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Feng Yun (Go player)

Feng Yun (born October 2, 1966) is a professional Go player. She is the second woman after Rui Naiwei to ever attain the level of 9-dan professional.

Biography
Feng Yun was born in Chong Qing, China. She started learning Go in Henan province when she was nine years old. She began her professional career in 1979 at the age of 12. In 1982 she was selected for the Chinese National Go Team where she trained for 18 years. In 1997, Feng Yun reached the top rank of professional Go players and ascended to 9-dan professional. She was the second woman in the world ever (after Rui Naiwei) to reach 9 dan. She has lived in New Jersey, U.S., with her family since 2000. The Feng Yun Go School, with four locations in New Jersey, has produced many strong players. Her book, The Best Play, analyzes two amateur games played on the internet.

Professional accomplishments

 * Feng Yun was a finalist in the first four Bohae Cups, winning on the second occasion (1995), but lost to Rui Naiwei on the other three occasions, finishing 2nd in 1994, 1996 and 1997.
 * 1979 Promoted a professional Go player of the Henan Provincial Team
 * 1982 Promoted to 4 dan professional
 * 1983 Promoted to 5 dan professional, won her first title: National Women's Championship
 * 1987 Promoted to 6 dan professional
 * 1990 Finished second in National Individual Go Tournament (China)
 * 1991 Finished second in National Individual Go Tournament (China)
 * 1992 Promoted to 7 dan professional
 * 1995 Promoted to 8 dan professional
 * 1997 Advanced to 9 dan professional, one of the only three women 9p in the world
 * 1998 Won Kuerle Cup champion
 * 2002 Founded first 9-dan school in North America, was the challenger in the 2002 North American Masters Tournament
 * 2004 Won Ing Pro Tournament held at the 20th AGA Go Congress in Rochester, New York
 * 2008 Won Ing Pro Tournament held at the 24th AGA Go Congress in Portland, Oregon

title: Feng Yun (Go player)


text: User talk:61.149.223.228

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

title: User talk:61.149.223.228


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Wikipedia talk:Articles for deletion/Dalek Lieutenant

Who said this was fancruft? I am only attempting to mention the different ranks of Dalek. Yes, Dr. Who is famous here in England (My home country) and that is why I am mentioning the varied ranks of Dalek. Also I mention these for those who know little about the Daleks.


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Feria

In the liturgy of the Catholic Church, a feria is a day of the week other than Sunday.

In more recent official liturgical texts in English, the term weekday is used instead of feria.

If the feast day of a saint falls on such a day, the liturgy celebrated may be that of the saint, not that of the feria (the weekday liturgy). Accordingly, in actual liturgical practice a feria or ferial day is "a weekday on which no special ecclesiastical feast is to be celebrated".

Etymology
The Harvard Dictionary of Music explains the etymology feria as "the reverse of the original meaning of L. feria, i.e., festival day. The reversal came about by extending the use of the word from Sunday to the other days, Sunday being named feria prima, Monday feria secunda, Tuesday feria tertia, etc."

Since in ecclesiastical Latin the names of Sunday and Saturday do not contain the word feria and are called respectively dominica and sabbatum, some use the term feria "to denote the days of the week with the exception of Sunday and Saturday", in spite of the official definition given above and the actual usage in official liturgical books.

The Galician and Portuguese languages uses the same terminology as ecclesiastical Latin for the days of the week, calling the days from Monday to Friday segunda-feira, terça-feira (literally, "second weekday", "third weekday"), etc., but calling Saturday sábado and Sunday domingo (see Numbered days of the week).

Classification
The Roman Rite no longer distinguishes different classes of ferias (weekdays) as in the 1960 Code of Rubrics of Pope John XXIII, but it attributes different positions to them in ranking liturgical days. In the Table of Liturgical Days according to their order of precedence, attached to the Universal Norms on the Liturgical Year and the Calendar, Ash Wednesday and weekdays of Holy Week from Monday up to and including Thursday are outranked only by the Paschal Triduum, the four solemnities of Christmas, Epiphany, Ascension and Pentecost, and the Sundays of Advent, Lent, and Easter. Weekdays of Advent from 17 December up to and including 24 December and weekdays of Lent rank above memorials. Other liturgical weekdays (ferias) come last in the ranking.

The Code of Rubrics of 1960 introduced a newly invented division of ferias into four classes:
 * First-class ferias, outranking all feasts: Ash Wednesday and all the weekdays of Holy Week;
 * Second-class ferias, outranking local second-class feasts and, if impeded, requiring to be commemorated: ferias of Advent from 17 December to 23 December, and Ember Days of Advent, Lent and September;
 * Third-class ferias: ferias in Lent from Thursday after Ash Wednesday to Saturday before the Second Sunday of the Passion (Palm Sunday) except Ember Days (these outranked third-class feasts), and ferias in Advent up to 16 December except Ember Days (these were outranked by third-class feasts);
 * Fourth-class ferias: all other ferias (weekday liturgies).

Before 1960, the Roman Rite knew a simpler distinction between major and minor ferias. The major ferias were those of Advent and Lent, the Ember days, and the Monday of Rogation week. These had to be commemorated even on the highest feasts. All the others were minor ferias (liturgical weekdays). In addition, the major ferias of Ash Wednesday and Holy Week were privileged: these liturgies were to be celebrated no matter what feast happened to occur on those days.

title: Feria


text:
Wikipedia talk:Articles for deletion/The Dalek Prime

The Dalek Prime is NOT something from a fantasy story. The rank has only recently been created, and just because little information has been vrified does not mean that this page can be tossed aside due to little information.


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Mort & Phil

Mort & Phil (Mortadelo y Filemón) is a Spanish comic series, published in more than two dozen languages. It appeared for the first time in 1958 in the children's comic-book magazine Pulgarcito drawn by Francisco Ibáñez. The series features Mort (Mortadelo), the tall, bald master of disguise named after mortadella sausage, and his bossy partner, the shorter, pudgier Phil (Filemón) Pi, named after fillet. Initially, they were private detectives operating as Mortadelo y Filemón, Agencia de Información, but now both serve as secret agents in the T.I.A. (a spoof on CIA), the Técnicos de Investigación Aeroterráquea (Aeroterrestrial Investigation Technicians). Tía is the Spanish word for "aunt".

The series frequently uses slapstick humour whereby the characters constantly suffer mishaps - such as falls from heights, explosions, and being crushed by heavy objects. Thanks to cartoon physics, the effects rarely last more than one panel.

Overview
Mort and Phil are a pair of idiots, and no matter what kind of mission they are assigned they always manage to get it wrong. The results are almost invariably extremely violent, and most often directed towards Phil. At the T.I.A. (Spanish for "aunt", a parody of the CIA), which combats "enemy organisations" like R.A.N.A. ("frog") or A.B.U.E.L.A. ("grandmother"), they interact with their boss, the bad-tempered Superintendente Vicente; with Professor Bacterio, a black-bearded, disastrous scientist parodying James Bond's Q; and with the fat, blonde secretary Ofelia, a parody of Moneypenny, whose attempts at seducing Mort or Phil always fail.

Outside Spain, the series is especially popular in Germany as Clever & Smart. After the 1980s, the albums have featured current news, like computer sabotage, the AVE, Islamic terrorism, Spanish and European politics, and specials for the Olympic Games and the football World Cup.

Ibáñez liked to introduce whimsies unrelated to the action, especially in front covers. Examples have included a water tap sprouting from a tree, two mice chatting, and a vase containing a foot or an eggplant. In the final page of the album El 35 aniversario (1993), featured a New York scene with an aeroplane crashing into the World Trade Center. This attracted attention after the 9/11 attacks of 2001.

Prior to his death in 2023, Ibáñez would issue several albums a year. One animated series and some animated films were also produced. There are two live-action movies based on the series, one of them made in 2003 in Spain titled La gran aventura de Mortadelo y Filemón (Mort & Phil: The Big Adventure). A second movie was released in 2008, Mortadelo y Filemón. Misión: salvar la Tierra (Mort & Phil. Mission: Save Earth), marking the 50th anniversary of the series.

Mort (Mortadelo)
Mort is a bald detective with pebble glasses and a long nose who usually wears a black frock coat. He is always fighting with Phil, his partner, mostly because he tends to mess things up, usually to Phil's discomfort: his profound lack of skills to make his disguises believable and common sense have often made him a danger to everyone around him. His favourite hobby is wearing all sorts of (sometimes outrageous) disguises - professional and historical clothes and gear, animals, inanimate objects, even small-sized vehicles like miniature blimps and mopeds - which he mostly dons for special tasks or when he is on the run from Phil or his boss, and which all include his signature collar which obscures part of his mouth. He holds a grudge against Bacterio because he used to have lush hair until Bacterio offered him a supposed medicine against baldness, which actually made his hair fall out. His real name, Mortadelo, comes from mortadela, a kind of sausage.

Phil Pi (Filemón Pi)/"Jefe"
Mort's partner and frenemy. He only has two hairs on his head and wears a white shirt with a black bowtie and red trousers. He usually insults Mort because Mort is quite clumsy, but is often at the receiving end of any mishaps which come their way, mostly in the shape of their outraged boss. Mortadelo habitually addresses him as Jefe (Spanish for "chief" or "boss"). He's also incredibly accident-prone, capable of being injured in comical and painful ways.

As the leader of the two-man team, Phil is an educated man and an expert in a variety of fields. In the movies, however, Filemón is shown to be just as ditzy as Mortadelo (especially in the animated movie Mortadelo and Filemon: Mission Implausible).

Vicente / "El Superintendente"
Called for short Súper or just El Súper, Vicente is Mort and Phil's boss. While he, as the head of the organisation, lives in splendour, indulging himself in expensive beverages and Cuban cigars, he keeps the T.I.A.'s operatives on an extremely tight budget. Vicente is bald and has a dense moustache, which makes him the object of mocking abuse by his underlings as a human walrus. He is very short-tempered and usually gets angry with Mort and Phil because they fail in their missions, making a mess of everything - occasionally at the expense of his own possessions. Just as often, however, he ends up as the one being chased by his underlings, as his frequently short-sighted assignments, and his habitual failure to properly introduce them, cause them no end of grief.

Professor Bacterio
The T.I.A.'s black-bearded scientist and chief inventor. Mort blames him for his baldness (he had tried a new hair-strengthening concoction on Mort's then-lush mane, which made the hair fall out instead) and therefore the doctor is the unwilling prime recipient of Mort's practical jokes and revenge acts. His inventions, which are intended to assist Mort and Phil in their assignments, often fail quite spectacularly, mostly because they either achieve the opposite of what they are supposed to do, or work perfectly but fail at the most inconvenient moment. His name comes from bacteria.

Ofelia
The fat and vain secretary of Superintendente Vicente. She is still single and would like to become involved with someone (usually with Mort), but so far her attempts have been in vain. She is quite touchy about her lack of luck with a relationship and being called fat; she reacts with corresponding violence when either of topics are brought up; and with her considerable weight, this is nothing to be ignored. She was the first female character created for the series.

Irma
The bombshell secretary of El Súper. Both Mort and Phil have a huge crush on her (much to Ofelia's chagrin), but she is not interested. This character disappeared from the series after only 24 volumes.

F. Ibañez
The creator of the series himself has a number of cameo appearances, either by name or in cartoon form. Mostly he is portrayed as the bald and bespectacled "Artist of the Nation", in perhaps the same league as Pablo Picasso. On several occasions, the series' characters often long to be "as rich as Ibáñez".

Rompetechos
Rompetechos is a small man in a black suit, with an oversized head, receding black hair and a small moustache. He is always put in as a comic relief character; his short-sightedness causes him to react in ways which causes some inconvenience to Mort and Phil if they happen to cross his path. He has his own comic series (little known outside Spain) and makes cameo appearances in Ibañez's other works.

The Minister
Vicente's boss (and the only person who he ever shows deference to). His appearance changes constantly throughout the series. In recent appearances has been replaced by a caricature of the President of the Government of Spain at the time.

Señora Superintendente
The wife of Vicente (also with an ever-changing face). She is in charge of their household.

Bestiájez
The giant agent of the T.I.A. He usually has to hunt down Mort and Phil because they do not want to do their missions. A rather minor character, his face has changed many times in the past. Many other agents appear, most of them having descriptive surnames ending in "-ez" ("Bestiájez" comes from "bestia", beast/brute).

Tete Cohete
Tete Cohete (lit. "Tete Rocket") is a fifteen-year-old boy who is an enthusiastic amateur mechanic and inventor. He habitually tinkers with mechanical devices, turning many of them into rocket-powered (hence his name) or hazardous contraptions, and because he neglects to warn other people about his modifications, often causes a lot of grief to any adults in his vicinity.

Tete Cohete was the main protagonist for another Ibáñez comic series which ran from 1981 to 1986. He makes infrequent cameos in other Ibáñez titles, particularly Mortadelo y Filemón and El botones Sacarino.

Parody characters
There are also parodies of numerous celebrities and political personalities such as Ronald Reagan, José María Aznar or (in three albums in 2017) Donald Trump.

Albums
In order of publication:

Between 1969 and 1971

 * El sulfato atómico
 * Contra el "gang" del Chicharrón
 * Safari callejero
 * Valor y... ¡al toro!
 * El caso del bacalao
 * Chapeau el "esmirriau"
 * La máquina del cambiazo
 * La caja de los diez cerrojos
 * ¡Magín "el mago"!
 * ¡A la caza del cuadro!

Between 1972 and 1974

 * Los inventos del profesor Bacterio
 * Gatolandia 76
 * Operación: ¡Bomba!
 * Los diamantes de la gran duquesa
 * El otro "yo" del profesor Bacterio
 * Los monstruos
 * El elixir de la vida
 * El circo
 * El antídoto
 * Los invasores
 * Los cacharros majaretas
 * ¡A las armas!
 * El plano de Alí-Gusa-No

Between 1975 and 1976

 * ¡Pánico en el zoo!
 * Concurso-oposición
 * Los mercenarios
 * Objetivo: eliminar al Rana
 * Misión de perros
 * Los secuestradores
 * La gallina de los huevos de oro
 * El caso del calcetín

Between 1977 and 1979

 * El brujo
 * ¡Soborno!
 * Los guardaespaldas
 * Mundial 78
 * Los gamberros
 * Contrabando
 * La máquina de copiar gente
 * Los "bomberos"
 * El transformador metabólico
 * ¡A por el niño!
 * La gente de Vicente
 * Secuestro aéreo

Between 1980 and 1981

 * Olimpiada 1980
 * La elasticina
 * Kilociclos asesinos
 * Ladrones de coches
 * Lo que el viento se dejó
 * La brigada bichera
 * Tete Cohete
 * En marcha el mundial 82
 * El caso de los señores pequeñitos

Between 1982 and 1983

 * En Alemania
 * Queda inaugurado el mundial 82
 * El balón catastrófico
 * Billy "El Horrendo"
 * ¡Hay un traidor en la T.I.A.!
 * El bacilón
 * El ascenso

Between 1984 and 1985

 * La estatua de la libertad
 * Testigo de cargo
 * Los Ángeles 84
 * El cacao espacial
 * El preboste de seguridad
 * El cochecito leré

Between 1986 and 1987

 * ¡Terroristas!
 * El huerto siniestro
 * El estropicio metereológico
 * Los que volvieron de "allá"
 * Seúl 88

Between 1988 and 1989

 * La perra de las galaxias
 * Los sobrinetes
 * Los superpoderes
 * Las tacillas volantes
 * La cochinadita nuclear
 * Armas con bicho
 * La maldición gitana
 * El candidato
 * La Gomeztroika
 * El ansia de poder
 * ¡...Va la T.I.A. y se pone al día!

Between 1990 and 1992

 * El profeta Jeremías
 * El premio No-Vel
 * El rescate botarate
 * El gran sarao
 * Los espantajomanes
 * El inspector general
 * El atasco de incluencias
 * La crisis del golfo
 * Barcelona 92
 * El caso del señor-probeta
 * La tergiversicina
 * Las embajadas chifladas
 * El racista
 * El quinto centenario
 * El S.O.E.
 * El 35 aniversario

Between 1993 and 1994

 * El señor todoquisque
 * Maastricht ¡...Jesús!
 * El nuevo "cate"
 * Robots bestiajos
 * Clínicas antibirria
 * Dinosaurios
 * La ruta del yerbajo
 * Mundial 94
 * El pinchazo telefónico
 * ¡Pesadillaaa...!
 * Corrupción a mogollón

Between 1995 and 1996

 * ¡Timazo al canto!
 * Animalada
 * 20.000 leguas de viaje sibilino
 * ¡Silencio, se rueda!
 * El disfraz, cosa falaz...
 * La prensa cardiovascular
 * El jurado popular
 * El ángel de la guarda
 * Atlanta 96
 * 100 años de cómic
 * Expediente J
 * El trastomóvil

Between 1997 and 1998

 * ¡Desastre!
 * Bye bye, Hong-Kong!
 * Esos kilitos malditos
 * Los verdes
 * Las vacas chaladas
 * Mundial 98
 * La banda de los guiris
 * Su vida privada
 * ¡Deportes de espanto!
 * El espeluznante doctor Bíchez

Between 1999 and 2000

 * El óscar del moro
 * La maldita maquinita
 * El tirano
 * La M.I.E.R.
 * Impeachment!
 * De los ochenta p´arriba...
 * Siglo XX, ¡qué progreso!
 * Sydney 2000
 * La vuelta
 * La sirenita
 * Fórmula uno

Between 2001 and 2003

 * La rehabilitación esa
 * Los vikingos
 * ¡Llegó el euro!
 * El ordenador... ¡qué horror!
 * ¡Okupas!
 * Mundial 2002
 * ¡Misión triunfo!
 * ¡El estrellato!
 * ¡Mascotas!
 * Parque de atracciones
 * El UVA (Ultraloca Velocidad Automotora)

Between 2004 and 2008

 * ¡Rapto tremendo!
 * Atenas 2004
 * El señor de los ladrillos
 * Mortadelo de la Mancha
 * Prohibido fumar
 * ¡El carnet al punto!
 * El kamikaze Regúlez
 * Mundial 2006
 * ¡Bajo el bramido del trueno!
 * El dopaje...¡qué potaje!
 * Euro Basket 2007
 * ¡...Y van 50 tacos!
 * ¡Venganza cincuentona!
 * ¡El dos de mayo!
 * Pekín 2008
 * Gasolina... ¡la ruina!

Between 2009 and 2017

 * ¡En la Luna!
 * ¡Por Isis, llegó la crisis!
 * Nuestro antepasado, El Mico
 * La gripe "U"
 * Mundial 2010
 * Marrullería en la Alcaldía
 * Chernobil... ¡Qué cuchitril!
 * ¡A reciclar se ha dicho!
 * Jubilación... ¡a los noventa!
 * La bombilla... ¡chao, chiquilla!
 * Londres 2012
 * ¡Espías!
 * El coche eléctrico
 * ¡Brommm!
 * La litrona...¡vaya mona!
 * Mundial 2014
 * ¡Tijeretazo!
 * Contra Jimmy el Cachondo
 * El Tesorero
 * ¡Elecciones!
 * Río 2016
 * ¡El capo se escapa!
 * Sueldecitos más bien bajitos
 * Drones Matones
 * ¡Miseria, La Bacteria!
 * El 60 Aniversario

Between 2018 and 2020

 * Mundial 2018
 * Por el Olimpo ese
 * Urgencias del Hospital... ¡Fatal!
 * Da Vinci, el Pintamona... Lisa
 * Mundial de Baloncesto 2019
 * ¡Felices Fiestaaas!
 * Tokio 2020
 * Misterio en el Hipermercado

Animated series
There was an animated series in 1994 titled Mortadelo y Filemón with Spanish voice actors. It also had an English dub that only released in the United Kingdom.

Film adaptations
Between 1965 and 1970, Rafael Vara directed 16 short animated films which were united in two films (Festival de Mortadelo y Filemón and Segundo festival de Mortadelo y Filemón). In 1970, he made a proper feature film, El armario del tiempo.

There are two live action films based on the comic: Mortadelo & Filemon: The Big Adventure by Javier Fesser (2003) and Mort & Phil. Mission: Save Earth by Miguel Bardem (2008).

Javier Fesser directed the 3D animated film Mortadelo and Filemon: Mission Implausible (2014).

Video game adaptation
A video game based on Mort & Phil, entitled El sulfato atómico, was developed by the Spanish company Alcachofa Soft, creator of Drascula: The Vampire Strikes Back. It sold above 40,000 units. According to its lead designer, it was developed on a small budget.

In other languages

 * Afrikaans: Rommel en Drommel
 * Arabic: شاطر و ماكر (Smart and Cunning)
 * Catalan: Mortadel·lo i Filemó
 * Chinese: 特工二人组
 * Czech: Clever & Smart
 * Danish: Flip og Flop
 * Dutch: Paling en Ko
 * French: Mortadel et Filémon (formerly also Futt et Fil)
 * Galician: Mortadelo e Filemón
 * German: Clever & Smart (formerly also Flip & Flap)
 * Greek: Αντιρίξ και Συμφωνίξ (Antirix kai Symfonix; Antirix "He who disagrees", Symfonix "He who agrees")
 * Hungarian: Mortadelo és Filemón
 * Italian: Mortadello e Polpetta
 * Japanese: モートとフィル
 * Norwegian: Flipp og Flopp (earliest pocket editions), Clever & Smart
 * Polish: Mortadelo i Filemon
 * Portuguese: Mortadelo e Salaminho (Brazil), Mortadela e Salamão (Portugal)
 * Romanian: Mortadelo și Filemon
 * Russian: Морт и Фил (Мортадело и Филемон) (Mort i Fil (Mortadelo i Filemon))
 * Slovak: Clever & Smart
 * Slovene: Mortadelc pa File
 * Swedish: Flink & Fummel
 * Turkish: Dörtgöz ile Dazlak
 * Finnish: Älli ja Tälli (earlier Nopsa ja Näpsä)
 * Serbo-Croatian: Zriki Švargla i Šule Globus

title: Mort & Phil


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The Innocents Abroad

The Innocents Abroad, or The New Pilgrim's Progress is a travel book by American author Mark Twain. Published in 1869, it humorously chronicles what Twain called his "Great Pleasure Excursion" on board the chartered steamship Quaker City (formerly USS Quaker City (1854)) through Europe and the Holy Land with a group of American travelers in 1867. The five-month voyage included numerous side trips on land.

The book, which sometimes appears with the subtitle "The New Pilgrim's Progress", became the best-selling of Twain's works during his lifetime, as well as one of the best-selling travel books of all time.

Analysis
The Innocents Abroad presents itself as an ordinary travel book based on an actual voyage in a retired Civil War ship, the USS Quaker City (1854). The excursion was billed as a voyage to the Holy Land, with numerous stops and side trips along the coast of the Mediterranean Sea, notably:
 * train excursion from Marseille to Paris for the 1867 Paris Exhibition during the reign of Napoleon III and the Second French Empire
 * journey through the Papal States to Rome
 * side trip through the Black Sea to Odessa
 * culminating excursion through the Holy Land

Twain reports the voyage covered over 20,000 miles of land and sea.

Twain recorded his observations and critiques of the various aspects of culture and society which he encountered on the journey, some more serious than others. Many of his observations draw a contrast between his own experiences and the often grandiose accounts in contemporary travelogues, which were regarded in their own time as indispensable aids for traveling in the region. In particular, he lampooned William Cowper Prime's Tent Life in the Holy Land for its overly sentimental prose and its often violent encounters with native inhabitants. Twain also made light of his fellow travelers and the natives of the countries and regions that he visited, as well as his own expectations and reactions.

Themes

A major theme of the book is that of the conflict between history and the modern world. Twain continually encounters petty profiteering and trivializations of history as he journeys, as well as a strange emphasis placed on particular past events. He is either outraged, puzzled, or bored by each encounter. One example can be found in the sequence during which the boat has stopped at Gibraltar. On shore, the narrator encounters seemingly dozens of people intent on regaling him, and everyone else, with a bland and pointless anecdote concerning how a particular hill nearby acquired its name, heedless of the fact that the anecdote is, indeed, bland, pointless, and entirely too repetitive. Another example may be found in the discussion of the story of Abelard and Heloise, where the skeptical American deconstructs the story and comes to the conclusion that far too much fuss has been made about the two lovers. Only when the ship reaches areas of the world that do not exploit for profit or bore passers-by with inexplicable interest in their history, such as the early passage dealing with the ship's time at the Azores, is this attitude not found in the text.

This reaction to those who profit from the past is found, in an equivocal and unsure balance with reverence, in Twain's experiences in the Holy Land. The narrator reacts here, not only to the exploitation of the past and the unreasoning (to the American eye of the time) adherence to old ways, but also to the profanation of religious history. Many of his illusions are shattered, including his discovery that the nations described in the Old Testament could easily fit inside many American states and counties, and that the "kings" of those nations might very well have ruled over fewer people than could be found in some small towns. Disillusioned, he writes, "If all the poetry and nonsense that have been discharged upon the fountains and the bland scenery of this region were collected in a book, it would make a most valuable volume to burn."

This equivocal reaction to the religious history the narrator encounters may be magnified by the prejudices of the time, as the United States was still primarily a Protestant nation at that point. The Catholic Church, in particular, receives a considerable amount of attention from the narrator, specifically its institutionalized nature. This is particularly apparent in the section of the book dealing with Italy, where the poverty of the lay population and the relative affluence of the church are contrasted.

Adaptations
The PBS series Great Performances, in 1983, broadcast a television movie adaptation of The Innocents Abroad, starring Craig Wasson, David Ogden Stiers, Gigi Proietti, and Brooke Adams, directed by Luciano Salce.

Reviews

 * etext.virginia.edu Collection of Contemporary Reviews.
 * Hirst, Robert H. "The Making of The Innocents Abroad : 1867–1872." Ph.D. diss., University of California, Berkeley, 1975.
 * Howells, William Dean. The Innocents Abroad, or the New Pilgrims Progress, The Atlantic Monthly, December 1869.
 * New York Evening Post (January 20, 1883).

Mark Twain projects

 * etext.virginia.edu -- Innocents Abroad Homepage
 * Mark Twain Project at the University of California

On-line snippets

 * Image of Mark Twain, on board ship in 1897, at 60 years old. (Twain traveled at age 32 and published Innocents Abroad in 1869, at the age of 34, but this image is sometimes associated with the earlier Twain.) For comparison, see 1871 image and 1875 (approx) image

Scholarly works

 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)
 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)
 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)
 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)
 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)
 * (covering the period from 1867 to 1871; Twain set sail on June 8, 1867, for a five-month Mediterranean tour on board the Quaker City; Innocents Abroad, detailing the Quaker City tour, was first published in 1869)

title: The Innocents Abroad


text:
Wikipedia talk:Articles for deletion/The Supreme Dalek

How many times must I say? This is NOT A FANCRUFT. I am merely attempting to dress all ranks of Dalek as well as their own storylines. I prefer to have them in their own pages as I do not wish to have them all squashed onto one page unless it is really necessary.

The Dalek Emperor is a denomination of the Daleks, and that hasn't been deleted, so why on Earth are you attempting to delete almost every contribution I make?


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Wikipedia talk:Articles for deletion/The Dalek Factor

I see no problem in merging The Dalek Factor with other Dalek information. I vote that this be done so rather than it being deleted.


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Kittanning Expedition

The Kittanning Expedition, also known as the Armstrong Expedition or the Battle of Kittanning, was a raid during the French and Indian War that led to the destruction of the American Indian village of Kittanning, which had served as a staging point for attacks by Lenape warriors against colonists in the British Province of Pennsylvania. Commanded by Lieutenant Colonel John Armstrong Sr., this raid deep into hostile territory was the only major expedition carried out by Pennsylvanian provincial troops during a brutal backcountry war. Early on September 8, 1756, they launched a surprise attack on the Indian village.

Background
Although it eventually became a worldwide conflict known as the Seven Years' War, the French and Indian War began on the Pennsylvania frontier as a struggle for control of the Ohio Country. With the surrender of George Washington at Fort Necessity in 1754 and Braddock's defeat in 1755, the settlers on the Pennsylvania frontier were without professional military protection, and scrambled to organize a defense.

The French-allied Indians who had defeated General Edward Braddock at the Monongahela were primarily from the Great Lakes region to the north. The local Indians, mostly Lenape and Shawnee who had migrated to the area after white colonists had settled their lands to the east, had waited to see who would win the contest—they could not risk siding with the loser. With Fort Duquesne now secured, the victorious French encouraged the Lenape and Shawnee to "take up the hatchet" against those who had taken their land.

Beginning about October 1755, Lenape and Shawnee war parties, often with French cooperation, began raiding settlements in Pennsylvania. Although European-Americans also waged war with cruelty, they found Indian warfare particularly brutal and frightening. Notable among the Indian raiders were the Lenape chiefs Shingas and Captain Jacobs, both of whom lived at Kittanning which also served as a staging area for raids and a temporary holding center for captives. Following the massacres of mostly unarmed settlers at Draper's Meadow, Penn's Creek, Great Cove, and Gnadenhütten in 1755, the colonial governments of Pennsylvania and Virginia offered rewards for their scalps.

Captain Jacobs was on an expedition led by François Coulon de Villiers that descended on Fort Granville (near present-day Lewistown) on the morning of August 2, 1756. The attackers were held off, but the garrison commander was killed, and his second in command surrendered the garrison, including the women and children, the next morning. Armstrong, the commander's brother, immediately organized an expedition against Kittanning in response.

Expedition
Armstrong led 300 Pennsylvania provincial soldiers from Fort Shirley on August 31. By September 7, the column had reached the vicinity of Kittanning. Signs of a small Indian camp prompted Colonel Armstrong to detach a dozen men under Lieutenant James Hogg to monitor it while the column moved on toward the village. The next morning Armstrong launched a surprise attack on the village. Many of the Kittanning residents fled, but Captain Jacobs put up a defense, holing up with his wife and family inside their home. When he refused to surrender, his house and others were set on fire, touching off gunpowder that had been stored inside. Some buildings exploded, and pieces of Indian bodies flew high into the air and landed in a nearby cornfield. Captain Jacobs was killed and scalped after jumping from his home in an attempt to escape the flames.

The battle ended when the entire village was engulfed in flames. Prisoners informed Armstrong that a party of 24 men had left the day before in advance of another planned raid. This news caused Armstrong some concern over the fate of Lieutenant Hogg, so he precipitately ordered a withdrawal. They were met after several miles by a mortally wounded Hogg, who reported that his force had been attacked by a larger Indian force. Some of his men had immediately fled, and most of the rest had been killed. Armstrong and his remaining force marched to Fort Lyttleton to rest. By September 13, they had returned to Fort Loudoun. According to Armstrong's report, he took 11 scalps and freed 11 prisoners, mostly women and children. He estimated that his men killed between 30 and 40 Indians. Many of the white captives who were not rescued were ferried across the Allegheny River in canoes, then taken by foot over trails into Ohio, where they were assimilated into the tribes. Many were not rescued until Henry Bouquet brought them back from Ohio to Pennsylvania in 1764.

Aftermath
After the destruction of the town, many of its inhabitants returned and erected their wigwams on the ashes of their former homes. The town was reoccupied briefly and two of the British prisoners who had attempted to escape with Armstrong's men were tortured to death. The Indians then harvested their corn and moved to Fort Duquesne, where they requested permission from the French to resettle further to the west, away from the British colonists. According to Marie Le Roy and Barbara Leininger, many of Kittanning's inhabitants moved to Saucunk, Kuskusky or Muskingum.

Historian Fred Anderson notes that equivalent raids by Indians on Pennsylvania villages were usually labeled "massacres", and that the Indians considered the expedition to be one. The destruction of Kittanning was hailed as a victory in Pennsylvania, and Armstrong was known afterwards as the "Hero of Kittanning". He and his men collected the "scalp bounty" that had been placed on Captain Jacobs. However, the victory had limitations: the attackers suffered more casualties than they inflicted, and most of the villagers escaped, taking with them almost all of the prisoners that had been held in the village. The expedition also probably aggravated the frontier war; subsequent Indian raids that autumn were fiercer than ever. The Kittanning Expedition revealed to the village's inhabitants their vulnerability, and many moved to more secure areas. A peace faction led by Shingas's brother Tamaqua soon came to the forefront. Tamaqua eventually made peace with Pennsylvania in the Treaty of Easton, which enabled a British force under General John Forbes to successfully mount an expedition in 1758 that drove the French from Fort Duquesne.

title: Kittanning Expedition


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Manolo Blahnik

Manuel "Manolo" Blahnik Rodríguez (born 27 November 1942) is a Spanish fashion designer and founder of the eponymous high-end shoe brand.

Biography
Blahnik was born in Santa Cruz de la Palma, in the Canary Islands (Spain), to a Czech father and Spanish mother. His father left Prague in the 1930s to avoid rising fascism; his grandparents disappeared in the 1950s after the Communists took charge. His mother's family owned a banana plantation in the island city of Santa Cruz de la Palma, where he grew up alongside his sister, Evangelina. He was homeschooled as a child before eventually attending a Swiss boarding school. Later, his parents wanted him to be a diplomat and enrolled him at the University of Geneva majoring in Politics and Law. However, Blahnik changed his majors to Literature and Architecture. In 1965, he got his degree and moved to Paris to study art at the École des Beaux-Arts and Stage Set Design at the Louvre Art School, all while working at a vintage clothing shop. In 1969, he moved to London to work as a buyer at fashion boutique "Feathers" and wrote for L’Uomo Vogue, an Italian men's version of Vogue.

In 1969, Blahnik had a chance to meet Diana Vreeland, the editor-in-chief of U.S. Vogue, while he was traveling in New York. He then presented his portfolio of fashions and set designs to Vreeland, at which point she looked him straight in the eye and said, "Young man, make things, make accessories, make shoes." She admired his shoe sketches and advised him to concentrate on designing footwear. Blahnik followed her advice and worked on designing shoes.

In 1971, Ossie Clark invited him to create shoes for his runway show. He also designed shoes for other London fashion designers, such as Jean Muir and Zandra Rhodes. From 1971, Blahnik was selling Manolo Blahnik shoes for Zapata. With a loan of £2,000, Blahnik bought the Zapata Shoe Company from its owner and opened his own boutique. In 1974, Blahnik became the second man ever to be featured on the cover of U.K. Vogue (after Helmut Berger).

In 1977, Blahnik created his first American collection. These were sold in 1978 through Bloomingdales. Blahnik opened his first boutique in the US in 1979.

Manolo Blahnik's flagship store remains in Old Church Street in the Chelsea district of London.

Blahnik's boutiques are located in London, New York, Geneva, Madrid, Barcelona, Moscow, Dubai, Abu Dhabi, Doha, Hong Kong, Kuala Lumpur, Seoul, Singapore, Tokyo, and Taipei. Bloomingdales (for which he created his first American collection), Nordstrom, Neiman Marcus, Barneys, Bergdorf Goodman and Saks Fifth Avenue carry his line in the United States and newly opened in Dubai Mall. The company has signed a long-term deal with the shoewear retailer Kurt Geiger to operate Manolo Blahnik boutiques.

In 2000, Blahnik, together with Neiman Marcus, launched the first commercial virtual reality online showroom featuring 3D models of his shoes. The entire collection was sold out online within three weeks.

Blahnik was elevated to the International Best Dressed List Hall of Fame in 1987. In 2007, Blahnik was appointed as an honorary Commander of the Order of the British Empire for his service to the British fashion industry.

Blahnik currently resides in Bath, United Kingdom, and was awarded an honorary degree from Bath Spa University in July 2012.

Early development
One of Blahnik's greatest inspirations was his mother. She studied fashion magazines and interpreted the latest fashion trends on her clothing. Blahnik and his family often travelled to Paris and Madrid to order clothes. His mother was always dissatisfied with the shoes from their hometown so she made her own. She learned the rudiments of her craft from a local Canary Island cobbler and, as a boy, Blahnik loved to watch his mother when she made beautiful shoes. He has inherited his mother's love for brocade and satin fabrics and recounted how, as a boy, he found a trunk filled with shoes by the famous Russian, Pierre Yantorny, all made from silks, antique lace and brocades trimmed with delicate buckles. All were light, elegant and feminine, attributes Blahnik later brought to his own designs.

When Blahnik was attending university he lived with his aunt and uncle. Meanwhile, his aunt deeply influenced his fashion sense and style. He refined his tastes and learned to appreciate the beauty of luxury, art, and happiness and beauty. Blahnik recalled that, according to his aunt, "happiness was having the single most elegant handbag ever made, in every color available."

Shoes
Blahnik never studied shoemaking formally. He learned the skills by visiting shoe factories and talking to pattern cutters, technicians, and machine operators. At first, he designed men's footwear, but he immediately found that men's shoe design limited his imagination and lacked the element of fashion so he focused on women's shoes. When mainstream shoe styles were still dominated by clunky platforms in the 1970s, he revived the sleek stiletto heel. Also, he dislikes wedges and believes in the power of heels and the sex appeal they convey.

Filmography
Blahnik is the subject of the 2017 documentary film: Manolo: The Boy Who Made Shoes for Lizards, written and directed by Michael Roberts.

Awards and honours
Council of Fashion Designers of America (CFDA)
 * 1987: Special Award
 * 1990: Accessory Designer of the Year
 * 1997: The Stiletto

British Fashion Council
 * 1999: Accessory Designer of the Year
 * 1990: Accessory Designer of the Year

Honors

 * 1998: Shoe Designer of the Year from Footwear News
 * 2003: Shoe Designer of the Year from Footwear News
 * 2007 Honorary CBE from HM Queen Elizabeth II
 * 2011 The SCAD (Savannah College of Art and Design) Andre Leon Talley Lifetime Achievement Award.
 * 2011 A Lifetime Achievement Award from Footwear News.
 * 2016 Honorary doctorate of the Universidad de La Laguna.
 * 2017 Ranked #25 best dressed man alive by Esquire magazine
 * 2018: Luxury Legend Award by Walpole British Luxury Awards on 19 November

In popular culture

 * In part one of the Twilight Saga: Breaking Dawn film, Bella Swan wears Manolo Blahnik's "Swan" pump for her wedding.
 * The staff of the TV show Angel asked Manolo Blahnik for permission to use their company name on screen. The company then insisted that the characters wear the products even if the shoes were not shown on camera.
 * In the popular long-running TV show Sex and the City, Blahniks are a particular favorite of the character Carrie Bradshaw and as a result are mentioned frequently. A notable episode illustrating the brand's prestige is "What Goes Around Comes Around" from Season 3 in which Carrie is mugged. During her assault the assailant demands she surrender her shoes, demanding them by the brand's name.
 * They are referenced multiple times in Duck Dodgers whenever any sort of footwear defect occurs, typically with the grumbled phrase "Cheap counterfeit Manolo Blahniks".
 * At the end of the fourth verse of the RuPaul dance music song "Click Clack (Make Dat Money)", from his album Glamazon, the drag queen "Supermodel of the World" sings "My Manolo Blahniks gonna party tonight".
 * During the description of the third girl in "Weird Al" Yankovic's original song "Close, But No Cigar" he references the brand by noting: "She wore a ribbon on her left Manolo".
 * Costume designer Milena Canonero asked Blahnik to contribute the shoes to Sofia Coppola’s Marie Antoinette. The film went on to win the Academy Award for best costumes.
 * On 28 September 2013, Saturday Night Live Season 39, Episode 1, included a sketch featuring Tina Fey that poked fun at the company.
 * In the third part of the E. L. James Fifty Shades trilogy, a mirrored pair of Manolos are the accent to a clubbing night in Aspen, Colorado.
 * Manolos are mentioned many times in Gossip Girl. Georgina Sparks mentions at the beginning of Season 3 that she owns a pair and that Blair can borrow them.
 * American singer Jay-Z mentioned Manolo in his song "Bonnie and Clyde" ft. Beyoncé.
 * German rapper Cro mentioned Manolo Blahnik along with Gucci and Lacoste in his song "Einmal um die Welt".
 * In the second episode of the fourth season of ABC's Revenge, Emily Thorne is advised to "look beneath [her] Manolos" when she is searching for somebody who, according to a tracking device, is "right on top of her".
 * Mentioned in the opening song "Gulabi Aankhein" of the Bollywood movie Student of the Year along with Jimmy Choo, Stella McCartney, Gucci and others.
 * In chapter 23 of the internationally bestselling novel The Rosie Project, Rosie says "any time you need entertaining, I could use a pair of Manolo Blahniks," and the main protagonist, from the word "pair", guesses that she is referring to shoes.
 * Mentioned in the song "You Are What You Wear" from American Psycho: The Musical.
 * The 2003 song "Shake Ya Tailfeather" by rappers Nelly Ft. Murphy Lee and P. Diddy contains the lyric "Manolos Ma-no-no's I can't tell".
 * In a Japanese high-school teen drama, "Hana Yori Dango", the female main character was given a pair of Manolo Blahnik during a party. The scene mentioned a saying, "A girl should wear nice shoes. Because the shoes will take her to a calm and beautiful place."
 * Mentioned in the song "Sex is in the Heel" from the musical Kinky Boots.
 * Referenced on the mixtape "Woke Alone" by rapper Mr. Bond.
 * Five-inch Blahnik stilettos mentioned en passant by Aunt Lydia in Chapter 20 of Margaret Atwood's “The Testaments”.
 * Mentioned in the film "Blood Feast 2: All U Can Eat" Directed by Herschell Gordon Lewis. At approximately twelve minutes into the first act, a young woman drops her shoes while walking barefoot along a dark rural road. As she retrieves them, she says "My Manolo Blahniks".
 * In the movie The Devil Wears Prada (film), Andrea, who works as an assistant to the editor-in-chief of Runway is given a pair of Manolo Blahnik from Nigel amongst other clothing items as a part of her makeover.
 * In the third season final episode ("Army of One") of the HBO original series The Sopranos, Adriana tells new acquaintance "Danielle" (undercover agent Ciccerone) that she "love[s] Blahniks, but they were killing me last night."

title: Manolo Blahnik


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Madylin Sweeten

Madylin Sweeten is an American actress, best known for her portrayal of Alexandra "Ally" Barone on the popular family sitcom Everybody Loves Raymond (1996–2005).

Personal life
Sweeten was born in Brownwood, Brown County, Texas, the eldest of four children born to Timothy Lynn "Tim" Sweeten and Elizabeth Anne Gini (nee Millsap). She is the sister to Sullivan and Sawyer Sweeten, who co-starred in the American sitcom Everybody Loves Raymond.

title: Madylin Sweeten


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Extract from Captain Stormfield's Visit to Heaven

"Extract from Captain Stormfield's Visit to Heaven" is a short story written by American writer Mark Twain. It first appeared in print in Harper's Magazine in December 1907 and January 1908, and was published in book form with some revisions in 1909. This was the last story published by Twain during his life.

Description and plot outline
The story follows Captain Elias Stormfield on his decades long cosmic journey to Heaven; his accidental misplacement after racing a comet; his short-lived interest in singing and playing the harp (generated by his preconceptions of heaven); and the general obsession of souls with the celebrities of Heaven such as Adam, Moses, and Elijah, who according to Twain become as distant to most people in Heaven as living celebrities are on Earth. Twain uses this story to show his view that the common conception of Heaven is ludicrous, and points out the incongruities of such beliefs with his characteristic adroit usage of hyperbole.

Much of the story's description is given by the character Sandy McWilliams, a cranberry farmer who is very experienced in the ways of Heaven. Sandy gives Stormfield, a newcomer, the description in the form of a conversational question-and-answer session. The Heaven described by him is similar to the conventional Christian Heaven, but includes a larger version of all the locations on Earth, as well as of everywhere in the universe (which mention of, albeit as a backdrop, is the last science fiction element). All sentient life-forms travel to Heaven, often through interplanetary or interstellar space, and land at a particular gate (which are without number), which is reserved for people from that originating planet. Each newcomer must then give his name and planet of origin to a gatekeeper, who sends him in to Heaven. Once inside, the being spends eternity living as they think fit, usually according to its true (sometimes undiscovered) talent. According to one of the characters, a cobbler who "has the soul of a poet in him won't have to make shoes here," implying that he would instead turn to poetry and achieve perfection in it. On special occasions a procession of the greatest people in history is formed; on this particular occasion this includes Buddha, William Shakespeare, Homer, Muhammed, Daniel, Ezekiel, and Jeremiah plus several otherwise unknown people whose talents far exceeded those of the world's pivotal figures, but who were never famous on Earth.

As Stormfield proceeds through Heaven he learns that the conventional image of angels as winged, white-robed figures bearing haloes, harps, and palm leaves is a mere illusion generated for the benefit of humans, who mistake "figurative language" for accurate description (the wings are part of their uniforms, and not functionally wings); that all of Heaven's denizens choose their ages, thus aligning themselves with the time of life at which they were most content; that anything desired is awarded to its seeker, if it does not violate any prohibition; that the prohibitions themselves are different from those envisioned on Earth; that each of the Earth-like regions of Heaven includes every human being who has ever lived on it; that families are not always together forever, because of decisions made by those who have died first; that white-skinned people are a minority in Heaven; that kings are not kings in Heaven (Charles II is a comedian while Henry VI has a religious book-stand), etc.

Background

Although not published until 1907 in Harper's Magazine, followed by a slim book version with some revisions in 1909, the story was quite old. The original manuscript dated back perhaps as far as 1868, and an 1873 version has survived. The story was revised several times, and chapters 3 and 4 of the manuscript became the Harper's story. Longer versions of the manuscript have subsequently been published, including one edited by Dixon Wector which appeared as part of Report from Paradise (1952), and in part 1 of Mark Twain's Quarrel with Heaven: "Captain Stormfield's Visit to Heaven" And Other Sketches" (Ray B. Browne, ed., 1970).  Twain claimed that the story in its early version was a satire of Elizabeth Stuart Phelps Ward's The Gates Ajar, a very popular novel published in 1868.

Cultural references
The story mentions several public figures who were widely known at the time of first publication, but are not as well known today. These include Moody and Sankey, Charles Peace, Thomas De Witt Talmage and Prince Gortschakoff.

Film versions
In the 1985 claymation movie The Adventures of Mark Twain, "Extract from Captain Stormfield's Visit to Heaven" is one of the many adapted works, however the plot of the adaptation is very different to the original story. In it we are introduced to Stormfield as he is contacted by Mark Twain. While Stormfield is chasing 'his own comet' Twain asks him where he is going to which Stormfield says he's going to heaven. He then lands head-first into a cloud with a door marked 'heaven' (which is more akin to the entrance of a Nightclub), and he is greeted by a blue, 3-headed, slug-like creature who asks him where he is from. When Stormfield says he is from San Francisco he is made fun of by the creature who mocks him for not understanding he meant what planet he was from. After some more misunderstandings the creature lets Stormfield into heaven but before he goes in he asks where his wreath, halo, hymnbook and palm branch are (all objects featured in stereotypical heaven descriptions) to which the creature tells him "Oh, trust me, you won't be conspicuous in this district without it". When he actually enters 'heaven' he is shocked and appalled to find out that everyone else is also one of the slug creatures and they partake in irreligious, immoral and degenerate acts such as drinking, smoking, raving etc. Stormfield leaves and comes to the realization that "A man has got to be in his own heaven to be happy". The slug creature agrees and tells him "Did you imagine that the same heaven would suit all sorts of people?". Stormfield then jumps to another cloud where he is met by Saint Peter in front of the stereotypical Pearly Gates who gives him all the items Stormfield expected. When Stormfield tries to talk he is constantly shushed by both Peter and the gates themselves. The segment ends with Twain saying "A harp, a hymnbook and wings? Good God, what a swindle. I'm led to consider a different path. Heaven for climate, hell for company."


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Wikipedia talk:Articles for deletion/The Dalek Supreme

Why delete a redirect?


text:
Otilio Warrington

Otilio Warrington, known popularly as Bizcocho (born February 26, 1949) is a comedian, best known for his roles of "Bizcocho" and "Cuca Gómez".

Early years
Warrington was born in the Barrio Obrero area of Santurce, Puerto Rico. When he was nine years old, his family moved to the Lloréns Torres public housing project. There he lived for the next 25 years. Warrington left school when he was a teenager and made a living by polishing shoes at a local barbershop. One of the barbershop's regular customers was Tommy Muñiz, a television show producer. One day Warrington asked Muñiz for a job in television but was told to get some more education and come back to him after he graduated.

Bizcocho
Encouraged by Mr. Muñiz's challenge, Warrington returned to school and graduated from San Juan's Central High School in mid-late 1960s; he then went back to Mr. Muñiz to take him up on his earlier offer. Tommy Muñiz kept his word and let Otilio assist in the TV show "El Special de Corona" (The Corona Special). Thus, Warrington became the "first" black Puerto Rican male comedian to be regularly featured on a local TV program. One of the show's sections involved a group of "wacky" soldiers and included José Miguel Agrelot and Jacobo Morales. When Otilio joined the group, Morales baptized him as "Soldier Bizcocho" (Cake), a nickname that would remain with him for the rest of his life.

Muñiz saw potential in Otilio and paid for his college education; as a result Warrington attended the University of Puerto Rico graduating with an associate degree in Television Direction and Production. After graduation Otilio participated in many local TV programs such as: "Ja ja ji ji jo jo con Agrelot" and "El Show del Mediodía" (The Noon Show).

Warrington joined ASTRA productions in the 1970s and after working for different shows landed a spot in " Cogiendo Impulso", which was transmitted on Channel 11; it was here that he developed the characters of "Juancito" and "Pito". In (1979) he participated in the movie production of Jacobo Morales' Díos los Cría (And God raised them) alongside Norma Candal, Gladys Rodríguez, Esther Sandoval and Alicia Moreda.

Cuca Gómez
Later, in the early 1980's, while working in the comedy Kakukómicos, Warrington developed the character of "Cuca Gómez", a cross-dressing role that would help settle Warrington's fame as a comedian. The plot involved a female cosmetologist who was involved in all kinds of hilarious and off-the-wall situations. "Cuca Gómez" became very popular in Puerto Rico and soon appeared in other TV shows as a special guest star. In 1985, Warrington was named "Mr. Television" by the Artistic Association of Puerto Rico.

Music
In 1986, Pijuán, a Puerto Rican musician, in conjunction with Bizcocho created an album called Bizcocho & Pijuán "El premio 'Gordo' del Sabor", under Private Ranch Records.

Later years
In the 1990s, Warrington starred in his own TV show, Mi Familia (My Family), where he acted as "Arcadio". He also worked in El Show de las 12 (The 12 o'clock Show) acting as "Don Ambrosio" and "Yeyito".

Other shows
Among the shows which Warrington has hosted are Friendo y Comiendo alongside Luis Antonio Cosme, Café con Leche alongside Lily García and Yan Ruíz and a television program transmitted through WAPA-TV called La Cocina Caliente de Luis y Bizcocho (Luis and Bizcocho's Hot Kitchen), alongside Luisito Vigoreaux; Hola Gente alongside Alexandra Fuentes and Gerardo Ortiz; and together with Lily and Yan a morning show called "¡Buenos Días!" (Good Morning!)

Health problems
Warrington had gallbladder surgery during 2017, after it was discovered, during a visit to an emergency room, that he had stones inside that organ.

title: Otilio Warrington


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Wikipedia:Articles for deletion/Boris Bertrand

Boris Bertrand
Looks like a rather non-notable DJ...a sum total of 130 Google hits for "Boris Bertrand", most of which are not even relevant, 30 Google hits for his pseudonym "Clone francaise" -- Ferkelparade π 08:29, 15 Dec 2004 (UTC)
 * Del, nothing links to it either... make sure the Clone Françoise is deleted as well.
 * Delete: DJ vanity, and delete Clone francaise, too. Geogre 14:21, 15 Dec 2004 (UTC)
 * Delete, not notable. Wyss 19:07, 15 Dec 2004 (UTC)
 * Delete along with Clone Françoise. utcursch 08:06, Dec 16, 2004 (UTC)
 * Delete --fvw *  19:50, 2004 Dec 16 (UTC)


text: User talk:4.245.98.208

title: User talk:4.245.98.208


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Roughing It

Roughing It is a book of semi-autobiographical travel literature by Mark Twain. It was written in 1870–71 and published in 1872, following his first travel book The Innocents Abroad (1869). Roughing It is dedicated to Twain's mining companion Calvin H. Higbie, later a civil engineer who died in 1914.

The book follows the travels of young Mark Twain through the American West during the years 1861–1867. He joined his brother Orion Clemens, who had been appointed Secretary of the Nevada Territory, on a stagecoach journey west. Twain consulted his brother's diary to refresh his memory and borrowed heavily from his imagination for many stories in the book.

Roughing It illustrates many of Twain's early adventures, including a visit to Salt Lake City, gold and silver prospecting, real-estate speculation, a journey to the Kingdom of Hawaii, and his beginnings as a writer. This memoir provides examples of Twain's rough-hewn humor, which became a staple of his writing in later books such as Adventures of Huckleberry Finn (1884), The Adventures of Tom Sawyer (1876), and A Connecticut Yankee in King Arthur's Court (1889).

In popular culture
U.S. astronauts Frank Borman and Jim Lovell read Roughing It aloud to pass the time aboard NASA's Gemini VII, a 14-day Earth orbital mission in December 1965.

Adaptations
Various sections of Roughing It were borrowed by television series such as Bonanza. In 1960, an hour-long adaptation was broadcast on NBC starring Andrew Prine and James Daly.

A four-hour 2002 mini-series adaptation was broadcast on Hallmark Channel. Directed by Charles Martin Smith, it starred James Garner as an elderly Samuel Clemens and Robin Dunne as a young Clemens.

Roughing It recounts midway through the book that a rich "blind lead" gold strike was discovered and claimed by a partnership of Twain, Calvin Higbie, and a mine foreman A.D. Allen, giving them well-founded hopes of being millionaires. To establish a claim, it was required that any or all of the claimants do a reasonable amount of work on the claimed strike within ten days. Due to chance happenings and failed communications between the three, the work requirement was left unfulfilled, and the forfeited but rich claim was quickly seized by others ten days after it was discovered. In the dedication of the book, Twain refers to Higbie as an "Honest Man, a Genial Comrade, and a Steadfast Friend … dedicated in Memory of the Curious Time When We Two Were Millionaires for Ten Days". The prospecting story is also covered in a 1968 episode of the syndicated television anthology series Death Valley Days, hosted by Robert Taylor. In the television dramatization, Tom Skerritt plays Twain, and Dabney Coleman was cast as Higbie.

title: Roughing It


text:
Wikipedia:Articles for deletion/Oglinda

Oglinda
Orphaned Vfd, Vfd header added by anon. Blatant advertising, looks like a textdump from a spam email. This could probably be speedied, but it unfortunately doesn't really fall under any of the current speedy categories -- Ferkelparade π 08:33, 15 Dec 2004 (UTC)
 * Delete, obviously. utcursch 08:35, Dec 15, 2004 (UTC)
 * Del, as above--Catullus 09:03, 15 Dec 2004 (UTC)
 * Obvious self-advertizing. Delete. Take it straight from the doormat to the kitchen wastebin. Anthony Appleyard 09:07, 15 Dec 2004 (UTC)
 * Delete. Ad. utcursch 10:53, Dec 15, 2004 (UTC)
 * Delete: C&p of a spam e-mail. Geogre 14:23, 15 Dec 2004 (UTC)
 * Speedy delete under criterion #3. Its spam. [[User:David_Johnson|David Johnson [ T|C ] ]] 17:30, 15 Dec 2004 (UTC)
 * Speedy, 100% spam in a can. Wyss 19:06, 15 Dec 2004 (UTC)
 * Gimme an "S"! Gimme a "P"! Gimme an "A"! Gimme an "M"! What's it spell? Delete! [[User:Livajo|Ливай | ☺]] 08:43, 16 Dec 2004 (UTC)
 * Delete --fvw *  19:50, 2004 Dec 16 (UTC)
 * Delete what else? Carole a 18:31, 17 Dec 2004 (UTC)

title: Wikipedia:Articles for deletion/Oglinda


text:
Talk:Lempel–Ziv–Markov chain algorithm

(1).mk7

XZ?
Maybe information about XZ should also be added here. Maybe there should also be an XZ=>LZMA redirect. Mainly, because a lot of GNU/Linux distributions(Slackware, Gentoo, Zenwalk) and NetBSDs pkgsrc switch from tgz to txz these days. A lot of people will ask there self, what it is all about and since XZ is more or less the successor of LZMA I suggest adding a paragraph about it and do a redirect. Maybe also redirecting txz would be a good idea. I would have done it, but I have no account. --85.127.107.86 (talk) 13:46, 11 May 2009 (UTC)
 * XZ is not a successor to LZMA, it is a successor to LZMA-utils, which a software package that uses LZMA. --88.193.195.112 (talk) 12:40, 13 August 2009 (UTC)

Algorithm Details
I can't find anywhere in this article, or in the external links, any details on this algorithm (not the implementation or "7-zip"). Who invented it? When? What is the difference between it and the traditional LZ77, LZ78 and LZW algorithms, or is it a completely new algorithm? What's the acronym "LZMA"? Thanks. Nyh 08:33, 15 Dec 2004 (UTC)
 * Ditto that request. So far as I can tell, the author of 7-zip, Igor Pavlov, developed the algorithm, so the source itself seems to be the only documentation.  From what I have been able to find, LZMA is an extension of LZ77 with a more flexible "dictionary" structure.  I put dictionary in quotes, since LZ77's dictionary is a history window.  Judging by the LZMA compression parameters described on this page, it appears LZMA's secret sauce is in its match-search method that allows it to scale its sliding window dramatically.  mr_z 01:02:57, 21 Dec 2004 01:02:57 (UTC)

 * I came here looking for the same answers as well, esp. for this quote "is a data compression algorithm in development until 2001", in development by who and why did it stop in 2001? Does anyone know the history of this algorithm? --ShaunMacPherson 5 July 2005 12:59 (UTC)

 * Igor Pavlov could have discovered and implemented it as he claims. There has been no counter-argument or dispute on his ownership claims so far and the claims are plausable.  The theory behind the algorithm is quite simple.  Start with the older LZ77 compression.  Rather than using a complete dictionary of all tokens it uses Markov chains to generate a very small dictionary of available tokens visible in nearby data.  The tokens themselves are range encoded values which further improves the general dictionary size.  He also ignored LZ77's arbitrary limitation on data sizes when generating the archive, which allows the huge dictionary to tend toward a more optimal set of tokens.  All of these technologies are well-studied and understood, so there is no need for continued research on the format.  Based on his many years of comments in the SourceForge forums it started as his own little personal project to see what happens when the technologies were combined.  He noticed the results were excellent and then released to a few people for review.  It quickly grew in popularity even though there were no formal papers describing the algorithm.   Bwagstaff (talk) 23:22, 25 August 2009 (UTC)

 * LZMA's "secret sauce" is the fact it's a literal/match scheme coupled with range encoding, using an adaptive probability table capable of taking things into account like "match offsets tend to be multiples of 4" or "if we're currently on a 4-byte boundary then this byte is very likely to be a non-match". I hadn't actually thought of it as being related to Markov chains but I guess it is.  The reason it beats the pants off Deflate is because Deflate uses Huffman coding, which is easier to decode but nearly always suboptimal.

 * Range encoding is incrementally more efficient than Huffman coding, but not nearly enough so to account for the dramatic performance increase over Deflate. If couple LZMA with a Huffman coder, and LZ77 with a range/arithmetic coder, the gap between them would close somewhat, but LZMA would still generally beat the pants off LZ77.  The real "secret sauce" is the huge dictionary size, and the lookup algorithms that let the encoder search a dictionary of that size while staying usefully fast.  --Piet Delport 16:23, 23 December 2005 (UTC)

 * Granted, Deflate's 32K limit doesn't help. So the "secret sauce" is the combination of the bigger window size plus the encoding that allows the bigger window size to be represented economically.  See, I learned something!  Posting wild speculation until someone corrects you is the true spirit of Wikipedia. --24.203.227.176 18:23, 2 January 2006 (UTC)

 * If by "encoding" you mean "data structure", then yes, that's it. :) --Piet Delport 23:48, 2 January 2006 (UTC)

 * What's the story with patents on the compression algorithm? The compression format has been gaining some popularity with open-source software and distributions. Maybe 7-zip owns patents but will only enforce them when the format is popular. Data compression is a minefield WRT patents - for example, that's why we have bzip2 instead of the arithmetic-coding variant bzip. OTOH, the Range encoding entry notes that range encoding might be patent-free. -- Richard, 19 Jan 2007

It's amazing that 5 years after I asked the question at the top of this section (how does the LZMA algorithm in fact work), and after lzma is becoming more and more popular, still there is no article, paper, or anything (at least not one that I could find) describing how the algorithm work. This Wikipedia article is just as useless on the subject as it was 5 years ago: The "algorithm" section says nothing about the algorithm (just the file format...), and the phrase "Markov Chain" isn't even mentioned after this title. The comments above are probably the most details I could find on the Internet about how this algorithm works, which is sad. Contrast this with Burrows and Wheeler's paper about the BWT (the algorithm behind bzip2), which is one of the most beautifully written papers I have ever read. Nyh (talk) 15:45, 25 February 2010 (UTC)

Charles Bloom wrote an analysis of the LZMA source code in his blog on Aug. 22, 2010. It's not clear if he means LZMA or LZMA2. Matt Mahoney (talk) 01:50, 13 September 2010 (UTC)

compression speed
On what benchmark are based the claim about a compression speed of 1MB/sec ? I've done some quick and dirty bench on a P4 2.8 Ghz and don't get something near the 1MB/sec with a 2Ghz processor as stated in the article. The test is done on fr page current (20050903_pages_current.xml.gz) $ time lzma e pages_current.xml pages_current.xml.lzma real   42m46.403s user   41m47.801s sys    0m2.220s -rw-r--r-- 1  users 716524090 2005-09-23 23:39 pages_current.xml -rw-r--r-- 1  users 141582811 2005-09-24 00:24 pages_current.xml.lzma compression 280K/sec

$ time lzma d pages_current.xml.lzma pages_current.xml.1 real   0m42.048s user   0m34.918s sys    0m2.052s decompression 17MB/sec

$ time bzip2 pages_current.xml real   5m44.382s user   5m31.425s sys    0m1.560s -rw-r--r-- 1  users 716524090 2005-09-24 00:27 pages_current.xml -rw-r--r-- 1  users 164451016 2005-09-23 23:39 pages_current.xml.bz2 compression ~ 2 MB/sec

$ time bunzip2 pages_current.xml.bz2 real   1m50.196s user   1m46.415s sys    0m2.800s decompression 6.5 MB/sec

$ time gzip pages_current.xml real   1m13.921s user   1m12.205s sys    0m1.240s -rw-r--r-- 1  users 716524090 2005-09-24 00:27 pages_current.xml -rw-r--r-- 1  users 213544652 2005-09-23 23:39 pages_current.xml.gz compression 9.8 MB/sec

$ time gunzip pages_current.xml.gz real   0m14.064s user   0m12.357s sys    0m1.604s decompression 51 MB/sec

Given the number above either the used data perform very differently from the benchmarked data or the compression speed is 1Mbits/sec rather than 1MBytes/sec. This test used the lzma sdk 4.27. Note also the memory usage seems pretty higher than gzip/bzip, using default option the compressor use 80MB of RAM. 80.15.144.16 23:58, 23 September 2005 (UTC)

 * try lzma sdk 4.32 or later with -a0 -D20 -fb64 -mfhc4 options. Should be faster than 1 MB/s, with only a slight lower compression ratio.

It's also unclear whether that 1MB/s refers to 1MB of input consumed per second or 1MB of output produced per second.

 * For compression, the rate should refer to input consumed, and for decompression, output produced. In other words, it's always in reference to the uncompressed data.  (Otherwise, the rating would be largely determined by the compression ratio itself, which is not very useful.)  --Piet Delport 00:50, 17 April 2006 (UTC)

Comparision of compression ratio
I did a quick comparision, default options for gzip,bzip2,lzma (from lzma utils] and rar: -rw-r--r--  1 root root 199M 2005-12-04 20:26 linux-2.6.11.tar  -rw-r--r--  1 root root  36M 2005-12-04 20:28 linux-2.6.11.tar.bz2  -rw-r--r--  1 root root  45M 2005-12-04 20:29 linux-2.6.11.tar.gz  -rw-r--r--  1 root root  30M 2005-12-04 21:15 linux-2.6.11.tar.lzma  -rw-r--r--  1 root root  34M 2005-12-04 21:24 linux-2.6.11.tar.rar

Quick decompression bench: # lzma d -so linux-2.6.11.tar.lzma |pv > /dev/null 199MB 0:00:11 [17.2MB/s] # cat linux-2.6.11.tar.bz2| bunzip2 |pv > /dev/null 199MB 0:00:20 [9.52MB/s] # cat linux-2.6.11.tar.gz| gunzip |pv > /dev/null 199MB 0:00:03 [63.8MB/s]
 * Previous section talk about compression speed, not decompression speed, any number on this ? phe 12:56, 4 December 2005 (UTC)

 * Had it confirmed by Igor Pavlov that the acronym LZMA does indeed stand for Lempel Ziv Markov Chain, and not Lempel Ziv Modified Algorithm as previous asserted. My apologies.

Dictionary Size
This page (and the page for 7z) claim variable dictionary size is up to 1GB. However, at 7zip page, claim is up to 4GB. Any reference for (it once being or practically being) 1GB? --Gojomo 19:53, 16 February 2007 (UTC)
 * The current version of 7zip for Windows x64 (4.65) only supports a dictionary size of up to 1GB. From memory it's been like that always, or perhaps even lower (never paid much attention to such a high size, I admit, I don't have enough RAM to compressing something with such a large dictionary). Given that a dictionary of 4GB would need over 40GB of RAM for compression, I'm frankly not surprised that it's limited. I presume LZMA, and probably the 7z format is capable of supporting such a dictionary size, perhaps the current version is even capable of decompressing that large a dictionary if you have over 4GB of RAM and a file made with some other program. Nil Einne (talk) 18:25, 5 August 2009 (UTC)

Tone cleanup
I added a tone cleanup tag to the section describing the algorithm, because it sounds a little unprofessional. I don't think it should tell the reader to rely on forums for information, since forums aren't even an acceptable source of citations for Wikipedia. Describing the lack of information, or the that most of the information is only available via the forums, might say the same thing without directly telling the reader to rely on them, but I think it'd be best to either cite the information from a refutable source or simply not include it until it does become available. Maybe even include speculation by a refutable source (so long as it's properly cited). --Sydius (talk) 00:17, 23 July 2008 (UTC)
 * Forums are acceptable in some circumstances. See WP:SOURCES for details.  I believe they meet the guidelines for acceptable sources.  There are no known scholarly articles or news sources that provide the information in secondary form.  The currently-best available references are those forum posts and other self-published comments by the subject's creator.  The author is relavent to the subject, in that he was the undisputed creator of the algorithm and therefore expert about it.  The sources are not self-serving or from third parties, as they are direct Q&A by the author to his technical audience.  There is no reason to dispute authenticity or accuracy, since the author's identity and expert status is clear.  Finally, the article is not based exclusively on the forum posts; the posts are simply the best known source of information.  Unless and until there are better sources available, his forum posts seem to be the best available source and allowed according to WP guidelines.   Bwagstaff (talk) 07:40, 10 January 2010 (UTC)

Use of LZMA in RPM
The latest edit relating RPM and LZMA points to a comment on proposed, rather than actual implementation. Unless there's a better source, the edit should be reverted. Tedickey (talk) 11:28, 16 December 2008 (UTC)
 * Fixed that for you :) 192.118.27.253 (talk) 09:47, 31 December 2008 (UTC)

Expert attention
The reason I requested an expert's attention is because the article first quotes a potentially non notable but I presume expert, then goes to say he's mistaken (without any source). If the person quoted is wrong, there's little reason to quote him. Instead we should just mention how LZMA works, with sources. Nil Einne (talk) 18:14, 5 August 2009 (UTC)

Algorithm details
As you may have noticed, I added an attempt to fully explain the algorithm based on studying the C source code, and as far as I can tell this article is now the only decent textual description of LZMA available anywhere.

Obviously, this is worrying from a WP:ORIGINAL perspective; however, I feel it's a good idea to have this material for two reasons:
 * 1) The idea of WP:ORIGINAL is to make sure articles are verifiable. While this article is not verifiable by non-programmers, programmers can read the source code themselves and perform verification; the cited Linux kernel source code is short and readable enough to verify the correctness of the decoder description in a time short enough to make this realistic
 * 2) In about 10 years, no description of the algorithm has apparently ever been produced, despite the fact that it is widely used and that several programmers are necessarily very familiar with how it works, since they designed, implemented and ported it; Wikipedia is highly visible, so those experts are more likely to find the article and review or improve it, than if it were placed anywhere else.

The part about the LZMA encoders is the only one that is hard to verify, because the source code is very complex, and written in a hard-to-understand style; in particular, the part about the normal encoder is rally an educated guess mostly based on looking at the variables and loop structure.

However, the idea of using dynamic programming in the encoder is a pretty important feature, so it probably makes sense to keep it, although replacing or augmenting it with citations of an article stating that would be nice, if such an article were found.

The page now references the XZ for Java encoder which has more readable source code (allowing verification), and should be, modulo mistakes, a reasonably accurate high level description of its behavior.

It would be great if Igor Pavlov, Lasse Collin, or other people with direct implementation experience reviewed this, and even better if a paper describing and analyzing LZMA were published on peer-reviewed journals.

Eldray (talk) 19:25, 3 April 2012 (UTC)

 * There's no source given for most of the details (leaving others to assume that it was perhaps done by reading the source code - not the best way to proceed) TEDickey (talk) 21:24, 6 April 2012 (UTC)

 * Yes, it was done by reading the source code, which is mentioned in the article along with citations to the source code in question; unfortunately, no citable complete textual description of LZMA seems to exist, so for now there doesn't seem to be a better alternative.

 * There's a person who said he intends to publish a thesis or paper describing it, so maybe it could be cited once published. I also did cite Solomon's book, but it only covers a very limited part of the algorithm (hash chains and binary trees).

 * It's possible to add citations to specific source code lines for each paragraph, not sure if it's much more useful than just citing the relevant file.

 * Eldray (talk) 19:12, 7 April 2012 (UTC)

 * I am interested in seeing a real spec for LZMA happen. If anyone is reading this and would be interested in contributing to the effort (possibly with some support), please get in touch with me (the best way is through email, which is first name dot last name at gmail dot com). Raph Levien (talk) 18:50, 1 February 2013 (UTC)

 * I tried to download the Java source code referenced in the article, but though the link works, it points to a location from which the actual Java files can no longer be downloaded. — Preceding unsigned comment added by 2A01:C23:7852:7C00:A5BC:90D2:BFEC:E22D (talk) 18:57, 17 November 2020 (UTC)

"originally" used without source
The discussion is referring to "originally" in the context of Common Public License, but that license is dated more recently than the beginning of the project. Replacing that by "earlier" would work with the existing sources; it is unsourced as is. TEDickey (talk) 10:45, 5 August 2012 (UTC)

 * Actually, he's right. The earliest archived version of the LZMA SDK is dual-licensed under the CPL and the LGPL. And that came out 4 years before the CPL was published. Myconix (talk) 00:53, 12 February 2014 (UTC)

 * The comment states 4.62; your suggested source is 4.23 (and pointing the reader to a download site is less than helpful). The statement should be rewritten, given the information you are providing TEDickey (talk) 01:03, 12 February 2014 (UTC)

 * He was referring to the first public domain release, not the first release overall. Regardless, such an edit is trivial at best, and the statement has been clarified. If you believe there is a better citation to place there with the same information, feel free to replace it. Myconix (talk) 02:16, 12 February 2014 (UTC)

LZMA2 format?
Why is the LZMA2 container format described in an article about the LZMA algorithm? I feel that too many unrelated formats and encoding schemes are described in this page (LZMA2 encoder, Upper encoding layers). They should be moved to the 7-zip or xz pages. Ant diaz 14:05, 9 March 2013 (UTC) — Preceding unsigned comment added by Ant diaz (talk • contribs)

Specification of the compressed format
Here is a complete natural language specification of the compressed format. I hope someone can use it to fix the section Decompression algorithm details in the article. Ant diaz (talk) 16:48, 31 October 2013 (UTC)
 * as you seem to know the subject, could you assist by highlighting which paragraphs are presently inaccurate. —Sladen (talk) 17:10, 31 October 2013 (UTC)
 * Sure. I must say that the article is well written given the sources used and the complexity of the algorithm. BTW, I found (and fixed) a mistake in the lzip manual while preparing this entry.
 * The second paragraph mentions the "LZMA2 algorithm", but LZMA2 is neither an algorithm nor the subject of the article. See the previous topic.
 * I find the first paragraph of Range coding of bits a bit confusing where it says "LZMA data is at the lowest level decoded one-bit at a time". "LZMA data" can be understood as the "data in the LZMA stream", which is not decoded one-bit at a time.
 * The second paragraph includes an implementation detail (that prob is typically implemented using a 16-bit data type) which most probably is no longer true. The size is configurable to 16 or 32 bits in the SDK from Igor Pavlov, and fixed to 'int' (usually 32 bit) in lzip because it is usually faster. BTW, do implementation details belong in an article of Wikipedia?
 * In the same paragraph, 'prob' is described as "the predicted probability of the bit being 1", but it is really the probability of the bit being 0. The larger the value of 'prob', the more probable that the decoded bit is a 0.
 * The descriptions following the fifth paragraph state that normalization is done before decoding. This is a speed optimization in the code. Normalization has to be done after decoding or else an extra normalization must be done at the end of the stream, which is not mentioned in the article.
 * In the last three paragraphs of LZMA coding contexts, just before the last table, I find the description of the coding of literals very confused. There is not a "pseudo-bit-tree", but 3 separate bit tree contexts. Maybe the following text could make it clearer: "The context array 'bm_literal' is special. In principle it acts as a normal bit tree context, the one selected by 'literal_state'. But if the previous decoded byte was not a literal, two other bit tree contexts are used depending on the value of each bit in 'match_byte' (the byte at the latest used distance), until a bit is decoded that is different from its corresponding bit in 'match_byte'. After the first difference is found, the rest of the byte is decoded using the normal bit tree context."
 * Hope this helps. - Ant diaz (talk) 18:28, 1 November 2013 (UTC)

no algorithm, completely useless article
the article is completely useless being without the actual algorithm and the differences to LZ77 in general. Where the fuck is the algorithm ? you explain the output format ?? the heading says "..algorithm" and not format...!!!!mannomann.

"Dictionary search data structures" etc in the article: the article is totally misleading - hash tables etc. are part of any LZ family compression algorithm in real implementations - it is presented here as crucial to LZMA, but it is merely known to use it in whatever LZ coding. — Preceding unsigned comment added by 145.64.134.242 (talk) 15:40, 10 December 2014 (UTC)

 * There is no such thing as a "LZMA algorithm"; it is more like a "LZMA coding scheme". For example, the option '-0' of lzip uses the scheme in almost the simplest way possible; issuing the longest match it can find, or a literal byte if it can't find a match. Inversely, a much more elaborated way of finding coding sequences of minimum price than the one currently used by lzip could be developed, and the resulting sequence could also be coded using the LZMA coding scheme.

 * BTW, LZMA is a coding scheme with notable features, as shown by the data recovery capabilities of lziprecover. Ant diaz (talk) 18:58, 13 December 2014 (UTC)

LZMA2 vs. LZMA
This article mentions LZMA2 in several places, but in a very confusion fashion. I would like to clean this up, so I have some questions.

 * LZMA2 is a "file format", not a compression system, right? If so, the statement "LZMA2 compression, which is an improved version of LZMA" really needs to go.

 * "The XZ LZMA2 encoder processes" is referring to the part of the XY system that handles files (streams, the royal we), right? If so, is there no other term we can use than "encoder"? This implies something that it is not, at least in my terminology.

 * "In the 7-zip LZMA file format" and "the .7z file format, which can contain either LZMA or LZMA2 data" If item 1 is true, the statement "LZMA2 data" is meaningless. I suspect "either LZMA" means that the format previously used some other encoding, perhaps a single raw stream, but it does not appear to be mentioned.

 * "The .[xz] format, which can contain LZMA2 data" Can contain LZMA2? Well what other options are there, if any?

 * "the LZMA and LZMA2 algorithm details" This could be innocent wording, but I would like to be clear, does this mean "details of the LZMA2 file format..."?

I think this article would be greatly improved by moving all mentions of file formats out to a separate section.

Maury Markowitz (talk) 21:29, 17 December 2015 (UTC)

 * (1) LZMA2 is a data format as described in section "LZMA2 format". In practice, for compressible data, LZMA2 is just LZMA with 0.015%-3% more overhead due to chunk headers.

 * (2) It can be argued that the only encoder in xz is LZMA. The rest are either filters or containers, all unrelated to LZMA IMHO).

 * (3) The 7-zip program can unpack files in a variety of formats, including lzma-alone (LZMA), which is a single raw stream with a 13-byte header. The .7z file format is a complex container format that can contain a lot of data formats, including LZMA and LZMA2. See for example p7zip_15.09/DOC/Methods.txt

 * (4) Xz is a container format which curently contains another container format (LZMA2), which in turn contains an arbitrary mix of LZMA data and uncompressed data. That is all. Really. (Filter output does not appear in the xz file).

 * (5) "details of the LZMA2 data format" could be even clearer. I don't know about any LZMA2 files.

 * And I think this article would be greatly improved by moving all mentions of file formats to the corresponding pages (7-zip and xz). Best regards. Ant diaz (talk) 20:09, 18 December 2015 (UTC)

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Decompression speed change
Wouldn't the compression speed also be in Mbit/s rather than MB/s, User:Bender235? Also, is there a source for these claims? They seem questionable at least as frequency tells very little about execution time when you consider the impact of cache size, cache speed, execution pipeline, and branch prediction. Not to mention that being written in C++, a newer compiler might be able to improve those numbers noticeably. BernardoSulzbach (talk) 21:57, 28 August 2019 (UTC)

 * Sorry, this was an suggested typo fix by AWB. It might be wrong. Please correct it if so. --bender235 (talk) 23:45, 28 August 2019 (UTC)
 * I just removed the numbers that could not be verified and explained the reasoning behind it. User:Bender235, please make sure to not change MB to Mb (and other multiples of bytes to multiples of bits and vice-versa) without being certain about the values. In this case, for instance, the previous values were much "closer to reality" than the ones you introduced. BernardoSulzbach (talk) 01:07, 29 August 2019 (UTC)

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