text:
Talk:List of hot air balloon festivals

untitled
I haven't seen any activity on this page for a while, and I'd like to fix it. If I don't hear any complaints, I'll clean it up and replace the ordinal numbers with the beginning year of the festivals (as best I can figure them out). And I'll Google some of them to see if I can add any other information about each of them. Okay? Joe 21:15, 6 September 2005 (UTC)

I am experienced with indexed nationwide web sites, but new to writing encyclopedias. So bear with me. I see this as a Who's Who for Balloon Festivals. It this page appropriate? Is it too Yahoo? There is room for more description and pictures to give the reader a better experience. I *CAN* provide a URL for each of the festivals I have listed. weide 23:20, 5 Dec 2004 (UTC)

You are right, a proper encyclopedia article should have more. I have added a picture. I hope others will add text on festivals in general, using this particular article to compare them and analyse their generic attributes. --AlainV 01:06, 6 Dec 2004 (UTC)

I think Festivals are great. We could reference this article from Festivals, but I am reluctant as it already has 8 types listed already. (nix this)
 * Please review:

weide 02:13, 6 Dec 2004 (UTC)
 * Appropriate category?: Category:Festivals
 * Category:Balloons_%28aircraft%29 would be appropriate?
 * I believe that an article can be in multiple categories. Blimpguy 15:16, 7 Dec 2004 (UTC)

And what about these ordinal numbers (25th etc) - they will need to be updated each year (and not all at the same time)?

 * These numbers should be removed from the links in my opinion ChrisUK 13:54, 8 Dec 2004 (UTC)

 * On the other hand, replacing (instead of just deleting) the numbers by the first year of the festival, as in the birth year of a person (1976- ) would give an indication of the longevity and experience of the fest with no urgent need for daily or monthly updates.  --AlainV 01:16, 9 Dec 2004 (UTC)

And could the 2-character US State abbreviatiosn be expanded please? (for non-US readers) Jeff Knaggs 14:19, 6 Dec 2004 (UTC)

Thanks for your input and patience everyone.
 * Blimpguy - I have since learned how Wiki Category: 's work.

I will rethink it as I learn more.
 * ChrisUK/AlainV - Yes, mainentance is a pain. Let me consider this.  Two interesting things about festivals are how long they have been a tradition, and how many people they attract.  We could categorize them all as just Annual Events, with maybe a note for the older and larger festivals.
 * Knaggs - sure - I can do this systematically weide 19:04, 9 Dec 2004 (UTC)

article cleanup
I just cleaned up this article, and reorganized the balloon festivals in a single table by the year they started, starting with the earliest. The location and the website for the festival is also included as well. I also did not link to non-existant wiki-pages, so as balloon festivals gain wiki pages, we can link to them as well. Dr. Cash 17:03, 23 September 2005 (UTC)

 * It is generally more useful to sort such tables by the name of the main column, in this case, the name of the festival. The year each festival began is of lesser importance than the name of the festival. I am not going to take the time now to re-arrange the table, even though I just added another entry to it (Longview's Great Texas Balloon Race). I can't believe no one included that! Pooua 05:24, 24 September 2006 (UTC)

Merge
Merge with balloon fiesta? --Una Smith (talk) 16:10, 16 June 2008 (UTC)
 * That page is a disambiguation page, for now.  I believe the intro to the current page should explain that there are different types of festivals  (fun, competititve, and mixed ones),  and that "balloon fiesta" is a term commonly used. Let's find references first. --Jordiferrer (talk) 16:36, 10 March 2010 (UTC)

Sortable table, plus more columns
I have changed the format of the table to sortable. This way it is very easy to click on a column header, and see data sorted by that column, be it year, or festival name, etc.
 * I would also propose to now split the current column "Location" to 2 columns named "City" and "Country". This way we will be able to sort by country.    Or, since US states are also there, would it be better to use 3 columns: "City", "State" and "Country" ? --Jordiferrer (talk) 15:19, 6 March 2010 (UTC)

 * And a second question. Has any of the listed festivals ceased to exist? If so,  shall it be removed from the list, or shall we add a new column titled "Year ended" to indicate the last year it was held? --Jordiferrer (talk) 15:32, 6 March 2010 (UTC)

External links modified
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Requested move 15 July 2021

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved. (closed by non-admin page mover) Lennart97 (talk) 15:18, 22 July 2021 (UTC)

Hot air balloon festival → List of hot air balloon festivals – Apart from the gallery of images at the end, this is and has always been a textbook WP:STANDALONE list article. Lord Belbury (talk) 12:06, 15 July 2021 (UTC)
 * Support. This is mostly a list, it tells hardly anything about what a hot air balloon festival actually is. J I P  | Talk 10:53, 16 July 2021 (UTC)

 * Support as per nominator and JIP. I would further support a heavy trim to the list to remove those festivals which do not have their own Wikipedia article and therefore may not be worthy of mention. Otherwise these lists become magnets for train/balloon/aicraft/bus-spotters and their likes. 10mmsocket (talk) 20:23, 19 July 2021 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:List of hot air balloon festivals


text:
Mandelbrot Competition

Named in honor of Benoit Mandelbrot, the Mandelbrot Competition was a mathematics competition founded by Sam Vandervelde, Richard Rusczyk and Sandor Lehoczky that operated from 1990 to 2019. It allowed high school students to compete individually and in four-person teams.

Competition
The Mandelbrot was a "correspondence competition," meaning that the competition was sent to a school's coach and students competed at their own school on a predetermined date. Individual results and team answers were then sent back to the contest coordinators. The most notable aspects of the Mandelbrot competition were the difficulty of the problems (much like the American Mathematics Competition and harder American Invitational Mathematics Examination problems) and the proof-based team round. Many past medalists at the International Mathematics Olympiad first tried their skills on the Mandelbrot Competition.

History
The Mandelbrot Competition was started by Sam Vandervelde, Richard Rusczyk, and Sandor Lehoczky while they were undergraduates in the early 1990s. Vandervelde ran the competition until its completion in 2019. Rusczyk now manages Art of Problem Solving Inc. and Lehoczky enjoys a successful career on Wall Street.

Contest format
The individual competition consisted of seven questions of varying value, worth a total of 14 points, that students had 40 minutes to answer. The team competition was a proof-based competition, where many questions were asked about a particular situation, and a team of four students was given 60 minutes to answer.

Divisions
The Mandelbrot Competition had two divisions, referred to as National and Regional. Questions at the National level were more difficult than those at the Regional level, but generally had overlap or concerned similar topics. For example, in the individual competition, the National competition would remove some of the easier Regional questions, and add some harder questions. In the team competition, the topic would be the same but the National level would be given fewer hints.

Results
Results would be published after each annual iteration of the contest, and in its final iteration, the results were published online with School leaderboards and Individual leaderboards divided by region and national. However, since mandelbrot.org is not maintained any more, it can only be visited here.

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

title: Mandelbrot Competition


text:
Love Happy

Love Happy is a 1949 American musical comedy film, released by United Artists, directed by David Miller and starring the Marx Brothers (Groucho, Harpo and Chico) in their 13th and final feature film, as well as a memorable walk-on by a relatively unknown Marilyn Monroe.

The film, produced by former silent film star Mary Pickford, features Groucho Marx in a smaller role than usual, with a supporting cast including Ilona Massey, Vera-Ellen, Paul Valentine, Marion Hutton, Raymond Burr, Bruce Gordon (in his film debut), Eric Blore, and Marilyn Monroe in the aforementioned sequence with Groucho.

The plot was written by Frank Tashlin and Mac Benoff, based on a story by Harpo.

Plot
Private detective Sam Grunion has been searching for the extremely valuable Royal Romanoff diamonds for eleven years, and his investigation leads him to a troupe of struggling performers, led by Mike Johnson, who are trying to put on a musical revue called Love Happy.

Grunion notes that the impoverished young dancers would starve were it not for the sweet, silent Harpo, at Herbert & Herbert, a gourmet food shop that also trafficks in stolen diamonds. Harpo kindly helps ladies with their shopping bags, all the while pilfering their groceries and stuffing them in the pockets of his long trench coat. When the elegant Madame Egelichi arrives, store manager Lefty Throckmorton tells her that "the sardines" have come in. Harpo sneaks into the basement and watches as Lefty lovingly unpacks a sardine can marked with a Maltese cross, and swipes the can from Lefty's pocket, replacing it with an unmarked one. Madame Egelichi, who has gone through eight husbands in three months in her quest for the Romanoff diamonds, is furious when Lefty produces the wrong can. When Lefty remembers seeing Harpo in the basement, she orders him to call the police and offer a $1,000 reward for his capture.

At the theater, meanwhile, unemployed entertainer Faustino the Great asks Mike for a job as a mind-reader, and when Faustino's clever improvisation stops the show's backer, Mr. Lyons, from repossessing the scenery, Mike gratefully hires him. Harpo, who is secretly in love with dancer Maggie Phillips, Mike's girl friend, gives her the sardine can, and she says she will eat them tomorrow. A policeman sees Harpo inside the theater and brings him to Madame Egelichi, who turns Harpo over to her henchmen, Alphonse and Hannibal Zoto. After three days of interrogation, Harpo still refuses to talk, and when he is left alone, he calls Faustino at the theater, using the bike horn he carries in his pocket to communicate. Madame Egelichi listens on the extension as Faustino declares that there are plenty of sardines at the theater, and she goes there at once.

Meanwhile, Mike has just finished telling the troupe that they do not have enough money to open when Madame Egelichi arrives and offers to finance the show. Mike cancels his plans to take Maggie out for her birthday so that he and his new backer can discuss the arrangements. In the alley outside the theater, Harpo, having escaped from Madame Egelichi's suite, finds the diamonds in the sardine can which had been set out for a cat, and puts them in his pocket. When he finds Maggie crying in her dressing room, Harpo takes her to Central Park, where he plays the harp for her and gives her the diamonds as a birthday gift.

On the opening night of the show, Grunion is visited by an agent of the Romanoff family, who threatens to kill him if he does not produce the diamonds in an hour. At the theater, Lefty and the Zoto brothers spy through a window as Maggie puts on the diamond necklace, but Mike asks her not to wear it, promising to buy her an engagement ring instead. As they kiss, Maggie removes the necklace and drops it on the piano strings. The curtain goes up, and when Harpo sees Lefty and the Zoto brothers menacing Maggie, he distracts them with a piece of costume jewelry and leads them up to the roof. Meanwhile, on stage, Faustino plays the piano, and when he strikes the keys forcefully, the diamond necklace flies into the air, drawing the attention of Madame Egelichi, who is watching from the audience. Faustino pockets the diamonds, then rushes to the roof to help Harpo. Madame Egelichi shows up with a gun and demands the necklace, but Faustino gives her the fake diamonds. After tying up Lefty and the Zotos and recovering the real diamonds, Harpo encounters Grunion, who has been hiding on the roof. Harpo drops the diamonds in Grunion's pocket, but then steals them back as Madame Egelichi begins to lead the detective away.

Later, in his office, Grunion comments that Harpo disappeared with the diamonds, never realizing their true value. Grunion interrupts his story to take a phone call from his wife, who turns out to be the former Madame Egelichi.

Cast

 * Harpo Marx as Harpo
 * Chico Marx as Faustino the Great
 * Groucho Marx as Detective Sam Grunion
 * Vera-Ellen as Maggie Phillips
 * Ilona Massey as Madame Egelichi
 * Paul Valentine as Mike Johnson
 * Marion Hutton as Bunny Dolan
 * Leon Belasco as Mr. Lyons
 * Melville Cooper as Lefty Throckmorton
 * Raymond Burr as Alphonse Zoto
 * Bruce Gordon as Hannibal Zoto
 * Eric Blore as Mackinaw
 * Marilyn Monroe as Grunion's Client
 * Otto Waldis as Ivan (uncredited)

Musical numbers
The film has a musical score and lyrics by Ann Ronell, with a lively film noirish dance version of a Sadie Thompson number. The piece feature's Vera-Ellen and former ballet dancer Paul Valentine as one of the United States Marines on a South Pacific Island.

Chico plays a duet on "Gypsy Love Song" with actor-musician Leon Belasco as Mr. Lyons, the owner of the stage props and costumes. Belasco, on violin, starts playing many fancy trills until Chico says, "Look, Mista Lyons, I know you wanna make a good impression – but please, don't play better than me!" Chico played this same tune in the Marx Bros. first film The Cocoanuts 20 years earlier, in 1929.

Production
Love Happy was originally conceived as a solo vehicle for Harpo under the title Diamonds in the Sidewalk, Chico, who was usually in need of money due to his lifelong gambling addiction, also became involved in the project. Once Chico was in, financing for the film couldn't be obtained unless all three Marx Brothers were featured, so Groucho agreed to appear in the film. Love Happy was the final film to be produced by Mary Pickford.

Groucho appears in the film without his usual greasepaint moustache and eyebrows; by this point in his career, he had grown an actual mustache and no longer saw the greasepaint as necessary. He briefly shares the screen with Harpo (the three never appear together in the same scene) during the climax of the film and mainly provides an encompassing narration to explain things when the necessary sequences for a coherent narrative were unavailable. Groucho avoided mentioning the film at all in his autobiography, Groucho and Me published in 1959, apparently at that time considering A Night in Casablanca (1946) as their last film together. He did acknowledge the film in later interviews for The Marx Brothers Scrapbook (1974) and in his later book, The Groucho Phile: An Illustrated Life (1976). Because of the encapsulated nature of Groucho's scenes, it had long been assumed that his presence in the film was an afterthought. However, recently discovered letters from Groucho show that he was asked to be part of the project from its earliest stages in 1946–47.

The production ran out of money near the end of shooting, so the producers solicited advertising from several companies in order to complete the film. This unique form of product placement (quite rare at that time) was featured in the rooftop chase around advertising billboards.

Release
Although shooting began in July 1948, the film was not released generally until March 3, 1950. The film's stated copyright is 1949, which is when it was shown in San Francisco on October 12. Originally released at 91 minutes, available non-theatrical prints run 85 minutes and contain some alternate footage with some brief snippets excised from some scenes and some gags completely eliminated. In 2015, Olive Films made the original unedited 91 minute theatrical print available on DVD.

Critical reception
Love Happy is generally regarded by Marx fans and critics as the weakest of all the Marx Brothers movies in which they were the leads. (The 1956 film The Story of Mankind is also generally rated very low amongst Marx brothers afficianados, but the brothers only make short individual cameos in that film.)

In its October 8, 1949 front-page editorial, as well as its review of the movie in the same issue, the motion picture trade periodical Harrison's Reports, which always disapproved of any movie showing brand-name products, severely criticized this film for its rooftop chase among billboards promoting Baby Ruth, General Electric, Fisk Tires, Bulova watches, Kool cigarettes, Wheaties and Mobil gasoline.

At the end of his March 8, 1950 episode of his You Bet Your Life radio show, Groucho half-heartedly promotes the film as "Harpo, Chico, and I tell a few jokes and do some acting. It's very educational." In later years, on Today, Groucho dismissed it as a "terrible picture," while speaking of the lasting impression Marilyn Monroe made during her screen test.

title: Love Happy


text: User talk:68.53.253.78

title: User talk:68.53.253.78


text:
User talk:Tim Helmuth

<3 Ground 23:25, 5 Dec 2004 (UTC)

title: User talk:Tim Helmuth


text:
Talk:Helen Walton

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 10 January 2019 and 25 April 2019. Further details are available on the course page. Student editor(s): CampyLane2019.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 23:17, 16 January 2022 (UTC)

Untitled
Anybody know when she was born?

Article reclassification
This article meets the requirements for Start class. I have made the change for WP:Oklahoma and WP:Biography. Bruin2 (talk) 01:14, 20 November 2016 (UTC)

Inaccuracy in introduction and infobox
Hello! Helen Walton's name currently reads "Helen Robson Kemper Walton" in the introduction and "Helen Robson Kemper" in the infobox of this article; however, there is no record of Ms. Walton ever having the name "Kemper." I have checked the family's records and confirmed that this is not a name she has ever had. In addition, there is no online source with that name.

Are there editors who can assist with removing "Kemper" from the introduction and infobox? I will not direct edit this page because I have a Conflict of interest; I work with the Walton family office, as I disclosed on my user page and declared above. Thanks, Kt2011 (Talk · COI:Walton family) 18:31, 12 April 2018 (UTC)

✅ 0.82em 18:42, 12 April 2018 (UTC)

 * Thank you, Spintendo.  Kt2011 (Talk · COI:Walton family) 21:28, 12 April 2018 (UTC)

title: Talk:Helen Walton


text:
Southern screamer

The southern screamer (Chauna torquata) is a species of bird in family Anhimidae of the waterfowl order Anseriformes. It is found in Argentina, Bolivia, Brazil, Paraguay, Peru, and Uruguay.

Taxonomy and systematics
The southern screamer shares genus Chauna with the northern screamer (C. chavaria). One other species, the horned screamer (Anhima cornuta) is also in family Anhimidae. The southern screamer is monotypic.

Description
The southern screamer is one of the largest birds of southern South America at 83 to 90 cm long and weighing about 4.4 kg. Their flat wing measures 50 to 57 cm, their tail 22 to 26 cm, and their culmen 4.0 to 5.4 cm. They are stout bodied with a disproportionately small head and a "chicken-like" grayish brown bill. The sexes have the same plumage. Their head and upperparts are gray with a velvety black "collar" around the base of the neck. Their wings and tail are dusky and the wing has two sharp spurs at its manus. The front of their neck, their breast, and their sides are pale gray faintly mottled and streaked with white. Their belly is unmarked pale gray or white. Their legs and feet are rosy.

Distribution and habitat
The southern screamer is found from the eastern half of Bolivia south into Argentina as far as Buenos Aires Province and east through Paraguay into southwestern Brazil and Uruguay. It has also been documented as a vagrant in southeastern Peru. It inhabits tropical and subtropical wetlands including lakes, marshes, and flooded meadows with scattered trees.

Movement
The southern screamer is generally considered to be non-migratory. However, seasonal changes in the numbers present in coastal and inland parts of Brazil's Rio Grande do Sul suggest local movements between them.

Locomotion
The southern screamer is a good swimmer but prefers to move on the ground. It is an excellent flier and soarer.

Feeding
The southern screamer feeds on the leaves, stems, and seeds of aquatic plants and also on some crops. They usually graze like geese but have been seen digging for food. Flocks of up to about 100 forage together in the non-breeding season.

Breeding
The southern screamer forms long-term pair bonds that in some cases last for life. Males and females court with mutual preening and duet calling. They build a large nest of sticks and reeds near shallow water and often nest in about the same location for several years. The typical clutch size is three to five eggs but can be up to seven; eggs are laid in October and November. Both parents incubate the eggs and care for the young. The incubation period is 43 to 46 days; fledging occurs eight to ten weeks after hatch and the young are independent after about 12 weeks.

Vocalization
The southern screamer's "loud, unmelodious, double-noted trumpet call" has been further described as "a low, throaty, almost barking, brief oh-WOOOW which also sounds sometimes as be-SERK." Female's calls are somewhat weaker and higher pitched than males'. Screamers call both in flight and when perched, and the call can be heard of up to 3 km.

Domestication
Southern screamers are sometimes domesticated and are very good guard animals because of their loud, far carrying, call.

Status
The IUCN has assessed the southern screamer as being of Least Concern. It has a very large range, and though its population size is unknown it is believed to be stable. No immediate threats have been identified. Draining of wetlands and persecution by farmers are potential threats but "the species seems able to compensate fairly well".

title: Southern screamer


text:
The Man Without a Country

"The Man Without a Country" is a short story by American writer Edward Everett Hale, first published in The Atlantic in December 1863. It is the story of American Army lieutenant Philip Nolan, who renounces his country during a trial for treason, and is consequently sentenced to spend the rest of his days at sea without so much as a word of news about the United States.

Plot summary
The protagonist is a young US Army lieutenant, Philip Nolan, who develops a friendship with the visiting Aaron Burr. When Burr is tried for treason (that historically occurred in 1807), Nolan is tried as an accomplice. During his testimony, he bitterly renounces his nation and, with a foul oath, angrily shouts, "I wish I may never hear of the United States again!" The judge is completely shocked by that statement and, on convicting Nolan, icily grants him his wish. Nolan is to spend the rest of his life aboard US Navy warships in exile, with no right ever to set foot on US soil again and with explicit orders that no one shall ever again mention his country to him.

The sentence is carried out to the letter. For the rest of his life, Nolan is transported from ship to ship, lives out his life as a prisoner on the high seas, and is never allowed back in a home port. Though he is treated according to his former rank, nothing of his country is ever mentioned to him. None of the sailors in whose custody Nolan remains is allowed to speak to him about the US, and his newspapers are censored. Nolan is unrepentant at first, but over the years, he becomes sadder and wiser and desperate for news. One day, as he is being transferred to another ship, he beseeches a young sailor never to make the same mistake that he had: "Remember, boy, that behind all these men... behind officers and government, and people even, there is the Country Herself, your Country, and that you belong to her as you belong to your own mother. Stand by her, boy, as you would stand by your mother...!" On one such ship, he attends a party in which he dances with a young lady he had once known. He then beseeches her to tell him something, anything, about the US, but she quickly withdraws and no longer speaks to him.

Deprived of a homeland, Nolan slowly and painfully learns the true worth of his country. He misses it more than his friends or family, more than art or music or love or nature. Without it, he is nothing. Dying aboard the USS Levant (1837), he shows his room to an officer, Danforth. It is "a little shrine" of patriotism. The Stars and Stripes are draped around a picture of George Washington. Over his bed, Nolan has painted a bald eagle, with lightning "blazing from his beak" and claws grasping the globe. At the foot of his bed is an outdated map of the United States, showing many of its old territories that had, unbeknownst to him, been admitted to statehood. Nolan smiles, "Here, you see, I have a country!"

The dying man asks desperately to be told the news of American history since 1807, and Danforth finally relates to him almost every major event that has happened to the US since his sentence was imposed; the narrator confesses, however, "I could not make up my mouth to tell him a word about this infernal rebellion" (the Civil War). Nolan then asks him to bring his copy of the Presbyterian Book of Public Prayer and to read the page at which it automatically opens. Here are the words: "Most heartily we beseech Thee with Thy favor to behold and bless Thy servant, the President of the United States, and all others in authority." Nolan says, "I have repeated those prayers night and morning, it is now fifty-five years." Every day, he had read of the US but only in the form of a prayer to uphold its leaders since the US Navy had neglected to keep that book from him, which is the supreme irony of the story.

Nolan asks him to have them bury him in the sea and have a gravestone placed in memory of him at Fort Adams, Mississippi, or at New Orleans. When he dies later that day, he is found to have drafted a suitably patriotic epitaph for himself: "In memory of PHILIP NOLAN, Lieutenant in the Army of the United States. He loved his country as no other man has loved her; but no man deserved less at her hands."

Effectiveness
Hale published "The Man Without a Country" in the Atlantic Monthly in 1863 to bolster support for the Union in the North. In this first publication, Hale's name does not appear at the beginning or end of the story, though it appears in the annual index at the end of that issue of the magazine. It was later collected in 1868 in the book The Man Without a Country, and Other Tales, published by Ticknor and Fields.

Danforth's summary to Nolan of American history from 1807 to 1860 is an outline of the Northern case for preservation of the Union. The young country is shown standing up fearlessly to the global superpower, Great Britain; expanding to North America's Pacific coast; developing new contributions to human knowledge such as the Smithsonian Institution; and developing new technology such as steamboats.

Hale convinced many readers that Nolan was an actual figure, thus increasing the story's effectiveness as a piece of patriotic literature. Years later he stated that the story, at least in part, was "testimony" against the election of 1863, in which Clement Vallandigham (1820–71), an ardent antiwar, pro-Confederate, anti–"King Lincoln" Ohio Democrat, was running for office from exile in Canada, and who, at his own earlier treason trial, like the fictional Nolan, expressed his disgust with the United States.

By frequently mentioning specific dates and places and by using numerous contemporary references, Hale grounded his story in a firm foundation of history and made the story seem like a record of actual events. In his 1893 and 1900 reminiscences, E. E. Hale stated, "To write the story of 'The Man Without a Country' and its sequel, 'Philip Nolan’s Friends', I had to make as careful a study as I could have the history of the acquisition of Louisiana by the United States."

The story's conclusion hinges upon the titular character's possession of the Presbyterian Book of Public Prayer, which had not been published until 1857. This indicates that Nolan having read from the book on a daily basis since the beginning of his sentence in 1807 was implausible.

The name "Philip Nolan" belonged to the business secretary and bookkeeper for James Wilkinson, a Spanish spy who was first an associate of Aaron Burr and then an informer on Burr. That Nolan was killed by the Spanish Army while he was stealing Texas mustangs in 1801, years before Burr's trial.

Monument
A monument "in memory of" Nolan and bearing his self-written epitaph was placed in front of the Covington County Courthouse in Andalusia, Alabama, on July 4, 1975, by the Altrusa Club of Andalusia. The monument was placed as part of the Andalusia Bicentennial Committee's official activities commemorating the United States Bicentennial.

Adaptations
"The Man Without a Country" has been adapted for film several times, starting in 1917 with The Man Without a Country starring Florence La Badie, a 1918 film My Own United States, one in 1925, and another Man Without a Country starring John Litel and Gloria Holden and released by Warner Brothers in 1937.

An opera of the story, also entitled The Man Without a Country, was composed by Walter Damrosch and premiered at the Metropolitan Opera in 1937.

On September 30, 1943, the horror/thriller radio program The Weird Circle presented an adaptation of the story. Bill Johnstone (best known as Orson Welles' replacement as the title character in The Shadow radio drama) narrated (and took part in) the story as Hale.

A four-part dramatization was recorded in June 1947 and issued by Decca on two coupled 12" 78 rpm discs. Bing Crosby provided the narration, and Frank Lovejoy portrayed Philip Nolan. Later that same year on November 26, a dramatization was performed on Philco Radio Time, with Crosby (the program's star and host) again providing narration.

The Railroad Hour presented a 30-minute adaptation of "The Man Without a Country" on June 28, 1953. Gordon MacRae and Dorothy Warenskjold starred in the broadcast.

In Sam Fuller's film Run of the Arrow (1957), Captain Clark (Brian Keith), a U.S. Army engineer commissioned to build a fort on Sioux territory, relates the Nolan story to O'Meara (Rod Steiger), a Southerner who, refusing to accept the defeat of the Confederacy, has married among the Sioux and been appointed by them to see the fort is built where agreed. In the context of pressing O'Meara to decide whether his loyalties lie ultimately with the Sioux or with the Americans, Clark tells the Nolan story as if it were historical fact.

In 1973, a made-for-television movie was written by Sidney Carroll and directed by Delbert Mann. It featured Cliff Robertson as Philip Nolan, Beau Bridges as Frederick Ingham, Peter Strauss as Arthur Danforth, Robert Ryan as Lt. Cmdr. Vaughan, Walter Abel as Col. A. B. Morgan, Geoffrey Holder as one of the slaves on a slave ship, Shepperd Strudwick as the Secretary of the Navy, John Cullum as Aaron Burr, and Patricia Elliott as Mrs. Graff.

In May 1977, a three-act radio play was broadcast as an episode of Himan Brown's The General Mills Radio Adventure Theater. Russell Horton performed the part of Nolan. Tom Bosley was host of the series.

In 2016, Chuck Pfarrer penned a historical novel entitled Philip Nolan: The Man Without a Country for the U.S. Naval Institute Press.

title: The Man Without a Country


text:
NCAA women's soccer tournament

The NCAA Women's Soccer Championship refers to one of three championships in women's soccer organized by the National Collegiate Athletic Association (NCAA):

 * NCAA Division I women's soccer tournament, 1982–present
 * NCAA Division II women's soccer tournament, 1988–present
 * NCAA Division III women's soccer tournament, 1986–present

title: NCAA women's soccer tournament


text:
Northern screamer

The northern screamer (Chauna chavaria) is a Near Threatened species of bird in family Anhimidae of the waterfowl order Anseriformes. It is found in Colombia and Venezuela.

Taxonomy and systematics
The northern screamer shares genus Chauna with the southern screamer (C. torquata). One other species, the horned screamer (Anhima cornuta) is also in family Anhimidae. The northern screamer is monotypic.

Description
The northern screamer is 76 to 91 cm long. They are stout bodied with a disproportionately small head and a gray bill. The sexes have the same plumage. Adults have a gray crown with a long crest, a mostly white face, a wide black band around the neck, and a dark gray body, wings, and tail. Their wing has two sharp spurs at its manus. They have bare red skin around their brown eye and reddish orange legs and feet. Juveniles are similar to adults but drabber.

Distribution and habitat
The northern screamer is found across northern Colombia from the Atrato River and Magdalena River valleys east into the Lake Maracaibo area of Venezuela. It inhabits a variety of wet landscapes including swamps, marshes, lagoons, riverbanks, and seasonally flooded river plains.

Movement
The northern screamer is essentially sedentary but local wandering by non-breeders and juveniles is suspected.

Feeding
The northern screamer feeds on the leaves, stems, and roots of aquatic plants. They usually graze like geese, sometimes in loose flocks.

Breeding
The northern screamer is territorial during the breeding season. The pair build a mound of plant material and debris as a nest. Breeding can be at any time of year but most eggs are laid in October and November. The typical clutch size is three to five eggs but can be up to seven. Both parents incubate the eggs and care for the young. The incubation period is 42 to 44 days; fledging occurs eight to ten weeks after hatch and the young are independent after about 12 weeks.

Vocalization
The northern screamer, like others of its family, is very vocal. Its primary vocalization is a "single, rather high-pitched yelping call...'kleer-a-ruk, cherio'."

Status
The IUCN originally assessed the northern screamer as Threatened. Since 2004 has treated it as Near Threatened but it nearly again meets the criteria for Threatened status. It has a somewhat limited range and its estimated population of between 1500 and 7000 mature individuals is believed to be decreasing. It occurs in several protected areas in Colombia but even they have suffered from habitat destruction. The species is also affected by egg collecting and hunting for food, domestic and industrial pollution of its habitat, and urbanization.

title: Northern screamer


text:
User talk:Lestaylor

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! --Flockmeal 23:28, Dec 5, 2004 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Image Tagging Image:Lssa20050005.JPG
Thanks for uploading Image:Lssa20050005.JPG. I notice the image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, ie in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the picture then you can use to release it under the GFDL. If you can claim fair use use .)  See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thanks so much. --Secretlondon 04:28, 13 October 2005 (UTC)

Image Tagging Image:Lssa20050008.jpg
Thanks for uploading Image:Lssa20050008.jpg. I notice the image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, ie in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the picture then you can use to release it under the GFDL. If you can claim fair use use .)  See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thanks so much. --Secretlondon 04:28, 13 October 2005 (UTC)

title: User talk:Lestaylor


text: User talk:66.215.203.149

title: User talk:66.215.203.149


text:
Talk:The American Crisis

Move to Wikisource
Instead of deleting, this could probably be moved to Wikisource Danny 23:29, 5 Dec 2004 (UTC)

Assumption of Deism
The article assumes not only that Paine was appealing to a deist God, but that the people were deist. This seems to be a lack of NPOV. Hillshum|Talk 04:15, 18 December 2008 (UTC)
 * What you fail to comprehend is that the "deist God" is a "God" free from human interpretation imposed upon society by religious institutions and organizations. It is, in other words, nature herself, unbound from your perceptive bias, free from your human belief about what it is:

"Paine felt that Christianity and other institutional religions brought about sectarianism and strife because of their priesthoods and dogmas, while Deism with its wordless 'Bible' did the opposite. It united: 'The Creation speaks a universal language, independently of human speech or human language, multiplied and various as they be'...What Paine and Jefferson represent is not atheism or secularism but a religious revolution. They saw themselves rejecting human interpretations, anthropomorphisms, fables, and dogmas that divide humans, and turning toward a universal religion, beyond dogmas, that would unite them.  Even science became a religious pursuit for them, a methodical and painstaking examination, more demanding than scriptural exegesis, of nature itself: 'It is an inconsistency scarcely possible to be credited that...held it to be irreligious to study and contemplate the structure of the universe that God has made.' (Meyer 2001)"

 * Them there's the facts of what these guys were after, and is totally contrary to what the so-called "religious patriots" of the 21st century claim to represent. Viriditas (talk) 07:55, 4 June 2012 (UTC)

Volume I or II?
The quote "These are the times..." was in the second volume according to a version that I am reading.

Did not the first volume start with "General Gage's Proclimation lies before me..."? — Preceding unsigned comment added by Philfromwaterbury (talk • contribs) 04:06, 8 February 2012 (UTC)

title: Talk:The American Crisis


text:
Adna R. Chaffee Jr.

Adna Romanza Chaffee Jr. (September 23, 1884 – August 22, 1941) was an officer in the United States Army, called the "Father of the Armored Force" for his role in developing the U.S. Army's tank forces.

Early life and education
Chaffee was born in Junction City, Kansas, on September 23, 1884, to his father, Lieutenant General Adna R. Chaffee, and mother, Annie Francis Rockwell. He was commissioned as a lieutenant of Cavalry in 1906 following his graduation from the United States Military Academy. He was 31st out of 78 pupils in his class. Chaffee learned to ride on horseback from a young age, and would later receive recognition as "the Army's finest horseman".

Upon his father's death in 1914, he became an Hereditary First Class Companion of the Military Order of the Loyal Legion of the United States.

Career
From 1914 to 1915, Chaffee was posted with the 7th Cavalry in the Philippines, and from 1916 to 1917, Chaffee was assigned to West Point as the senior cavalry instructor in the Tactical Department. When America entered World War I in April 1917, Chaffee was temporarily promoted to major and assigned as the adjutant for the 81st Division as it organized at Camp Jackson, South Carolina. During the war, Chaffee served as an Assistant G3 Operations officer in the US IV Corps, and later returned to the 81st Division as the G3 during the St. Mihiel and Meuse-Argonne offensives. Promoted to the temporary rank of colonel, he became the G3, III Corps at the end of the war, and remained with the corps for occupation duty in 1919.

Following the war, he returned to his Regular Army rank of captain of cavalry and became an instructor at the General Staff School and the Army School of the Line at Fort Leavenworth. During the 1920s, he helped develop the armor concepts and doctrine of the future. He predicted in 1927 that mechanized armies would dominate the next war and helped the first effort to develop a U.S. Army armored force. In 1931, newly promoted Lieutenant Colonel Chaffee was assigned as the executive officer of the embryonic 1st Cavalry Division, where he continued to develop and experiment with armored forces and became the leading American advocate of mechanized warfare. From 1934 to 1938, Chaffee was posted to the War Department as the Chief of the Budget and Legislative Planning Branch. Chaffee then returned to the 1st Cavalry Division at Fort Knox, where he was advanced to brigadier general and given command of the 7th Mechanized Brigade. Chaffee led the unit through the Plattsburg and Louisiana Maneuvers of 1939–1940, where he helped develop Army doctrine for armored and mechanized formations.

In June 1940, Chaffee was appointed the commander of the Armored Force, and given responsibility for integrating all branches of the Army into mechanized warfare. He played a major role in the development and fielding of new armored and mechanized infantry divisions for World War II. Chaffee was promoted to major general in October 1940, and given command of the I Armored Corps.

When Chaffee became ill with cancer he was succeeded as corps commander by Charles L. Scott. Chaffee died in Boston on August 22, 1941. He was buried next to his father in Section 3 of Arlington National Cemetery.

Legacy
The M24 Chaffee light tank is named after him.

Fort Chaffee, near Fort Smith, Arkansas, is named in his honor.

title: Adna R. Chaffee Jr.


text:
Category:Fight songs

These are fight songs, typically for a college or professional sports team.

title: Category:Fight songs


text:
Dynamic link matching

Dynamic link matching is a graph-based system for image recognition. It uses wavelet transformations to encode incoming image data.

title: Dynamic link matching


text:
CSS Raleigh (1864)

CSS Raleigh was a steam-powered Civil War casemate ironclad. She was fitted with a spar torpedo instead of an iron ram and was built in 1863–1864 by the Confederate States Navy at Wilmington, North Carolina. While she was being built her commander was Lieutenant John Wilkinson (CSN). She was put into commission on April 30, 1864 under the command of Lieutenant J. Pembroke Jones, CSN.

Built to chief CSN constructor John L. Porter's similar plans for those of the ironclad CSS North Carolina, she had been laid down and launched at the foot of Church Street; her fitting-out was completed by the shipyard J. L. Cassidey & Sons.

CSS Raleigh was one of two Richmond-class ironclads built for the Confederate Navy at Wilmington during the Civil War. A total of six Richmond-class ironclads were laid down at Richmond, Wilmington, Charleston, and Savannah in the spring of 1862. Chief naval constructor John L. Porter had designed these armored steam ships for harbor defense, adapting plans he had originally conceived in 1846, fifteen years before to the war. On April 20, 1864 the newly completed Raleigh steamed down the Cape Fear River and joined her sister ironclad CSS North Carolina, which was already in CSN service at Smithville.

Raleigh drew 13 ft of water, 6 in less than the North Carolina. Flag Officer William F. Lynch quickly decided to take his new ironclad over the bar at New Inlet, North Carolina and attack the Union blockading squadron at sea.

On May 6 Raleigh emerged from the Cape Fear River and stood out to the Atlantic, accompanied by CSS Yadkin and CSS Equator, where she engaged six Federal blockaders, including USS Britannia and USS Nansemond (1862), off New Inlet.

The plan was ill-conceived, as the Richmond-class ironclads, being designed for harbor defense and calm water, were not seaworthy. Nonetheless, the officers and men of Raleigh prepared their ship for battle. The engagement that followed was shrouded in darkness and marked by confusion. Raleigh, because of her slow speed on open sea, was unable to close with the Federals. Flares and cannon fire alerted the rest of the blockading squadron, but most commanders, unaware of the ironclad's presence, assumed a blockade runner had been cornered. For the rest of the night, Raleigh steamed blindly through the blockading squadron, unnoticed. At daybreak, the ironclad returned to New Inlet and crossed the bar at 7:15 a.m. The "battle," as such, was over, neither side sustaining serious damage or gaining advantage.

After entering Cape Fear, Raleigh turned south, but soon ran hard aground on a bar known as "the Rip". As the tide went out, the now unsupported weight of the ironclad's armored casemate, cannon, and machinery bore down heavily on the aft section of her keel. Unable to sustain the added weight pressure, Raleigh "broke her back", resulting in a total loss of the new ironclad after serving just one week in the Confederate Navy. Salvage crews reclaimed her iron plating, both her Brooke rifles, both smoothbore cannon, and shipped her boilers to CSS Chattahoochee, then being repaired at Columbus, Georgia.

In 1994 the wreck was investigated by the North Carolina State Underwater Archaeology Unit with help from students of East Carolina University.

title: CSS Raleigh (1864)


text:
People's Action Party of Vietnam

The People's Action Party of Vietnam (Đảng Nhân Dân Hành Động Việt Nam) is a Vietnamese anti-communist organization in-exile that is based in the United States. The organization's chairman is Nguyen Si Binh and its vice chairman is Dr. Nguyen Xuan Ngai.

Founded in 1991, PAP's goals are to unite the people of Vietnam with a democratic government and reform government programs in education, health care, economy, and human rights.

They established offices in Cambodia, but their officials were arrested and transferred to Vietnam for prosecution. They have actively tried to gain support in Vietnam, but 21 of their supporters were detained by the government without trial for more than two years.

title: People's Action Party of Vietnam


text:
Wikipedia:Articles for deletion/List of surrealist writers

List of surrealist writers
Yet another list that should be replaced by a category. Category:Surrealism could be subcategorized and this list could be deleted. There are currently only four people on this list, although there are most likely other articles already on wikipedia that could be listed or categorized as such. The two listed who are red links right now should have stubs written for them, if they warrant mention in the encyclopedia, and if they don't then they don't need to be listed. ~leif (talk)   23:32, 5 Dec 2004 (UTC)
 * Keep, a poor list but with expansion it would be just as valid as any of the thousands of other lists in Wikipedia. - SimonP 23:41, Dec 5, 2004 (UTC)
 * Agree, Delete and replace with subcategory under Category:Surrealism. Same with List of surrealist poets. -- Scott $e^{i \pi} \,\!$ 23:46, Dec 5, 2004 (UTC)
 * Comment: One reason for having a list rather than just a category is that categories don't and can't include articles that don't yet exist. I notice two of the four listed writers are red links. No vote as yet. Andrewa 00:03, 6 Dec 2004 (UTC)
 * Or... can't they? I know this isn't standard practice (yet), but I think the editable category pages seem like a perfect place to keep lists of red links that should be in the category once the articles are written.  ~leif (talk)    00:07, 6 Dec 2004 (UTC)
 * Comment: That's a good suggestion IMO, but it may not be as simple as that. There may be valid reasons that it hasn't (yet?) become standard practice. The first that comes to mind is the need for someone to do a little extra housekeeping and delete any no-longer-red links. Still no vote. Andrewa 00:21, 6 Dec 2004 (UTC)
 * Delete. This is better placed within the article Surrealism as a chapter of artists, writers, etc. from the movmement, and through categorization. These are minor, practically insignificant authors in the movement, when compared to the historical extent of the movement (Salvador Dali, Luis Bunuel, Andre Breton, etc.). —ExplorerCDT 00:09, 6 Dec 2004 (UTC)

 * Delete: I agree with ExplorerCDT in this case. I'm not fond of list articles with infinite redlinks.  I think that's how we've gotten into the biggest debacles in VfD history (especially the horror List of US schools), as well as how so many Pokemen and anonymous guitar players for anonymous bands got here.  Granted that this list is far better.  But I also agree that it would be better to have a list of truly notable Surrealist writers (btw, it should be capitalized) in the Surrealism article.  This might cut down on the various "neo-Surrealist" vanity authors tacking themselves on and writing up their accounts. Geogre 06:02, 6 Dec 2004 (UTC)
 * Delete. An actual list of surrealist writers might be useful. This is not it. -- Jmabel | Talk 09:03, Dec 6, 2004 (UTC)
 * Delete Do you see the page melting? Wyss 00:31, 7 Dec 2004
 * Merge to Surrealism - a four-person long list isn't long enough even for me. --Fermatprime 00:11, 11 Dec 2004 (UTC)

(UTC)


text:
Talk:Iron Flag

Hmm
Out of all the Wu-Tang group albums, why is this one the most written about? Why are the beats described? The beats on this album are some of RZA's absolute worst, the hooks are annoying as fuck, and the flows are lazy and half-assed. Not only the worst Wu-Tang album to ever come out, but one of the worst albums I ever heard. I have a hard time believing it's actually a Wu-Tang album at times.--Tainted Drifter 20:13, 5 September 2006 (UTC)
 * You're out of your mind papo. This album is a stone cold classic. Put it back on and listen to it more closely. Majik43 05:18, 3 February 2007 (UTC)

Seriously, I'd like to call the Neutrality of this article into question. Like most articles about the Wu-Tang Clan and Hip Hop in general, it focuses way too much on critical reception. It also shows heavy bias towards the viewpoint that the only good or 'true' Wu-Tang productions or 'exceptional' albums come from RZA and RZA only. It's also clearly biased towards the 'older' or 'traditional' Wu-Tang sound, and constantly tries to force the group's sound into a box. I have a serious problem with this, because it forces the Wu-Tang Clan into stagnation, and encourages them to cash in with a derivative if not dated sound to please the most vocally unyielding and critical members of their fan base.

This article needs to be re-written without constantly going "Well, this track wasn't really very traditionally Wu-Tang, so I'm going to imply that it's bad." Slippery slope, anyone? --Fordo35 20:25, 17 June 2007 (UTC)

 * i wrote this article (i was originally going to do it for the other wu albums but got bored), and i tried to keep it neutral. the only thing i can see that might not be is describing one of these days's beat as "generic".  i did not say the non-traditional sounding songs were bad at all; my favorite beats on this album are in the hood and rules, neither of which sound traditionally wu-tang.  i also quite like the extremely un-traditional back in the game.  no bias was intended.  --Jamieli (talk) 17:07, 8 February 2008 (UTC)

I feel the True Master beat reflects many of the beats off of Iron Man, which is easily considered to be a Wu stronghold. Jamieli must have not listen to too much Wu beside Forever. —Preceding unsigned comment added by 70.251.229.73 (talk) 11:44, 3 April 2011 (UTC)

Last album to feature odb?? I think not!
In the absences section it says that the w was the last album to feature ODB..but he was featured on 8 diagrams. —Preceding unsigned comment added by 92.234.73.129 (talk) 16:12, 26 October 2008 (UTC)

External links modified
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 * Added archive http://web.archive.org/web/20090210223708/http://www.blender.com:80/guide/reviews.aspx?id=1334 to http://www.blender.com/guide/reviews.aspx?id=1334

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Assessment comment
Substituted at 19:07, 29 April 2016 (UTC)

title: Talk:Iron Flag


text:
Talk:The Greater of Two Evils

Untitled
In most instances, including the album cover and other sources on the internet, this is referred to as "The Greater of Two Evils"; once it's been renamed i'll fix up the page, as it's now really the only major Anthrax release that needs work on an infobox, although many of them still require some work, especially on their descriptions. -- Blodhevn (Talk), 11:16, 28 May 2005 (UTC)

 * Okay, i've made the alterations that I mentioned to the page, and i'm now just waiting for it to be renamed. Once this is done, I should be able to move some otherwise unnecessary piped links (elsewhere), also. -- Blodhevn (Talk), 13:57, 28 May 2005 (UTC)

I don't think the album should be referred to as a "compilation", since it does not consist of previously-released material. That is, the recordings are fresh even if the songs had previously been recorded. If the latter is a sufficient criterion for a "compilation", then most rock acts' live albums count as "compilations" as well. Branden 04:19, 28 March 2007 (UTC)

 * I set it as a remix album, I think that's the best description for it.
 * --Rock Soldier (talk) 04:35, 23 January 2009 (UTC)

Fairey cover?
Is the cover by Shepard Fairey? This suggests it and a few other albums are. —Ben FrantzDale (talk) 14:05, 6 July 2011 (UTC)

title: Talk:The Greater of Two Evils


text:
File:A.J. Croce - That's Me in the Bar.jpg

Cover for album That's Me in the Bar by A. J. Croce.

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright


text:
Crush 40

Crush 40 is a Japanese-American hard rock band. The group consists of guitarist and composer Jun Senoue and vocalist Johnny Gioeli, although Senoue has featured other lead vocalists on a Crush 40 album. Crush 40 is best known for their contributions to the Sonic the Hedgehog video game series.

Senoue has been employed by Sega as a composer since 1993. While preparing music for Sonic Adventure, he contacted Gioeli to record the game's main track, "Open Your Heart". They also recorded the soundtrack for NASCAR Arcade under the name "Sons of Angels" and released it in 2000 in Japan as the album Thrill of the Feel. Afterward, Senoue and Gioeli stayed in contact and continued to record new music for further Sonic games, as well as their own original music, and performed live concerts.

Crush 40 has released a total of two studio albums, two live albums, two compilations, an EP, and individual tracks, mostly under Sega's Wave Master label. The band's musical style of hard rock, considered by some to be a continuation of glam rock, has created a legacy with fans of the Sonic video game series.

Formation, Thrill of the Feel, and Crush 40
After graduating from college, Jun Senoue was hired by Sega in 1993 to compose music for video games. His first project in the Sonic the Hedgehog series was Sonic the Hedgehog 3 & Knuckles (1994), and he also contributed to Dark Wizard, Sonic 3D Blast, and Sega Rally 2. During recording for Daytona USA: Championship Circuit Edition, Senoue worked with Eric Martin of Mr. Big to record the main theme, "Sons of Angels". Senoue said he brought a rock music feel to the games he worked on, including the Sonic the Hedgehog series, because he is a "rock guy".

In 1998, Senoue contacted vocalist Johnny Gioeli during the recording process for Sonic Adventure and recorded their first song, "Open Your Heart". Senoue had previously recorded a demo of the song with Eizo Sakamoto on vocals, but Senoue has stated that he wrote the song assuming Gioeli would sing it. According to Gioeli, Senoue was a fan of Gioeli's band Hardline and connected with him via Doug Aldrich, the guitarist for Whitesnake. After making the track, the two stayed in contact, having enjoyed working together and wanting to do more. Senoue and Gioeli worked together again on songs for NASCAR Arcade. In addition to Senoue and Gioeli, Naoto Shibata and Hirotsugu Homma of Loudness played the bass and drums, respectively, for the songs, and the group took the name Sons of Angels, from the title of the song Senoue recorded with Eric Martin. In 2000, the band released Thrill of the Feel in Japan, published by Victor Entertainment. The album contained the tracks they had written for NASCAR Arcade, along with "Open Your Heart".

During the development of Sonic Adventure 2, Senoue and Gioeli reunited to record the title track, "Live & Learn". As Shibata and Homma were busy performing with Loudness and later Anthem, was brought in to play bass, and Katsuji Kirita from Gargoyle and The Cro-Magnons played drums. According to Vice, "Live & Learn" is one of Gioeli's favorite songs. Senoue recorded the intro to the song for the game's trial edition; he worked on the rest of the arrangement later and completed it within one day. He then sent a demo to Gioeli to record his vocals. Gioeli was given the task of writing the lyrics for "Live & Learn". He initially was nervous and asked Senoue if his lyrics were okay on multiple occasions, but despite this, "Live & Learn" became one of the most memorable songs on the Sonic Adventure 2 soundtrack according to Sean Aitchison of Fanbyte.

Around this time, the band was renamed Crush 40, after discovering that there was a Norwegian rock band already named Sons of Angels. When asked why he chose "Crush 40", Senoue said, "When we had to pick one, we chose the word we like... 'Crush' is one of them, and Johnny added the number. Crush is the name of the soda too... that's my favorite!" Gioeli added that his inspiration for the title was a desire to "crush" his forties, which he was approaching at the time. Two years after the 2001 release of Sonic Adventure 2, the album Crush 40 was released by Frontiers Records. The album contained the vocal tracks from NASCAR Arcade, Sonic Adventure and Sonic Adventure 2. According to Senoue, Crush 40 is specifically the band of himself and Gioeli, though tracks "It Doesn't Matter" and "Escape from the City" (sung by Tony Harnell and Ted Poley, respectively) were included on the album. Senoue explained this was done to exhibit these songs to fans.

Recordings for Sega and The Best of Crush 40: Super Sonic Songs
In 2003, Crush 40 composed two new songs entitled "Sonic Heroes" and "What I'm Made Of..." for Sega's Sonic Heroes, the first multiplatform Sonic game. Both Senoue and Gioeli have called "What I'm Made Of..." their favorite song to perform. For Shadow the Hedgehog in 2005, Crush 40 recorded "I Am... All of Me", as well as "Never Turn Back". The drums for both songs were recorded by Toru Kawamura. Additionally, Crush 40 recorded covers of songs used in 2006's Sonic the Hedgehog, Sonic and the Secret Rings, Sonic Riders and Zero Gravity, and Sonic CD. The band also recorded five original songs and a cover for Sonic and the Black Knight.

For their first 10 years, Crush 40 never performed live. In 2008, Crush 40 performed live at the Tokyo Game Show, with Senoue and Gioeli performing with backing tracks. A year later, Senoue revealed to Famitsu that Crush 40 had two album releases in the works, one of which was a "Best Of" album, due for release in September 2009. He also announced the release of future songs that were not written for video games. The Best of Crush 40 – Super Sonic Songs was released on November 18, 2009. In addition to compiling various Crush 40 songs from previous games, the album featured a new song, "Is It You," and a cover of "Fire Woman", a song released by The Cult in 1989. Senoue was also credited as a soloist on "Before This", a song from the 2009 Hardline album Leaving the End Open.

Rise Again, Live!, 2 Nights 2 Remember, and Driving Through Forever
After the 2010 release of Sonic Free Riders, Crush 40's contributions to Sonic the Hedgehog decreased. Senoue was no longer lead composer on games in the Sonic series after 2011's Sonic Generations. During the next few years, Crush 40 made more live performances and recordings. In 2010, Crush 40 performed live at the Summer of Sonic convention. The next year, Crush 40 recorded a single, "Song of Hope", as inspiration for hope for victims of the 2011 Tōhoku earthquake and tsunami. According to Senoue, the song was written for charity, specifically for the Red Cross. Subsequently, "Song of Hope" and three new songs were released as an EP called Rise Again. One of the included songs, "Sonic Youth", pays tribute to Crush 40's fans with numerous references to the band's past songs.

On March 29 and 30, 2012, Crush 40 performed live at Shibuya GUILTY in Tokyo, with Sonic Team producer Takashi Iizuka in the audience. From this concert, performed with Taneda and Kawamura, Crush 40's album Live! was recorded, and was released on October 3, 2012. The band also performed at the St. Louis Sonic Boom Festival in August 2013, and performed additional shows at the Summer of Sonic convention in 2012 and 2016, and San Diego Comic-Con conventions in 2016 and 2017. After more live performances at the Tokyo Game Show and Japan Game Music Festival 2013, in 2014 Crush 40 was announced for another two-night performance at Shibuya GUILTY. For the concert, Senoue and Gioeli were joined by Taneda and Katsuji. The concert featured two new songs, as well as a performance of Hardline's "Love Leads the Way". Recorded from that performance, 2 Nights 2 Remember, Crush 40's second live album, was released on May 13, 2015. It features four additional studio-recorded songs.

In 2018, Senoue was named lead composer for the soundtrack for Team Sonic Racing. He was requested to make the game's theme a song by Crush 40. This led to Senoue and Gioeli recording "Green Light Ride" for the game, Crush 40's first Sonic game theme in several years. The song was premiered at E3 2018, to a stronger reaction than Senoue expected. A short version of the song was made available in December 2018, before the 2019 release of the game itself. Senoue expressed his joy at being able to record another game theme with Crush 40, twenty years after Crush 40 began. Subsequently, Crush 40 released another compilation album, Driving Through Forever, in 2019. In 2020, Gioeli re-recorded "Song of Hope" with Bulgarian vocalist Sevi, as a way of reconnecting with fans during the coronavirus pandemic. On June 23, 2021, Sega held the Sonic the Hedgehog 30th Anniversary Symphony with Crush 40 as one of the participating acts.

In February 2024, following the use of its instrumental in a teaser, Gioeli confirmed that "Live & Learn" would be featured in Sonic the Hedgehog 3. He said that how the song is used is ultimately up to producers.

Musical style and legacy
According to Allegra Frank and Philip Kollar of Polygon, Crush 40 and Senoue have made "some of the most memorable butt rock tracks from Sonic history (and the history of video games in general)". Writing for Vice, Andy McDonald stated that Crush 40 helped to keep glam rock alive after grunge had supplanted it as a more popular style of rock music. Reviewing the album Crush 40, Chris Greening of Video Game Music Online highlights the hard rock sound and showing of Gioeli's experience in the vocals, stating that "Live & Learn" is "an ecstatic Americana rock anthem featuring Johnny at his best", while also stating the instrumentals are inspired by early 1990s heavy metal. He calls the album "among the best of the genre in game music".

Gioeli, who is not a gamer, described his songwriting process with Senoue for games as being akin to writing a soundtrack for a movie, watching scenes from the game or looking at storyboards. According to Gioeli, "Jun and I have our system—he starts with a musical feeling and sometimes a melody idea and then I go nuts with it! The lyrics do have to be approved for content, but that's it. We have the freedom to write what we feel is the right song for the scene." He has stated that among his three main projects—Crush 40, Hardline, and performing with Axel Rudi Pell—all three are different styles of rock music and he has to set himself in the "right emotions" to perform.

When interviewed about his style and that of the band, Jun Senoue said, "I know what my style is, and I know what my favourite genres of music are. I listen to a lot of metal music, as well as other genres of music, and my inspiration is always there. The style of the music in the game does change, and it gives a great sense of progression... When we got together to write stuff for Shadow [the Hedgehog], we found that our fresh ideas were a lot different to the songs we'd written back in 2002 – our sound had changed." Senoue has stated that the tempo of each song written for a game is based on how it is planned to be used and what would be suitable, but those songs not for a game are what the duo want to perform.

Writing for Fanbyte, Sean Aitchison stated that Crush 40 provided a signature musical style for the Sonic the Hedgehog series and expanded the musical tastes of Sonic fans. According to Aitchison, "The band embedded themselves in the memories and hearts of an entire generation of Sonic fans. Though their contributions to the Sonic franchise may be small in number, they are massive in impact." Kofi-Charu Nat Turner's 2008 study of media usage in an American urban middle school listed the band as a common interest within the group studied.

title: Crush 40


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Mainz Cathedral

Mainz Cathedral or St. Martin's Cathedral (Mainzer Dom, Martinsdom or, officially, Der Hohe Dom zu Mainz) is located near the historical center and pedestrianized market square of the city of Mainz, Germany. This 1000-year-old Roman Catholic cathedral is the site of the episcopal see of the Bishop of Mainz.

Mainz Cathedral is predominantly Romanesque in style, but later exterior additions over many centuries have resulted in the appearance of various architectural influences seen today. It comprises three aisles and stands under the patronage of Saint Martin of Tours. The eastern quire is dedicated to Saint Stephen.

The interior of the cathedral houses tombs and funerary monuments of former powerful Electoral-prince-archbishops, or Kurfürst-Erzbischöfe, of the diocese and contains religious works of art spanning a millennium. The cathedral also has a central courtyard and statues of Saint Boniface and The Madonna on its grounds.

During the time of Mainz Archbishop Willigis (975–1011), the city of Mainz flourished economically, and Willigis became one of the most influential politicians of that time, ascending to regent of the empire between 991 and 994. In 975–976 shortly after his installation he ordered the construction of a new cathedral in the pre-Romanesque Ottonian architecture style. This new and impressive building was part of his vision of Mainz as the "second Rome".

This new cathedral was to take over the functions of two churches: the old cathedral and St. Alban's, which was the largest church in the area, belonging to a Benedictine abbey and serving as the burial ground for the bishops and other nobles, including Fastrada, a spouse of Charlemagne. Most of the synods and other important meetings were held at St. Alban's Abbey.

The new cathedral consisted of a double chancel with two transepts. The main hall was built in the typical triple-nave "cross" pattern. As was usual at that time no vault was included because of structural difficulties relating to the size of the building. Six towers rose from the church. A cloister was enclosed in the structure and a small freestanding church, St. Mary's Church, connected by a colonnade. This small church developed later into the collegiate church of St. Maria ad Gradus.

Sandstone was used as the primary building material for the cathedral. The inside was plastered white under the Archbishop Bardo, probably in the middle of the 11th century. During renovations ordered by Henry IV in the late 11th century, much of the outside was also plastered, but the cornices were left exposed in their original red and yellow. It is believed that the coloring of the cathedral was changed on a number of occasions, but no further documentation of the coloring is available until records of the Baroque works.

The cathedral suffered extensive damage from a fire on the day of its inauguration in 1009. Archbishop Bardo (Bardo of Oppershofen) presided over the completion of the cathedral begun under Willigis. By 1037 the main portions of the body of Mainz Cathedral were complete. Willigis was buried in the second church he had initiated, St. Stephan's, in 1011.

The two chancels
From the ninth to 12th century, several important churches in the Holy Roman Empire were built with choirs on both ends. One of the first was Cologne Cathedral of 855 ("Hildebld's Cathedral"). One of the oldest preserved examples is St. Michael's Church, Hildesheim, erected since 1010. Gernrode Abbey church was added a second choir, in the 12th century. This type of footplans also was acquired in Poland (Tum Collegiate Church) and Hungary (Pécs Cathedral). The reason for building two chancels is not entirely clear. Many scholars suggest that there is some symbolic significance, such as empire and church, or body and spirit, but no irrefutable evidence for these theories exists. Others claim that the construction has a functional purpose for ceremonial processions. Whatever the original intent of the double chancel, the eastern chancel came to serve as the location for the mass and the western chancel was reserved for the bishop and pontiffs.

Bardo's western chancel
In most cathedrals at the time, the main chancel lay on the east side. Willigis, however, designed his cathedral with the main chancel on the west, presumably modeled after the great basilicas in Rome, which were constructed this way. (Willigis's design bore a striking resemblance to Old St. Peter's Basilica.)

The chancel was badly damaged in the fire of 1009, and remained that way under Archbishops Erkanbald and Aribo. The chancel was finally reconstructed under Bardo. He then buried his predecessor Aribo there, before the rest of the cathedral was even finished. (Willigis's remains are not, as sometimes believed, in Mainz Cathedral; he was buried in his second construction project, St. Stephen's.)

Henry IV's eastern chancel
In 1081, fire once again struck the cathedral, and the appearance of the Salian western end is not known. In 1100, Henry IV ordered reconstruction in the old Lombardic style. The old flat chancel end on the east side was replaced with a large apse, which external gallery with a narrow arcade supported by short columns crowned the semicircular wall with a wide pseudo arcade and tall pilasters on both sides. The new chancel had a triple-nave crypt. The damaged square tower had been replaced with an octagonal dome, above which an octagonal tower was added later. Flanking stair turrets remained from the first cathedral. These changes closely resembled the renovations Henry had overseen on Speyer Cathedral a few years earlier.

Henry also undertook a few other minor changes, such as raising the transept on the east side and adding openings at the column level. These column-level portals were among the first ever such constructed.

Henry died in 1106, before his intended changes were complete. With his death, the funding for the renovation of the cathedral dried up and so the remaining construction was abandoned. Mainz Cathedral is considered one of the three Kaiserdome ("Emperor's Cathedrals") of the Holy Roman (German) Empire, along with Worms Cathedral and Speyer Cathedral.

Evolution of the main nave
Archbishop Adalbert I of Saarbrücken (1110–1137) had a two-story chapel, called the Gotthard Chapel, built as the official palace chapel next to the cathedral. It is believed that he also ordered the renovation of the main body of the cathedral, mainly due to similarities between the main hall and the vault of the new chapel.

Conception for the renovations was again taken from the Romanesque Speyer Cathedral. This time, however, without money from the emperor, the builders lacked the resources to acquire the high-quality sandstone used in Henry's additions. They instead used limestone. The other aspects of the renovations were also much cheaper, and the extravagant style of Speyer Cathedral was largely avoided.

The central nave was built to an impressive 28 meters, five meters short of Speyer Cathedral's 33. It seems that the blind arches were intended to encompass the windows, as in Speyer Cathedral, but the height of the roof did not allow this. The resulting three-level effect, due to the arches ending before the windows, was a technique not before seen in architecture.

The main hall was further renovated throughout the entire 12th century. The entire outer wall structure was eventually replaced. Around the year 1200, the ceiling was replaced with a ribbed vault, a rather new technique for the time.

Additional renovations
Around the time that the ribbed vault was installed it was decided to renovate the western half of the cathedral, which had stayed relatively unchanged since Willigis' construction. In contrast to the eastern renovations done earlier, which were in a high-Romanesque style, these new changes were carried out in a late Romanesque style. A new vault was added to span the north and south arms of the transept. Large windows were added to the wall separating the transept from the main hall. The large dome connecting the transept to the main hall was decorated with friezes and pillars.

Three small apses and two very large pillars were added to support the small flank towers. Pediments were added to the three open sides of the chancel. In general, the western section of the cathedral was extensively decorated to keep up with the newly renovated eastern section.

Post-Romanesque building and renovation
Already at the time of renovations on the western segment of the cathedral, new architectural styles were being ushered in. This included Gothic additions and, later, Baroque pieces as well.

Gothic additions
The first post-Romanesque addition to the cathedral was the western rood screen. This was done in the Gothic style at the time of the western renovations. Following this example, the intersect area was heavily renovated in the next few centuries in the Gothic style.

Starting in 1279, Gothic chapels featuring large decorative windows were built onto the cathedral. In 1418 the Nassauer Chapel, a freestanding burial chapel in the middle nave was built at the request of Archbishop John II of Nassau. The construction of this chapel is attributed to Madern Gerthener, who was also responsible for the Memorial Chapel built into the entrance hall to the western wing of the intersect area.

The towers were also renovated during this period. Belfries were added to the two towers at the crossings, on the eastern tower in 1361 and on the western in 1418. These towers were topped with Gothic-style pyramid roofs. (These towers turned out to be so heavy that the eastern tower had to be supported by a pillar erected in 1430.)

The cloister was heavily renovated and the Liebfrauenkirche was completely replaced at this time, marking the last of the Gothic renovations to the building. The roof on the eastern tower, however, was replaced in 1579 by a flatter one due to weight concerns. After that, no major alterations were made to the cathedral for almost two centuries.

Baroque additions
In 1767 the western cross-tower was struck by lightning and its roof was destroyed. In 1769 the engineer Franz Ignaz Michael Neumann designed a new multi-story roof for the tower. All the towers in the western wing were roofed with this new Baroque stone design, although care was taken to preserve the previous styles as well. The pinnacles of the pediments on the chapels were replaced with urn-like structures. The famed weathervane, called the Domsgickel, was added at this time as well.

The inside of the cathedral was heavily whitewashed. A statue of St. Martin and the Beggar was erected on the roof of the western chancel in 1769.

19th-century reconstruction
The Archbishopric of Mainz suffered heavily in the late 18th century. Following the invasion by French revolutionary troops in 1792, Mainz came under attack from Prussian troops in 1793 in the siege that led to the end of the Republic of Mainz. This attack damaged large portions of the cathedral, particularly the east wing, the cloister, and the Liebfrauenkirche, which was demolished in 1803 (the year after Mainz lost its archbishopric and became a regular diocese). The cathedral was used as an army camp for several years, and therefore large amounts of the cathedral's artefacts were sold, the wooden interior was burned for heat.

Bishop Joseph Ludwig Colmar (1802–1818), with support from Napoleon, set into motion restoration efforts. These efforts were interrupted by quartering needs for the French Army in 1813, and the cathedral was used as a church in 1814 for the first time in eleven years. By 1831, the reparations had been for the most part completed. The major change to the building was an iron cupola on the main eastern tower built by architect Georg Moller. But this cupola was removed in 1870 because it was too heavy.

After that, Pierre Cuypers undertook a lengthy restoration work. The support pillar in the eastern cross-tower was removed, as the heavy belfry no longer stood. The crypt in the eastern chancel was rebuilt, but not to the original specifications of the one built by Henry IV. At the conclusion of these reconstructions, a neo-Romanesque tower was erected in place of the eastern cross-tower in 1875.

At this time the cathedral was once again repainted. Large and colorful Nazarene movement murals, including some by Philipp Veit, were painted to decorate the inside of the cathedral.

20th century restorations
Conservation efforts began in the 1900s to save the cathedral from further damage. After a lowering of the groundwater, the wooden substructures became rotten and the foundations started to fail and needed to be replaced. Beginning in 1909 the old foundations were underpinned. Works stopped in 1916 due to World War I. Between 1924 and 1928 the fundaments were completely reinforced by a new fundament made of concrete. Concrete and steel were used to anchor the towers and main vault.

A new floor, made of red marble, was constructed in this period. Architect Paul Meyer-Speer engineered a system to modify the inner walls with colorful sandstone, removing most of the paintings by Veit and restoring a look similar to the original Willigis-Bardo construction. Unfortunately this system did not withstand continuing restoration efforts, and by 1959 most of the color was gone.

In World War II, Mainz was a target of Allied bombing multiple times. The cathedral was hit several times in August 1942. Most of the roofs burned, and the top level of the cloister was destroyed. The vault, however, withstood the attacks and remained intact. The damaged elements were restored as authentically as possible, a process which continued well into the 1970s. In addition, much of the glass in the cathedral was replaced.

The outside of the cathedral was colored red to match the historical buildings of Mainz. In addition, extensive cleaning and restoration efforts were undertaken, ending in 1975. In that year, the thousandth year since the beginning of the cathedral's construction was celebrated.

In 2001, new efforts were begun to restore the cathedral both inside and outside. They were expected to take from ten to fifteen years.

In 2004, two large windows, by the renowned glass artist Johannes Schreiter, were installed.

Emperors and the cathedral
When Mainz was an archbishopric, the cathedral was the official seat of the archdiocese. In 1184 Emperor Barbarossa celebrated the accolade of his sons in the cathedral. The feast of 1184 on the Maaraue, the Diet of Pentecost, became legendary in history as the greatest feast of the Middle Ages. It was from this cathedral that Frederick Barbarossa, the Holy Roman Emperor of the time, officially announced his support for the Third Crusade during the Curia Christi of 27 March 1188.

During the Middle Ages, the right to crown German kings (and queens) was given to the Archbishop of Mainz. The crowning in Mainz awarded the monarch the kingdom of Germany, and a subsequent in Rome granted him the Holy Roman Empire (a nominal difference only). Because the cathedral was damaged several times, many crownings were not held there.

The following monarchs were crowned in Mainz Cathedral:

 * Conrad II on 8 September 1024 by Archbishop Aribo
 * Agnes de Poitou in 1043 by Archbishop Bardo
 * Rudolf of Rheinfelden (anti-king) on 26 March or 7 April 1077 by Siegfried I
 * Matilda (later wife of Henry V), on 25 July 1110 by Frederick I, Archbishop of Cologne
 * Philip of Swabia on 8 September 1198 by Bishop Aimo of Tarantaise
 * Frederick II on 9 December 1212 by Siegfried II of Eppstein
 * Heinrich Raspe on 22 May 1246 by Siegfried III of Eppstein

Burials

 * Bardo (archbishop)
 * Wezilo
 * Marianus Scotus
 * Bertold von Henneberg

title: Mainz Cathedral