the mother of a mother of an out-of-wedlock child, which André 3000 refers to as "the baby's mama's mamas". Inspired by his relationship with Badu, who had given birth to their son Seven, the song serves as an apology to a "baby mama"'s mother for causing her daughter pain. "I'll Call Before I Come" discusses the members putting a woman's sexual needs before their own.

Commercial performance
Stankonia debuted at number two on the Billboard 200 album chart, selling 525,844 copies in its first week, behind Jay-Z's The Dynasty: Roc La Familia; which sold 557,789 copies, and ahead of U2's All That You Can't Leave Behind, which finished in third place in the U.S. The album was certified gold by the Recording Industry Association of America (RIAA) within its first week of release. It also reached number two on the Billboard R&B/Hip-Hop albums chart, remaining on the chart for 45 weeks. By February 2002, the album has sold 3.79 million copies, according to Nielsen SoundScan. On November 3, 2003, Stankonia was certified quadruple platinum, for shipments of four million copies. In Canada, the album peaked at number four, and was certified double platinum by the Canadian Recording Industry Association on September 23, 2003, for shipments of over 200,000 units. The record also became a top ten hit in Germany, Finland, and Norway, reaching the number six, number eight, and number eight spots on the countries' official charts, respectively.

The lead single released from Stankonia, "B.O.B", peaked at number 69 on the R&B/Hip-Hop songs chart. However, the single was banned from many urban Top 40 radio stations due to its title and the subject matter it was assumed to have. On February 3, 2001, "Ms. Jackson" topped the R&B/Hip-Hop songs chart, and then on February 17, the single also reached number one on the Hot 100, remaining on the chart for 22 weeks. The song also reached number 13 on the Billboard Pop Songs chart, as well as number three on the magazine's Radio Songs chart. The third single, "So Fresh, So Clean", peaked at number 30 on the Hot 100, and stayed on the chart for 20 weeks. The single also peaked at number ten on the Billboard R&B/Hip-Hop songs chart, and number 24 on the Radio songs chart.

Critical reception
Stankonia received universal acclaim from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 95, based on 20 reviews. Derek A. Bardowell of NME noted that with Stankonia, OutKast "hit that rare balance of creative eccentricity and mass appeal" and wrote that the album contains "eternal qualities that will unravel in time on an emotional, intellectual and spiritual level." Nathan Brackett of Rolling Stone called the record "one of the best albums of the year" noting that all of the tracks contain "a down-home generosity and accessibility" and that "even the most street-oriented songs have some sort of commentary in them." Tony Green of The Village Voice praised OutKast's "feel for sonics and structure" and stated, "they've moved toward harder, darker textures, in service of song designs that are often disarmingly subtle." Steve Huey of AllMusic commented that, "given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, it's striking how few weak tracks there are". Aishah Hight of PopMatters stated, "Within Stankonia, Outkast successfully presented a southern perspective of life, liberty, and the pursuit of happiness. But on the surface, phat beats and pure funk should suffice." Alternative Press commented that "experienced, acclaimed groups rarely make albums as bold and confrontational as Stankonia, because they have too much to lose", but felt that "OutKast don't care", writing that they "coalesced the political and societal challenges of hip hop's past into what is one of the genre's most artistically unorthodox releases so far."

Robert Christgau of The Village Voice observed "more bounce-to-the-ounce and less molasses in the jams, more delight and less braggadocio in the raps", and opined that Big Boi and André 3000's "realism and high spirits drive each other higher". Entertainment Weekly's Ken Tucker wrote that "Stankonia reeks of artful ambition rendered with impeccable skill" and described OutKast as "endlessly good-humored and imaginative even when dealing with the most grim and mind-deadening facets of ghetto life." Yahoo! Music's Soren Baker commented that "Dre and Big Boi again reinvent themselves, this time as Parliament-inspired musicians who specialize on male-female relationships, boasting, and out-there lyrics." Baker concluded in his review, "With another nearly flawless album, OutKast arguably solidifies their reputation as one of the best hip-hop groups of all time." The Los Angeles Times opined that "the record's most interesting moments are gorgeous Prince-style soul." Jon Pareles of The New York Times wrote that "OutKast's music savors the viscous propulsion of funk, with raps and tunes that never ignore the body and its instinctive desires ... Yet OutKast – taking cues from a band it obviously reveres, Parliament-Funkadelic – never forgets that bodies are attached to minds." URB called the album "a complex tome that enmeshes contemporary hip-hop values with a timeless Southern soul, while pushing the envelope damn near off the table." Mojo called it "hip hop with the power to convert even the most reactionary nonbelievers."

Legacy and influence
Stankonia has received many accolades and appeared on many magazines' "best of" lists; in his book Dirty South, author Ben Westhoff noted that the album appeared on "every critical best-list worth mentioning." At the 2002 Grammy Awards, OutKast won Best Rap Album for Stankonia and Best Rap Performance by a Duo or Group for "Ms. Jackson". Despite OutKast's being expected favorites, The Recording Academy instead chose the 2000 soundtrack album O Brother, Where Art Thou? for Album of the Year. Before the group's nominations, much of the hip hop community felt that rappers were not being awarded enough attention from The Recording Academy. However, the album's musical diversity allowed the band to reach a wider audience and was credited for opening the academy up to more hip hop musicians.

In 2006, Time named Stankonia as one of the 100 best albums of all time. Rolling Stone ranked the album number 16 on the magazine's list of the 100 Best Albums of the 2000s. In 2009, Pitchfork ranked Stankonia number 13 on its list of the top 200 albums of the 2000s, and Rhapsody ranked it at number 2 on its "100 Best Albums of the Decade" list. Rhapsody also ranked the album number 6 on its "Hip-Hop's Best Albums of the Decade" list. Vibe ranked the record at number 23 on its list of the "100 Greatest Albums from 1985 to 2005". Entertainment Weekly put it on its end-of-the-decade "best-of" list, saying, "With hummable hits ('Ms. Jackson') and out-there experiments ('B.O.B.'), the rap duo gave us all a visa to the funky if fictional land of Stankonia in 2000." Q listed Stankonia as one of the best 50 albums of 2001. The album was also included in the book 1001 Albums You Must Hear Before You Die. In 2015, Mic stated that "Stankonia helped hip-hop build its foundation in the mainstream," adding that in addition to the "irresistibly quotable" hit singles, "the deep cuts are still some of the most rewarding experimental hip-hop around."

With Stankonia, OutKast became the first hip hop act to openly acknowledge rave culture as an influence. During the late 1990s, rappers tended to embrace slow, laid-back beats in their productions. On several tracks on Stankonia, the group employed faster, more chaotic tempos to reflect rave culture and the introduction of new drugs such as ecstasy into the hip hop scene. Boston-based DJ Armand Van Helden recalls, "In the nineties, the bpms in hip-hop got slower and the clubs were moody ... it just kind of dragged. I really missed that kind of hands-in-the-air shit." A remix of "B.O.B" created by Rage Against the Machine's Zack de la Rocha received airplay on alternative radio stations, expanding the group's fanbase beyond hip hop and urban listeners. Despite containing anti-war sentiments, "B.O.B" became popular amongst American troops deployed in Afghanistan. While working on her acclaimed album The ArchAndroid (2010), American R&B singer Janelle Monáe cited Stankonia's experimental nature as an influence. Rapper Pill also acknowledged Stankonia, and particularly the production of Organized Noize, as an inspiration: "The sounds, the instrumentation of the samples, the different horns—everything about the tracks were great to me."

Track listing
All tracks are produced by Earthtone III (Outkast and Mr. DJ), except where noted.

Notes
 * $undefined$ signifies a co-producer.
 * "So Fresh, So Clean" contains a sample of "Before the Night is Over" by Joe Simon.
 * "Ms. Jackson" contains a sample of "Strawberry Letter #23" by The Brothers Johnson.
 * "We Luv Deez Hoez" contains a sample of "Worldwide" by Allen Toussaint.

Personnel
OutKast
 * Big Boi (Antwan Patton) – vocals, production
 * André 3000 (Andre Benjamin) – vocals, synthesizers, guitar, production
 * Mr. DJ (David Sheats) – production

Guest performers
 * Sleepy Brown
 * Khujo Goodie
 * Killer Mike
 * J-Sweet
 * Gangsta Boo
 * Eco
 * B-Real
 * Erykah Badu
 * Backbone
 * Big Gipp
 * Slimm Calhoun
 * C-Bone
 * T-Mo Goodie
 * Cee-Lo Green
 * Big Rube
 * Joi

Musicians
 * Donnie Mathis – guitar
 * David "Whild" Brown – guitar
 * Jason Freeman – horns
 * Jerry Freeman – horns
 * Sleepy Brown – piano, synthesised bass
 * Marvin "Chanz" Parkman – piano, keyboards
 * Earthtone III – keyboards
 * Organized Noize – keyboards
 * Preston Crump – bass guitar, synthesized bass
 * Aaron Mills – bass guitar
 * Robert Grister – bass guitar
 * Dookie Blossumgame – bass guitar
 * Victor Alexander – drums
 * Rosalin Heard – backing vocals
 * Paul Douglas-Feddon – backing vocals
 * Myrna "Screechy Peach" Crenshaw – backing vocals
 * Cutmaster Swiff – cuts

Design
 * Michael Lavine – photography

title: Stankonia


text:
Talk:Eco-capitalism

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 24 August 2020 and 12 December 2020. Further details are available on the course page. Student editor(s): Dojabat, Rkwas47.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 20:24, 17 January 2022 (UTC)

title: Talk:Eco-capitalism


text: File:GBC Metal Gear Solid.png

title: File:GBC Metal Gear Solid.png


text:
Talk:Ejabberd

Untitled
Hello,

The official page is not correct: I changed to http://www.process-one.net/en/ejabberd, but it has been changed again to the community site.

The user ejabberd is removing edits he don't like. THIS SHOULD NOT BE A SOFTWARE ADVERTISMENT PAGE MAINTANED BY THE AUTHOR OF THE SOFTWARE!

Ejabberd 15:18, 14 September 2005 (UTC)
 * Don't screw.
 * I am not the author of the software. You always can verify that if you want. ;-) The reason why I have chosen the same account name as this article is because this was the first article I contributed to Wikipedia.
 * The reason why I deleted that information is because it is not related to ejabberd, but to your client. All IM server admins can see the messages you send. This is true for jabberd 1.4, jabberd2, OpenIM, MSN Messenger servers, AOL servers,... This is even not restricted to instant messaging: also email and most other Internet protocols make it possible for bad admins to see your communication! If you want to protect you against this, you should use End-to-end_encryption such as Off-the-record messaging, Pretty Good Privacy, and there are probably even more systems! Als systems like Tor might be interesting.

The logo of ejabberd may be uploaded: http://ejabberd.jabberstudio.org/logo.png as it's released under GPL (ask Alexey if you want to be sure :) ).

Link to the official web site
Hi,

I change the link of the official web site, but this is not spam :-) :

http://ejabberd.jabber.ru/ is the community site. The link to the official web site is http://www.process-one.net/en/ejabberd. The official subversion repository is on process-one.net, the new releases are done on this site and Process-one owns the copyright on the code. You can also ask confirmation to Alexey Shchepin, the lead developer of ejabberd if you have any doubt. Zubro 15:46, 6 March 2007 (UTC)

 * This is not right. It is not because Process-One cleams it owns the official website of ejabberd that it also is the official website. Some history to explain why I consider http://ejabberd.jabber.ru/ to be still the official website of the project. The first official website has been hosted on http://ejabberd.jabberstudio.org/ That was since 2002 until 2004 if I am right (you can see the old website versions here: http://ejabberd.jabber.ru/nostalgia ). Then, Alexey Shchepin asked Badlop to create a new website based on Drupal which is on http://ejabberd.jabber.ru/ The cvs repository of jabberstudio.org was still used for some time (see http://jabberstudio.org/cgi-bin/viewcvs.cgi/cvs/ejabberd/ ). Later, the company Process-One has been founded which hired Alexey and they started providing services around ejabberd. They also offered to host a Subversion repository because there were problems with jabberstudio at that time if I remember correctly. New releases are announced on the mailinglist of the jabber.ru server and on the ejabberd.jabber.ru website. Also note that there *never* was any message on ejabberd.jabber.ru saying that http://www.process-one.net/en/ejabberd became the official website and that there are more companies (well, ATM there are only two of them, though) offering services around ejabberd and that there is room for more companies: http://ejabberd.jabber.ru/support/commercial NaturalBornKiller 16:31, 6 March 2007 (UTC)

 * You said that process-one claims that its site is the official one, but you are doing the same with http://ejabberd.jabber.ru/ :-). I agree that http://ejabberd.jabber.ru/ was in the past the official site, where ejabberd could be downloaded (and it is still the ejabberd's community site). But now, the archives, installers, sources of each release are downloaded on process-one.net (and http://ejabberd.jabber.ru/download links to http://www.process-one.net/en/ejabberd/downloads/). Also, the copyright holder and the project's founder and lead developer point of view are good hints to know where is the project official site. There is no such argument in favor of http://ejabberd.jabber.ru/. So, giving the URL of the official site and the community site like I have done seems logical. Zubro 16:50, 6 March 2007 (UTC)

 * You can find several links in the other direction to ejabberd.jabber.ru E.g. links to /protocols /features, and the ejabberd mailing list on jabber.ru where all releases are announced. NaturalBornKiller 23:45, 6 March 2007 (UTC)

 * Yes, it's logical that the official site links to the community site for such pages. And it's also logical for the mailing-list, which is community oriented. But you can't honestly deny that the download page or the subservion repository is more important that this pages. Any site can be set-up with documentation, mailing list, etc about ejabberd. There can be only one site where the tarball are put first when releases are done, and where the subversion repository is hosted. Zubro 09:41, 7 March 2007 (UTC)

 * I do not agree that hosting the files and the code repository is needed to be the official website. Process-one only hosts the official code repository. You agree with me that ejabberd.jabber.ru at least was the official website...but it never hosted the code repository nor the tarballs (they were previously on jabberstudio.org). Also note that the download page on ejabberd.jabber.ru is more complete than that on process-one.net, just a side-note. NaturalBornKiller 16:41, 7 March 2007 (UTC)

Changelog
Wikipedia is not an open source repository... changelogs don't belong here. -- samj in out 13:15, 5 February 2009 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Ejabberd. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090803233540/http://community.livejournal.com/lj_maintenance/124664.html to http://community.livejournal.com/lj_maintenance/124664.html

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External links modified
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I have just modified 7 external links on Ejabberd. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20091124050319/http://www.turnkeylinux.org/ejabberd to http://www.turnkeylinux.org/ejabberd
 * Added archive https://web.archive.org/web/20101007013116/http://jabber.tsure.ru/ to http://jabber.tsure.ru/
 * Added archive https://web.archive.org/web/20080618222352/http://www.sameplace.cc/blogs/bard/2008/2/17/back-in-game to http://www.sameplace.cc/blogs/bard/2008/2/17/back-in-game
 * Added archive https://web.archive.org/web/20090423035812/http://blog.notifixio.us/post/56167273/switch-from-openfire-to-ejabberd-done to http://blog.notifixio.us/post/56167273/switch-from-openfire-to-ejabberd-done
 * Added archive https://web.archive.org/web/20091220065601/http://www.jabber.org/2009/12/server-migration-coming-soon/ to http://www.jabber.org/2009/12/server-migration-coming-soon/
 * Added archive https://web.archive.org/web/20100610084523/http://www.jabber.org/2010/01/to-our-users/ to http://www.jabber.org/2010/01/to-our-users/
 * Added archive https://web.archive.org/web/20090923173449/http://www.freesoftwaremagazine.com/node/1746 to http://www.freesoftwaremagazine.com/node/1746

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 * Added archive https://web.archive.org/web/20110721145552/https://stpeter.im/index.php/2006/02/26/e-jabbering/ to https://stpeter.im/index.php/2006/02/26/e-jabbering/

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External links modified (January 2018)
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title: Talk:Ejabberd


text: File:GB Super Mario Land 2.png

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text:
File:GB Tetris.png

Summary
Game Boy Tetris shot by me

title: File:GB Tetris.png