text:
Talk:Demons (Dostoevsky novel)

Plot
Unfortunately I am bout to remove the extremely long plot, since it is filled with opinions of the plot writer, and as such constitutes WP:Original research, inadmissible in wikipedia. Also the plot is unreadable and fails to demonstrate the main points discussed by the critics of the novel, and as such, fails to provide encyclopedic value. Please review carefully the wikipedia guidelines, MOS:PLOT. -M.Altenmann >t 18:08, 21 June 2015 (UTC)

 * A plot summary is concerned with the primary source i.e. the novel itself, not with discussion and criticism in secondary sources. This is mentioned in MOS:PLOT. I understand that it is very long and complicated but I think the extreme complexity of the plot warrants this amount of detail. I would dispute that it is "unreadable", just very difficult because the novel itself is in fact very difficult.

 * You say it is "filled with opinions of the plot writer and as such constitutes original research." Perhaps you can tell me which parts you think are original research? So, starting with the summary of Part I, what in particular constitutes original research? I can either refer you to the chapter or passage it is summarizing, or, if I can't do this, remove it or reword it. Harold the Sheep (talk) 22:47, 22 June 2015 (UTC)
 * Plot section is too damned long. Who would read it? 220.255.193.76 (talk) 19:06, 28 February 2016 (UTC)

 * Anyone with a genuine interest in understanding the novel might read it, or at least read part of it. It's an 800 page novel with an extremely complex, multi-layered plot - very difficult to summarize coherently. It might be of help to someone trying to decipher the intricacies of the plot in the novel. But you're right, it is a bit damned long. Harold the Sheep (talk) 21:38, 29 February 2016 (UTC)
 * I agree that it is too long. Because of the length it inevitably veers into interpretation, much of which is subject to disagreement. I think the goal should be to interest the reader (of the article) in reading the book, not to let him feel that he has read the "Cliff Notes" version of the book. I have added a topic about eliminating discussion of "At Tikhon's", which is NOT part of the book. Raskolovich (talk) 06:05, 10 March 2023 (UTC)

Thematic content
For a long time this section has just had one sub-section - 'ideologies', so I have deleted the section and incorporated its content into the Characters (Shigalyev and Shatov) and Commentary sections. Harold the Sheep (talk) 06:36, 12 March 2016 (UTC)

Plot tag
In my opinion it is not possible to "comfortably" navigate the plot of this novel: it is long, opaque, complex and multilinear, and demands a lot of the reader. This is intentional on the author's part and should be reflected in the summary, or the plot will tend to be over-simplified and misrepresented, as it was previously. In terms of the standard length for plot summaries, I think this is a case of wp:Iar.

Making the summary shorter might be a good idea, but are there any suggestions on how it should be done, taking in to consideration the novel itself, not merely the wikipedia guidelines. Harold the Sheep (talk) 05:46, 23 May 2016 (UTC)
 * No response, so I'm removing the tag. Harold the Sheep (talk) 01:06, 30 May 2016 (UTC)
 * Any long novel will have many threads that weave in and out of the story as a whole. It is enough to delineate them without exposition. It is enough to refer to the themes of the novel without explicating them. A plot summary is like a coat hangar. It cannot possibly do justice to the novel any more than a coat hangar can do justice to the coats that are hung on it. It is unreasonable to expect, or attempt, it to do so. Raskolovich (talk) 06:20, 10 March 2023 (UTC)

Inception
There is some good information in your Inception section, particularly relating to Ivanov, but I think it would be better incorporated, in a condensed form and without so many quotes, into the Background section. By removing the Background section you removed all reference to the much larger scale work that the original 'pamphlet novel' relating to the Nechaev affair was incorporated into. All sources talk about this, and Dostoevsky himself wrote about the Verkhovensky characters becoming secondary to Stavrogin as work progressed on the novel.
 * I have no issue with, say, combining both sections. There's further info on Nechayev that may be relevant. Specifically, how his writings after the Ivanov murder advocated systematic politicide as soon as the Romanovs were topped. Kingstowngalway (talk) 18:04, 22 June 2016 (UTC)
 * That would be relevant to an article on Nechayev, not necessarily this novel.
 * I think you are over-weighting the Nechayev-inspired side of the novel. Even the character of Pyotr Verkhovensky is not actually meant to be identified with Nechayev, though its creation was initially inspired by his activities; and the murder of Ivanov, on which the murder of Shatov was very loosely based, ended up being just one murder among a whole bunch of murders and suicides and catastrophes and scandals in the finished novel. What you have added about the Nechayev-inspired side of the novel refers to the initial anti-nihilist idea, i.e. before the novel was actually written. In other words, interesting and relevant though it is, it relates to a novel that never actually got written. The novel Demons, the subject of this article, is far more complex and multilinear than the initial idea, and had an entirely different centre of gravity—Stavrogin, not Nechayev/Verkhovensky.
 * There is already significant reference to Nechayev in the 2 paragraphs of the Background section. My suggestion is condensing what you have added about Ivanov, the murder and its effect on Dostoevsky, losing the quotes from Kjetsaa, and incorporating it into what is already there. Harold the Sheep (talk) 00:53, 23 June 2016 (UTC)
 * We don't NEED to know anything about Nechayev to appreciate the novel. It was not written to elucidate Nechayev, but to express Dostoevsky's personal vision of his world. Raskolovich (talk) 07:37, 10 March 2023 (UTC)

"Synopsis"
I don't think the plot is nearly detailed enough. After all, the work is out of copyright so we could just insert the full text. Le Sanglier des Ardennes (talk) 01:06, 23 June 2016 (UTC)
 * What clever irony! Do you have something constructive to say? Harold the Sheep (talk) 01:43, 23 June 2016 (UTC)
 * No; I was merely warning Ys that I was going to try cutting down the plotLe Sanglier des Ardennes (talk) 02:32, 23 June 2016 (UTC)
 * Well, thank-you for the "warning."
 * It's probably a good idea to try cutting down the plot, but I would still like to discuss the changes if you are interested. Some of what might seem to be excessive detail is actually of vital significance to the plot. For example, you have removed:
 * In the uproar that follows no-one notices Shatov, who has not said a word the entire time, walking across the room to stand directly in front of Nikolai Vsevolodovich. He looks him straight in the face for a long time without saying anything: the room goes quiet. Suddenly, he hits him in the face with all his might. Stavrogin staggers, recovers himself, and seizes Shatov; but he immediately takes his hands away, turns pale, and stands there calmly returning Shatov's gaze. It is Shatov who lowers his eyes, and leaves, apparently crushed. Liza screams and collapses on the floor in a faint.
 * and replaced it with:
 * Shatov for no apparent cause then struck Stavrogin a blow in the face; the latter managed to control his wrath.
 * Firstly, the entire lengthy paragraph has been in the present tense and now abruptly changes to the past tense. My point though is that the removed details are significant, heralding as yet obscure aspects of the plot relating to Shatov, Stavrogin and the nature of the relationship between them. The scene ends with Liza screaming and collapsing in a faint, so this also seems to me to be a significant event that should be mentioned. Harold the Sheep (talk) 01:50, 24 June 2016 (UTC)
 * The paragraph still exists; if you don't mind I'll have a hack at the plot and then you can try to revive it. Since you're away now, I'll do what I want but feel free to change anything back. Comparing it to the plots of other novels, it is way too detailed to my thinking. What is the relevance of Leisa's faint by the way?Le Sanglier des Ardennes (talk) 04:05, 24 June 2016 (UTC)
 * At this stage in the plot's development neither the reader nor most of the characters know the full relevance of any of the dramatic events that unfold in this long and very complex scene: that is the point, there is an intrigue, there is deception, all sorts of obviously significant things are happening but no-one knows exactly what they signify, whether it is Marya Lebyadkin, the Captain's ravings, Pyotr Verkhovensky's stories, Shatov punching Stavrogin in the face, or Liza fainting. We know that Liza fainting is relevant because it is the final dramatic event in the scene, part 1 of the novel ends at precisely this point: "to this day I can still hear the sound of her head hitting the carpet." Liza has an attack of hysterics earlier in the scene, which I cut from the summary to try to keep it shorter. Liza's hysterics and fainting are signs of what is going on inside her as she tries to fathom what is going on with Stavrogin, and the interaction between Shatov and Stavrogin is the final straw.
 * I understand that, comparing it to the plot summaries of other novels, it is way too long. My point is that it is a mistake to compare this particular plot to the average plot, and there should be an element of Ignore All Rules. It is long, dense, dark, labyrinthine and polyphonic: not at all like the average plot. Harold the Sheep (talk) 06:05, 25 June 2016 (UTC)
 * By "average plot" do you mean something like "Middlemarch" or "The Red and the Black"? LOL Raskolovich (talk) 07:28, 10 March 2023 (UTC)
 * The point he is making is legitimate. The degree of inclusion you are requiring of yourself can only be fulfilled by reading the entire novel. It would be better if you acknowledged that. You could refer to the depth and complexity of the novel without duplicating it. Raskolovich (talk) 06:26, 10 March 2023 (UTC)

It is difficult to see what you are doing with the plot summary, based on the changes to part 1. It's not really any shorter, the prose quality and continuity has been diminished, and a number of inaccuracies have been introduced. For example:
 * (referring to the Lebyadkins): "They live in mysterious seclusion." They don't, it is common knowledge that they live at Filippov's house with Shatov and Kirillov, and their affairs are pretty well-known to everyone because of the Captain's drunkenness. Pyotr Stepanovich moves them into seclusion in Part 2.
 * (referring to Julia Mikhaylovna): "She has an active hand in the town's affairs and attempts to remodel its society, being especially interested in the revolutionaries of the younger generation who she wants to convert and 'save'. Consequently admits them to her receptions and thus lends them countenance." Apart from the odd prose, this is also inaccurate. Pyotr Stepanovich hasn't arrived yet: nothing of this kind develops until part 2 of the novel.
 * (referring to Stepan Trofimovich): "Because of his quandam position as tutor to her son Nikolai Vsevolodovich, Verkhovensky has lived with Stavrogina for the past two decades..." His 'quondam' position is not the cause of his remaining there for twenty years. The causes relate to the peculiarities of their characters and the nature of their personal relationship.

There are a number of other problems. I'll probably revert back to the previous version unless you particularly want to keep going with it. Harold the Sheep (talk) 05:51, 1 July 2016 (UTC)

 * This is exactly the kind of thing I was referring to when I said that the length led inevitably to interpretation, which is subject to disagreement. If you are presenting something in a plot summary that someone might disagree with, then it does not belong in a plot summary. Imagine the actual plot of "Notes from the Underground". Compare that to the actual substance of the novella. You are trying to summarize too much: the novel, not the plot of the novel. If the summary of the novel were completely accurate, there would be no need to read the novel. But that will never happen, so stick to the coat hangar. Only the novel can do justice to the novel. Raskolovich (talk) 06:38, 10 March 2023 (UTC)
 * You are making the novel so dry and lifeless. You make explicit things that are meant to be inferred and also happen to be hysterically funny. Stepan is not a quintessential intellectual of the '40s. He is a very queer duck. By trying to tell too much - by interpreting - you make him something that he isn't. You don't even mention what Dostoevsky is trying to do with his narration, i.e. introduce an element of uncertainty to the narrator. The unreliable narrator, which was previously done in the first person, as in "Barry Lyndon", was possibly lying, but Dostoevsky's narrators are unreliable because of the incompleteness and second-hand nature of their information.
 * These things only come across in the reading of the text. You can't convey them explicitly to the reader. If you could, there would be no need for fiction. Wittgenstein said, "Anything that can be said can be said clearly. However, there are some things that cannot be said." I would add that these "things that cannot be said" are the province of art. You should stick to the things that CAN be said. Raskolovich (talk) 07:25, 10 March 2023 (UTC)

Matryosha's age
In my copy of the text (an Andrew MacAndrew translation entitled The Possessed), Matryosha's age is given as twelve, not eleven. Can someone please double check? Seems odd that different translators would interpret an integer value differently. Thanks. The tamale (talk) 21:00, 30 September 2021 (UTC)
 * They didn't interpret an integer differently, they probably just used different versions. Dostoevsky revised the chapter several times due to the publisher's concerns. In the different versions, Matryosha varied in age from 10 to 14. In the original manuscript she is described as "in her 12th year", so some interpret this as 11. However, 12 does seem to be the age generally given for Matryosha, in secondary sources as well. Harold the Sheep (talk) 04:10, 2 October 2021 (UTC)

"At Tikhon's"
This censored chapter should not be discussed as though it were a missing piece of the novel. It was intended to be a different novel, and when it was censored, Dostoevsky took the story in an entirely different direction. Dostoevsky never went back to revise his works. He was so in need of money that as soon as he finished a chapter, he sent it to the magazine to be published. It is my opinion that the censor did Dostoevsky the biggest favor of his life. The idea of a horrific murderer as a Christ figure may seem intriguing as a concept, but the censored chapter shows how poorly it works in print. Once the deed is recounted there is no further mention of the girl or the moral implications for Stavrogin. The two men only talk about Stavrogin's "great burden" and some undisclosed act that he is planning to commit, presumably to expiate his guilt (presumed by me anyway). I found Tikhon himself to be morally repugnant. At any rate the novel is much better without this chapter. And I don't think that it should be used to interpret the novel that Dostoevsky ultimately wrote, which is far superior to the one he was planning before this chapter was rejected. Raskolovich (talk) 05:50, 10 March 2023 (UTC)

title: Talk:Demons (Dostoevsky novel)


text: User talk:151.200.245.74

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

title: User talk:151.200.245.74


text:
Priceline.com

Priceline.com is an online travel agency for finding discount rates for travel-related purchases such as airline tickets and hotel stays. The company facilitates the provision of travel services from its suppliers to its clients. Priceline.com is headquartered in Norwalk, Connecticut, United States and is wholly owned by Booking Holdings, which also owns Kayak.com, Booking.com and other sites. The company was founded in 1997. It operates in more than 200 countries and territories around the world and has partnerships with over 400 airlines and 300,000 hotels. Users can search for travel deals and discounts on the website, and in the past also offered the "Name Your Own Price" feature to bid on hotel rooms and flights.

History
Priceline was founded by Jay S. Walker, who left the company in 2000, by which time Richard S. Braddock, Citicorp's #2, had come aboard as chief executive. Braddock left in 2004, having helped take the company public in 1999.

Entrepreneur Michael Loeb assisted in the "creation and early funding".

Priceline first became known for its Name Your Own Price system, where travelers would name their price for airline tickets, hotel rooms, car rentals, and vacation packages. While the purchaser can select a general location, service level, and price. The sales are for opaque travel inventory; details are disclosed only after the transaction is complete with no possibility of cancellation.

Priceline's profit from the proceeds is the difference between the price suggested by a customer and the one charged by the service provider. It has also added a more traditional model, called Express Deals, where travelers have presented prices and a geographical perimeter within which the hotel will be located but are not told the name of the establishment.

Priceline offers a tool named Pricebreakers for Hotel bookings. It claims that the price of the hotels are up to 50% off retail. It is somewhat similar to Express Deal but instead of showing the geographical location within a perimeter, it provides the names of 3 hotels, and one of the hotels will be allocated after the payment is done.

Travelers can still choose to name their price for airline tickets, hotel rooms, and rental cars. The number of airlines, hotels and car rental company participants in the name your own price program has increased as these suppliers utilize this opaque market Priceline created to sell their perishable inventory without lowering prices through other traditional sales channels. Priceline also sells discounted cruises, as well as tours and attractions.

In 2002, Priceline licensed its Name Your Own Price travel system to eBay.

In November 2007, Priceline “permanently” eliminated all booking fees on published airfares.

In April 2014, Priceline.com Incorporated changed its name to "The Priceline Group Inc." The corporate name change was intended to create a clear delineation between the global Priceline business. Now, Priceline.com is one of six primary brands of Booking Holdings.

Priceline announced in May 2015 that it would invest an additional $250 million in Chinese online travel company Ctrip to tap the fast-growing China market.

Priceline officially ended its Name Your Own Price deals for flight bookings in 2016, rental cars in 2018 and hotels in 2020.

Other services
Priceline.com experimented with selling gasoline and groceries under the Name Your Own Price model in 2000, at the height of the dot-com bubble, through a partially owned affiliate, WebHouse Club.

Priceline got into the online auction business with Priceline Yard Sales, where individuals would use the Priceline system to haggle for various second-hand items and trade them in person.

Priceline sold long distance telephone service and automobiles under the Name Your Own Price model.

These experiments were terminated in 2002.

Another experiment, the Name Your Own Rate system for home loans, continues under a license with EverBank.

In 2016, Brett Keller was named CEO of the priceline.com brand.

William Shatner
In 1997, William Shatner became the spokesman for Priceline.com, agreeing to do the spots in exchange for stock in the company. Shatner allegedly sold the stock before the burst of the dot-com bubble, making a $600 million profit; however, this number was disputed as an urban legend by CEO Jeffery Boyd. An early ad campaign featuring Shatner had him belt out popular songs in spoken word, in the style of his album, The Transformed Man. He was "replaced" in 2004 by his Star Trek co-star, Leonard Nimoy. Shatner still appeared in spots for Priceline, running into Nimoy as his replacement. When that campaign ended, Shatner again became Priceline's sole spokesperson.

In 2007, an ad campaign by Butler, Shine, Stern & Partners had Shatner take on the role of the Priceline Negotiator. In commercials that began airing January 22, 2012, Shatner's Negotiator character apparently dies as a bus falls off a bridge and explodes. Subsequent ads have featured his "spirit," still advertising Priceline.com from beyond the grave. In August 2012, Shatner was brought back in a commercial located on a stormy, cloudy beach, parodying the end of the film Point Break. A man, apparently an investigator, stands next to Shatner. Shatner is holding a wooden surfboard, wearing a suit with shortened pants and pitching the new way of booking a hotel. He states that surfing is his life now and "we'll see where the waves take me. Sayonara!" and goes charging into the waves.

Priceline has been parodied on The Tonight Show with Jay Leno and in multiple Saturday Night Live skits. In a September 2008 SNL skit, during the opening monologue by Olympian Michael Phelps, Shatner rose from the audience to give Phelps tips on product endorsements.

Theresa Caputo
In June 2012, Theresa Caputo, star of the television show Long Island Medium, appeared in a commercial for Priceline.com, in which she portrayed herself "connecting" with the late Priceline Negotiator character previously played by William Shatner. However, this commercial has sparked controversy, since the commercial appears to make light of the Native American belief of smudging.

JREF President DJ Grothe released an open letter calling out Priceline.com for endorsing Caputo, stating, "It is difficult to watch the show and not feel heartbroken for those who are desperate to hear from the departed... and even more so if they are being manipulated by a charlatan." Grothe urges Priceline.com to "invite... your new representative" to take the James Randi One Million Dollar Paranormal Challenge and prove her credentials.

Kaley Cuoco
In January 2013, Kaley Cuoco from the sitcom The Big Bang Theory joined William Shatner as his fictitious daughter in Priceline.com commercials.

Criticisms
Priceline does not include resort fee amounts in the bidding. Therefore, it's possible to win a bid for a hotel and then be forced to pay mandatory resort fees (for example, often $25 per night for resort hotels in Las Vegas). Priceline continues this practice despite a 2012 warning to the industry from the Federal Trade Commission (FTC). The FTC continues to state the following regarding how hotels and third parties should disclose such fees:

"Listing the "resort fee" near the quoted price or in the fine print—or referring to other fees that "may apply"—isn't good enough."

Priceline is one of the companies accused of using the services of Wiki-PR, a public relations firm specialized in editing of Wikipedia that has been accused of subverting Wikipedia content for business interest.

title: Priceline.com


text: User talk:129.19.68.66

title: User talk:129.19.68.66


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Stephen Wright (English footballer)

Stephen John Wright (born 8 February 1980) is an English former footballer who currently works for Liverpool Academy as a Coach.

Liverpool
Born in Bootle, Liverpool, Wright joined Liverpool on a youth contract in June 1996, choosing to join Liverpool over rivals Everton, the club he supported as a boy. Wright turned professional a year later in August 1997, and the following season was named as an unused substitute for the UEFA Cup clash with Celta Vigo on 24 November 1998 alongside Steven Gerrard.

Following two successful loan spells with Crewe Alexandra in the 1999–2000 season, Wright made his Liverpool debut in the 8–0 drubbing of Stoke City on 29 November 2000 in the League Cup, replacing Markus Babbel at half time. He went on to play 4 times that season for Liverpool, including a brief substitute appearance against future club Sunderland at the Stadium of Light in February 2001. He was also an unused substitute as Liverpool won the 2001 UEFA Cup final.

Initially starting out as a centre back, Wright made the transition to right back during the 2001–02 season, where he established himself as a useful member of the Liverpool squad. On 27 October 2001, Wright saw red for the first time in his career, after being sent off against Charlton Athletic at The Valley. Wright scored his first goal for the club 3 days later in the UEFA Champions League against Borussia Dortmund. The game ended 2–0 to Liverpool. Wright eventually went on to make 21 first team appearances for Liverpool, while scoring only the one goal.

Sunderland
After finding first team opportunities increasingly difficult to come by, Wright joined Sunderland in a £1.5m deal, which would eventually rise to £3m. Wright was handed the number 2 shirt and made first choice right back, replacing Bernt Haas, who had moved on loan to FC Basle. Wright's tough and uncompromising style made him initially popular with the Sunderland faithful, however, a drastic loss of form, combined with Sunderland's dreadful form in the league saw him criticised towards the end of the season. Sunderland were eventually relegated with a record low of 19 points, in a season that saw manager Peter Reid sacked just weeks after signing Wright, and his replacement, Howard Wilkinson, sacked 5 months into his role.

Wilkinson was replaced by former Republic of Ireland manager Mick McCarthy, who often alternated between Wright and teammate Darren Williams for the right back slot during the 2003–04 season. With the club performing well in the league, Wright's confidence grew as a player, and he soon won over his critics with a series of solid displays. Wright scored his first goal for the club on 25 August 2003 against Watford at the Stadium of Light.

Unfortunately for Wright, Sunderland were beaten in the play-offs by Crystal Palace, crushing any hope of a swift return to the Premier League. During the summer, McCarthy strengthened the squad by signing Manchester United right back Mark Lynch, though Wright remained first choice. After a poor start, Sunderland eventually won the league comfortably, with Wright playing a major role and earning himself the respect of the supporters that had once criticised him. As a measure of his popularity, Wright was one of the front-runners for the annual Player of the Year award, eventually finishing in 4th place.

With Sunderland returning to the Premier League, Wright was expected to resume his role at right back, however, a serious knee injury put Wright on the shelf for 6 months, just one game into the season. Upon returning to fitness, Wright was sent off for two bookable offences on his comeback game against West Ham United on 4 February 2006 and later picked up an ankle injury in training that required surgery. This effectively ended Wright's season after just two appearances, as Sunderland crashed out with another record low points tally.

With McCarthy dismissed towards the end of the 2005–06 season, new chairman and former teammate Niall Quinn agreed to take the reins, however, decided to leave Wright out of the opening games of the 2006–07 season, instead preferring midfielder Rory Delap for the role. Wright made his first appearance for 7 months in the 3–2 defeat to Plymouth on 12 August 2006, however, picked up another injury in the defeat to Bury two games later, and battled with Nyron Nosworthy and on-loan defender Danny Simpson to regain his position after resuming training with the first team.

Stoke City
On 3 August 2007, it was announced that Wright had joined Stoke City on a 5-month loan deal. However his time at Stoke was overshadowed by injuries and therefore made only 17 appearances before being sent back to Sunderland in January 2008.

Back to Sunderland
His loan spell with Stoke ended in January 2008. He returned to Sunderland in January hoping to get back in the starting XI but failed to do so. Wright was released by Sunderland at the end of the 2007–08 season.

Coventry City
Over the course of the summer of 2008, several clubs, including Hull City, expressed an interest in signing Wright. He spent pre-season training on trial with Coventry City, playing an active part in their pre-season fixtures. After an extended period of negotiations, Wright signed a two-year contract with Coventry on 8 August 2008, the day before the first game of the season. On 14 July 2009, Wright was appointed as Coventry captain by manager Chris Coleman. At the end of the 2009–10 Coventry City told Wright he was surplus to requirements and he was subsequently released.

Later career
Following his release from Coventry Wright joined Brentford on trial and appeared in a reserves match against Leyton Orient. He signed a contract on 29 October 2010.

In August 2011 he was training with Hartlepool United, and featured in a reserve team game away at Gateshead. He subsequently signed a short-term deal with Hartlepool, making his debut in a 2–0 victory over Exeter City. After playing eleven matches for Hartlepool, Wright left the club in January 2012.

On 2 March 2012 he signed a deal at Wrexham until the end of the season. His debut for the club came the following day against Kettering. He scored his first goal for Wrexham against Hereford United on 10 November 2012. On 24 March 2013 Wright picked up his third honour in football with the North Wales club by winning the FA Trophy at Wembley Stadium, they beat Grimsby Town 4–1 on penalties.

On 5 September 2014 Wright joined Welsh Premier League side Aberystwyth Town where he spent a season, before joining Rhyl. He dropped down to the Cymru Alliance in 2016 signing for Denbigh Town. Wright left the club in 2017 and officially retired from playing. He took up a coaching position at the Wrexham AFC Centre of Excellence before leaving in 2019 to join Liverpool in a coaching position with their academy set-up where he still remains.

International career
He was capped for the England U-20 team at the 1999 FIFA World Youth Championship, with teammates Stuart Taylor, Ashley Cole, Peter Crouch, Andy Johnson, Matthew Etherington, etc. But the team finished bottom at the group stage, after three defeats.

Personal life
Wright's father, John Wright, was a kitman at former club Liverpool.

In 2006, Wright became an investor in Golf Punk magazine, alongside former Sunderland teammates Phil Babb, Michael Gray, Jason McAteer, and Thomas Sørensen, saving the publication from closure.

Career statistics

Honours
Liverpool
 * UEFA Cup: 2000–01

Sunderland
 * Football League Championship: 2004–05, 2006–07

Wrexham
 * FA Trophy: 2012–13

title: Stephen Wright (English footballer)


text: File:Costume of a Vilain or Peasant Fifteenth Century from a Miniature of La Danse Macabre Manuscript 7310 of the National Library of Paris.png


text: Category:Pre-Columbian trans-oceanic contact


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Talk:Oz (magazine)

Merge
Oz (magazine) and OZ magazine clearly should be merged. I have no strong opinion on which direction the merge should go. -- Jmabel | Talk 21:39, Dec 6, 2004 (UTC)

All things being equal, I guess this is the better title, even though the other is the older article. OZ magazine will become a redirect. Merging the histories would only be confusing, so the history of the other branch of work is preserved at []. -- Jmabel | Talk 01:51, Dec 8, 2004 (UTC)

Lacking access to good sources, and finding contradictions between the articles, I am removing certain details about the 1964 Australia trial which I believe may be wrong and cannot verify. Please, if someone has citation for these, indicate where they are verified from, and restore.

Jmabel | Talk 03:07, Dec 8, 2004 (UTC)
 * "Because the trio had been poorly advised and had pleaded guilty to an earlier minor charge, this second obscenity trial..."
 * What earlier minor charge? And I believe that 1964 was their first obscenity trial. I think someone got the '64 and '71 trials confused, but I'm ready to stand corrected.
 * "There was a major public outcry and benefit concerts, and the trio was finally acquitted on appeal after it was found that the magistrate had grossly misdirected the jury."
 * This is verbatim true about the '71 trial, but it is here without further detail on the '64 trial. If it is true, can someone please fill in a few details and restore?
 * Neville and Walsh received sentences of six months, although Sharp was given a reduced sentence of four months because the magistrate found him to be of 'reduced intelligence'.
 * Again, this sounds awfully like what happened in '71 (with Dennis's intelligence being impugned). I'm guessing the author got confused

Accuracy tag
The above points have still not been addressed. Tyrenius 03:50, 6 May 2006 (UTC)

Trials of Oz
There were two trials - the first and the sixth issue of Oz magazine in Sydney were considered obscene by the Vice Squad. At the first trial the editors pleaded guilty, at the second they pleaded not guilty and appealed the original guilty verdict.

Sharp received a lesser sentence, I've never come across the idea that this was because of any imputed defect. I think it was because he was the art director rather than the editor, who were held to be more responsible.

Richard Neville's 'Hippie Hippie Shake' is a good source for details about dates, the trials and Oz in both Sydney and London.

—The preceding unsigned comment was added by 150.203.2.85 (talk • contribs).

Images up for deletion
Please check the image pages for OZ covers, as they are being marked for deletion and need a full fair use rationale. Tyrenius (talk) 18:22, 22 February 2008 (UTC)

"Homosexuals"
"As Richard Neville said in his opening statement, other issues had been assembled by Homosexuals and members of the Female Liberation Movement."

The commented out text says "correct usage in this context". Why? If no explanation is given I'll change this. It sounds bizarre and semi-homophobic. At the very least the context must be explained to the reader. Popcornduff (talk) 21:20, 27 June 2014 (UTC)

 * I added the note because 'gay' would be anachronistic. The UK wing of the Gay Liberation Front was not founded until a year later, and the modern sense of 'gay' was not quite in common use. As Oz had liberation as its ethos, the edition is unlikely to have been prejudiced, but the issue in question (No,.23 August/September 1969) was titled Homosexual Oz. My note could perhaps be clearer. Philip Cross (talk) 08:46, 28 June 2014 (UTC)

 * Thanks for the reply, it is appreciated.

 * I'm afraid I disagree, though. We are editing Wikipedia in the year 2014, when using the noun "Homosexuals" (especially capitalised as a proper noun) has a slightly homophobic whiff to it. The fact that this is not how the term was used in 1969 is irrelevant as far as I can see. We are writing now, today, about events of the past. Popcornduff (talk) 10:20, 28 June 2014 (UTC)

 * Using a capital 'H' is an embarrassing gaffe, but avoiding anachronistic usage is common practice. References to poets of the great war are much more common than poets of World War One, for example. More specifically to Wikipedia, although the Manual of Style does not deal with the issue of anachronistic usage directly several sub-pages do. See for example Manual of Style/Latter Day Saints, Manual of Style/Military history and Manual of Style/Music. Enough to allow for the use of 'homosexual' in the two contexts it was formerly used in this article.

 * While Wikipedia is not censored, it is conceivable 'homosexual' might now qualify as a cortentious word, but the words included in the linked section are adjectives or abstract nouns and do not include homosexual, let alone the 'n' word. See also Offensive material which advises against removing offensive words purely on the basis of their offensiveness. Philip Cross (talk) 12:10, 28 June 2014 (UTC)

 * None of your examples seem analogous. If this were an article about attitudes towards homosexuality in history, or something, then using the term "homosexuals" as a noun might be a different matter, referring to the concepts and attitudes of the time (ie homosexuality as pathology). In this article, I see no need for it. None of this has anything to do with censorship, by the way; it's about maintaining a neutral encyclopaedic tone. Popcornduff (talk) 19:55, 28 June 2014 (UTC)

Assessment comment
Substituted at 02:05, 30 April 2016 (UTC)

Requested move 22 December 2018

 * 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 section.

The result of the move request was: Moved as 3 users agreed to a speedy move. (non-admin closure) JE98 (talk) 16:12, 23 December 2018 (UTC) JE98 (talk) 16:12, 23 December 2018 (UTC)

OZ (magazine) → Oz (magazine) – Per MOS:ABBR, MOS:CAPS, MOS:TITLES, MOS:TM. This is not an acronym. — SMcCandlish ☏ ¢ 😼  22:25, 22 December 2018 (UTC)
 * Why wasn't this done as a technical? No contest. Dicklyon (talk) 22:32, 22 December 2018 (UTC)
 * Just do it. WP:TR In ictu oculi (talk) 08:39, 23 December 2018 (UTC)
 * Technical works with this, this type of upper-cased magazine title would be first-letter upper case and the rest lower. Randy Kryn (talk) 12:55, 23 December 2018 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Oz Trial: New source
Here you go: https://www.theguardian.com/artanddesign/2021/aug/04/how-the-oz-obscenity-trial-inspired-protest-art -- Andy Mabbett ( Pigsonthewing ); Talk to Andy; Andy's edits 18:34, 4 August 2021 (UTC)

John Lennon section … missing information?
The section ends with, John Lennon mentioning the change of the song title “God Save Oz” to “God Save Us” … and then neglects to give the details. Possibly a bad edit from a previous version of this article? Definitely needs fixing. 75.106.32.81 (talk) 23:55, 21 May 2024 (UTC)

title: Talk:Oz (magazine)


text:
Alexandrov Ensemble

The Alexandrov Ensemble (Ансамбль Александрова; commonly known as the Red Army Choir in the West) is an official army choir of the Russian armed forces. Founded during the Soviet era, the ensemble consists of a male choir, an orchestra, and a dance ensemble.

The Ensemble has entertained audiences both in Russia and throughout the world, performing a range of music including folk tunes, hymns, operatic arias and popular music. The group's repertoire has included The Volga Boatmen's Song, Katyusha, Kalinka, and Ave Maria.

It is named for its first director, Alexander Vasilyevich Alexandrov (1883–1946). Its formal name since 1998 has been A. V. Alexandrov Academic Song and Dance Ensemble of the Russian Army (Академи́ческий анса́мбль пе́сни и пля́ски Росси́йской А́рмии и́мени А. В. Алекса́ндрова), shortened to Academic Ensemble (Академи́ческий анса́мбль) on second reference.

On 25 December 2016, its artistic director, Valery Khalilov, and 63 other members of the Ensemble were killed in the Russian Defence Ministry aircraft crash of a 1983 Tupolev Tu-154 into the Black Sea just after takeoff from the southern resort city of Sochi, Russia. The Red Army Choir singers and dancers were en route to Syria to entertain Russian troops there for Orthodox Christmas celebrations.

Name
At the establishment, in 1928, the choir was named Red Army Song Ensemble of the M. V. Frunze Red Army Central House (Анса́мбль красноарме́йской пе́сни Центра́льного до́ма Кра́сной А́рмии и́мени М. В. Фру́нзе). In 1935, it was renamed Red-Bannered Red Army Song and Dance Ensemble of the USSR (Краснознамённый анса́мбль красноарме́йской пе́сни и пля́ски СССР).

In 1949 the ensemble was officially named the A. V. Alexandrov Twice Red-bannered and Red-starred Song and Dance Ensemble of the Soviet Army (Дважды Краснознамённый ордена Красной Звезды ансамбль песни и пляски Советской Армии имени А. В. Александрова Два́жды Краснознамённый о́рдена Кра́сной Звезды́ анса́мбль пе́сни и пля́ски Сове́тской А́рмии и́мени А. В. Алекса́ндрова). In 1978 the word "academic" was added to the title (A. V. Alexandrov Twice Red-bannered and Red-starred Academic Song and Dance Ensemble of the Soviet Army). After the dissolution of the Soviet Union, the ensemble received its present name in 1998.

Early years
Born into a peasant family, Alexander Vasilyevich Alexandrov became the first artistic director of the ensemble, choirmaster, conductor, teacher and the public figure who wrote the music to the State Anthem of the Soviet Union. He came from a musical background of hymns and folk songs, could play the viola and had perfect pitch, so he sang in the church choir and performed at festivals. He was heard singing at the village school by PA Zalivuhin, a soloist in the choir at Kazan Cathedral, St. Petersburg. Zalivuhin persuaded Alexandrov's parents to let the child go to Saint Petersburg to learn music. In 1898, the young peasant boy became a pupil of the Saint Petersburg Court Chapel.

There are two recorded histories of the ensemble: possibly separate elements of the same history. The first says that the initiator of the ensemble was Felix Nikolaevich Danilovich, a theatre director. The first director of the ensemble was chosen from three of Moscow's conductors: Danilin, Chesnokov and Alexandrov. Seen in isolation this would signify that A. V. Alexandrov was not the creator of the ensemble. In this version the first troupe is named as follows. Singers: Tkachenko, Zyukov, Samarin, Rozanov, Koltypin, Tolskov, Golyaev, Charov. Dancers: Maximov, Svetlov. Bayanist: Surdin.

The second version says that the ensemble was formed out of the Frunze Red Army Central House in 1928. There is also a story that Stalin then asked Alexandrov to relocate the choir to Moscow.

Development
During World War II, the ensemble gave over 1500 performances at both Soviet fronts, entertaining troops about to go into battle, at gun emplacements, airfields, and in hospitals.

Under Boris Alexandrovich Alexandrov
Following the death of Alexander Alexandrov, the ensemble was taken over by his son, Boris Alexandrovich Alexandrov. Under his leadership, the ensemble gained fame outside the Soviet Union, making extensive tours worldwide. Boris Alexandrov retired in 1987, and was succeeded by People's Artist of Russia Igor Agafonnikov the same year, with Anatoly Maltsev as the ensemble chief. He retired as the principal conductor in 1994; he died that year and was buried in Moscow at the Novodevichy Cemetery.

Under B. A. Alexandrov, the ensemble was highly disciplined. Boris's party trick was to leave the stage and allow the ensemble to perform "En Route" alone. Members were positioned so that they could not all watch one orchestral leader, and this appeared to be a trick, but there was no trick at all. Leonid Kharitonov remembers: "The Ensemble members were so disciplined and experienced that they could feel the rhythm simultaneously and could sing and play together automatically, without the conductor... In Canada during one concert Alexandrov left the Ensemble to perform alone for half an hour."

Major Vladimir Alexandrov (1910–1978), brother of Boris Alexandrov, also composed for the ensemble. He served as Orchestral Director and Conductor. Vladimir Gordeev was the principal conductor on the 1988 UK tour.

1948 Berlin Peace Concert
In 1948 much of Berlin was still ruined after World War II, and the city was divided into four occupation zones, controlled by the USSR, France, the UK and the United States. This was before the Berlin Wall was built, and it was still possible to travel between zones. An American officer suggested a concert in the Gendarmenmarkt (in the Soviet zone at the time), and the French zone commander supported the suggestion. The musicians were to be provided by the USSR, and the Alexandrov Ensemble was chosen. A temporary stage was set up in the square, with flowers all along the front. 30,000 people came to stand and watch for three hours. In 1994, towards the end of his life, Boris Alexandrov said: "The visit to Germany was unforgettable. It is dominant in the history of the ensemble. It was necessary to make a new creative leap – from wartime military music to postwar relaxing harmony. It was important, and the transition had to be managed on many fronts, including getting the Ensemble back into its original pre-war role, performing the classics and singing folk songs. Before the war the Ensemble had 200 professional singers; following the war it was down to 60." A previous tour to East Germany had been cancelled due to the sudden death of Alexander Alexandrov in 1946 in Potsdam, when in his bed was found an annotated copy of Beethoven's Symphony No. 9, showing that A. Alexandrov had been preparing the final chorus for a performance. Now Boris, his son, was ready to follow his father's plan. The 1948 peace concert was to consist of German opera extracts and Russian folk songs (Nightingales, Zemlyanka and Roads); and after an intervention by the tenor Victor Nikitin, some German folk songs were also included. The people joined in, singing Heidenröslein, and Nikitin sang Kalinka three times in a row. The concert was very successful, and very moving. A sound recording of the concert was made, and pressed in 1985 under the Radio DDR 1 label. This is listed on the Alexandrov Ensemble discography page.

However the Berlin Peace Concert did not happen in isolation. It was part of a series of punishing yearly tours to war-torn areas. The main tour season during and just after World War II appears to have run from June to October – perhaps because the large troupe usually had to perform outdoors, to accommodate large audiences. The August 1948 Berlin concert occurred two-thirds of the way through a tour to (20 June to 18 July) Prague, Most, Brno, Bratislava, Ostrava, Žilina and Košice in Czechoslovakia; then apparently without a break (18 July to 10 October) Dresden, Weimar, Magdeburg, Stendal, Schwerin, Potsdam, Berlin, Rathenow, Leipzig, Halle, Lane, Erfurt, Chemnitz, Frankfurt an der Oder and Schwarzenberg in Germany.

After 1991

Today, the ensemble is led by Honoured Artist of Russia Vyacheslav Korobko, who has been leading it since 2003.

Until 1969, the standard uniform for the ensemble choir, soloists and orchestra was the tunic and riding breeches. On 1 January 1970, this was changed to dress uniform, and there have been further variations to the dress uniform as used by the ensemble since 1970.

Eurovision Song Contest 2009
In 2009, The Aleksandrov Red Army Choir took part in the Eurovision Song Contest when the contest was hosted in Moscow as part of a collaboration during the First Semi Final, as they get joined by 2003 Representatives t.A.T.u who performed "Not Gonna Get Us" as the final portion of the interval act.

2016 plane crash
On 25 December 2016, a Russian Defence Ministry Tupolev Tu-154 carrying 64 members of the Alexandrov Ensemble Choir went down 1.5 km off the coast of Sochi, Russia while en route to Latakia, Syria for a Christmas celebration with the troops deployed at Khmeimim military base. The plane crashed with no survivors.

After 5 weeks, the choir was reformed anew in time for Defender of the Fatherland Day celebrations on 18 February 2017. That first concert in weeks marks also the birth of a new era for the Ensemble, with its first international tour following the crash with concerts not just in Russia but also in select European countries. Most of the new members joined through auditions held on 15 and 27 January 2017 by the Ministry of Defense of Russia. Since 7 June 2016, Colonel Gennadiy Sachenyuk became artistic director then main conductor and Head of the Ensemble since 24 March 2017.

2018 90th Anniversary
On 12 October 2018, the Ensemble celebrated the 90th anniversary of its foundation at a special event at the Bolshoi Theatre. Following this event, the leader of the Ensemble Colonel Gennadiy Sachenyuk announced a worldwide tour. The Ensemble performed concerts produced by Thierry Wolf in various countries including France, Switzerland, Belgium, Serbia, the Czech Republic and China. In December 2019, they celebrated Christmas in Montreal during a week of seven concerts at La Maison Symphonique.

2022 Russian invasion of Ukraine
Following the ongoing Russian invasion of Ukraine on 24 February 2022, the tour Alexandrov Ensemble was supposed to have in the Czech Republic has been canceled, while individual members of the choir have faced disqualifications from competitions such as Operalia.

Soloists

Most notable soloists:
 * Evgeny Belyaev
 * Victor Ivanovich Nikitin
 * Leonid Kharitonov
 * Mark Reizen
 * Georgi Pavlovich Vinogradov
 * Vadim Anayev
 * Ivan Bukreev
 * V. Chetverikov

Chorus
Current members of the choir are listed here. The choir consists mainly of vocal sections of tenor, baritone, and bass. In some of the pieces they perform, these sections are divided into as many as eight different vocal lines. From the early 1950s until at least 1965 a typical full division (which varied from song to song) was as follows: (1) countertenors; (2) first tenors; (3) second tenors; (4) baritones; (5) first bass; (6) second bass; (7) basso profundos.

Orchestra
The orchestra, in what became a typical composition for later generations of military ensembles in the Soviet Union, has a mixed composition of Russian traditional instruments and western instruments, including the balalaika, the domra, the bayan, the double bass, woodwinds, brass, and percussion instruments. A great guest balalaika player was Boris Stepanovich Feoktistov (Борис Степанович Феоктистов) (1910–1988). In the West his most famous recording is Kamarinskaya (1963). A. Molostov is the trumpet soloist in "Dark Eyes" in vintage recordings. The bayan-player Victor Gridin is a past member of the orchestra.

Dancers
Among the dances staged by the ensemble are Zaparozhtsi Dance, Cossack's Cavalry Dance, Festive March, Dance of the Cossacks, Soldier's Dance, and Sailor's Dance. Some of these are performed by mixed dancers, while others, such as Cossack's Cavalry Dance, are performed by male dancers only.

The ballet is under the direction of Lev Nikolaevich Kulikov National Artist of Russia, the main ballet master, and maintains the heights of choreographic art with honour. The priority in its repertoire is taken by the military compositions: Matroskaya barynya, Kazachiya cavalry plyaska, Festive march, Invitation to dance and others. The ballet performs a lot of Russian folk dances. The classical repertoire contains Poloveckie plyasky from the opera Prince Igor written by Alexander Borodin. This is from our dance classics, but we always update the dance repertoire. (Leonid Ivanovich Malev, current Director of the Ensemble, interviewed by Russia Beyond the Headlines 1 Dec 2008)

Current line-up
The artistic director was Valery Khalilov but he, and 63 other members of the Ensemble, were killed in an aircraft crash on 25 December 2016. The chief choreographer is People's Artist of Russia L. Kulikov; the chief administrator is Honoured Artist of Russia VG Kadin, the choreographer and coach is the Honoured Artist of Russia V. Ermolin; head dresser is Honoured Worker of Culture A. Kormilitsyn; soloists are VI Shtefutsa and EM Labkovsky; with SV Ivanov, PD Bogachev, VP Maystruk, AA Gvozdetsky, BM Mizyuk: all Honoured Artist of Russia.

In the choir are YA Lysenko, Y. Shtrunov, IM Pirogov, IS Sobolev, IF Volkov, OV Filimonov, AN Savitsky, VA Nagorny, VP Kokarev, AA Hristachev, JN Deynekin, VM Bolonenko, VN Antonov, AN Stritenko, AA Toschev: all Honoured Artist of Russia; and VS Buzlov, SP Lapik, VF Orthodox, GU Razgasimov, V. Chekin, MD Mochalina.

In the orchestra are AA Mogulkin, Y. Savkin, MG Chervov, PD Shchennikov, NI Diakov, AI Egorov, VM Predelin: all Honoured Artist of Russia. Vocal coaches are People's Artist of Russia, laureate of competitions, MI Glinka and PI Tchaikovsky, Professor KP Lisovsky. The Principal Concertmaster is Honoured Artist of Russia V. Brodsky.

In the ballet are GD Pavlyuchenko, IV Konygina, P.U. Khmelnitski: all Honoured Artist of Russia. In 2019, the Ensemble touring all over the world with famous soloist as Valery Gavva or Vadim Ananeev but also young soloists such as Alexander Kruze or Maxim Maklakov,former soloit of Kraznodar Opera or very young talent such as Sergey Kuznetsov. Under the direction of conductor Gennadiy Sachenyuk

Directors of the Ensemble and orchestra, and Assistant Conductors

 * 1928–1946 – Major General Alexander Vasilyevich Alexandrov, People's Artist of the Soviet Union, founding artistic director and conductor of the Ensemble, awarded the Stalin Prize, composed the State Anthem of the Soviet Union and various other songs for the ensemble
 * 1946–1987 – Major General Boris Alexandrovich Alexandrov, Hero of Socialist Labor, People's Artist of the Soviet Union, awarded both the Lenin Prize and the Stalin Prize, son of the founder, composer and led the ensemble on a number of national and international engagements
 * 1987–1992 – Professor Colonel Anatoly Maltsev, People's Artist of Russia, led the Ensemble through the dissolution of the Soviet Union and the armed forces, served as Assistant Conductor until 1987
 * 1992–1993 – Colonel Igor Germanovich Agafonnikov (until 1992 conductor and artistic director for the orchestra, also served as deputy and relief conductor)
 * 1993–2002 – Colonel Dmitry Vasilyevich Somov
 * 1994–2002 – Colonel Victor A. Fedorov, Choir Master and relief conductor
 * 2003–2016 – Colonel Leonid Malev, Honoured Artist and Honoured Cultural Worker, responsible for the choir's renewed international tours including a memorable concert at the Vatican in 2004
 * 2008–2012 – Prof. Colonel Igor Raevskiy, People's Artist of Russia, Honoured Artist of Belarus, awarded the State Prize of Czechoslovakia
 * 2012–2016, 2017–present – Colonel Gennady Ksenafontovich Sachenyuk, Honoured Cultural Worker of Russia, current artistic director, Principal Conductor and Head of the Ensemble
 * 2016 (May–December) – Prof. Lieutenant General Valery Khalilov, People's Artist of Russia, highest-ranking officer to serve as Artistic Director
 * Second conductor, Lieutenant Colonel Nikolay Kirillov, People's Artist of Russia, Chief Conductor and assistant director of the ensemble
 * Choirmaster- Sergey Sokolov.
 * Present days – 13 September 2019, Gennadiy Sachenyuk, nicknamed the Maestro, Conductor and Director of the Ensemble since 2016, was honored with the highest level medal for Russian artist.

Composers and assistant directors

 * Kostiantyn Dankevych (1905–1984): a Ukrainian who was director of Songs and Dance of the Red Army Choir in Tbilisi, and wrote Poem of Ukraine.
 * Lev Knipper (1898–1974) who composed Polyushko Pole, and Viktor Gusev (1909–1944) who wrote the lyrics.
 * Pavlo Virsky who was artistic director of the Alexandrov Ensemble dancers from 1942, for many years.
 * Samuel Pokrass (1897–1939) who wrote White Army, Black Baron or Red Army is Strongest; lyrics by P. Grigoriev.

The repertoire
In 2006 and 2007, in Moscow and in Vladikavkaz, Grozny, the ensemble performed a New Year fairy tale show for children, Ivan the Good, Ivan the Brave, about a soldier helping to save New Year's Day.

In 2008, the 80th anniversary of the ensemble, director Leonid Malev said: Of course everything depends on the repertoire which is quite large – more than two thousand works. Depending on the concert we choose a special repertoire. We have a rule that we try not to break. In any country we sing 2–3 songs in the native language of the people who live there. As a rule it helps to find a rapport with, and the appreciation of, the audience. And for us it is some kind of musical gift, to honour the host country and its people. For instance in Canada when we sang the National Anthem of Russia people stood up to show respect to our country, and when we finished we sang their country's anthem "O Canada".

A million people in our country and abroad like songs like "Kalinka", "Katyusha", "Smuglyanka" and the other songs of the military years as well as "The Day of the Victory", "Dark Eyes", "Vecherny zvon" and "Podmoskovnye vechera". All these songs are known because of the Alexandrov folk song and dance company and people want to hear these songs at every concert. They are not just part of our history; they are great masterpieces. It is interesting that "Svyaschennaya Voyna", written by Alexander Vasilyevich Alexandrov in 1941, helped Soviet soldiers to protect their Motherland and is still popular in Slovakia, Poland and Bulgaria. Those audiences listen to it standing up and it touches their hearts and souls.

For our concerts we search for new musical works because you can't live only in the past. But to tell you the truth it's impossible to imagine our concerts without works of Russian and West-European classical music (Beethoven, Bach, Tchaikovsky and Mussorgsky), they are part of human history. But our repertoire contains not only songs of the military years and folk songs, arias from operas, songs of the world and spiritual music but also new songs such as Iliya Reznik's "To Serve Russia", and those written by Eduard Hanka, Kim Breytburg, Sergey Sashin and other modern composers and poets. —Director Leonid Ivanovich Malev, 1 December 2008

The Children's Choir School
The Alexandrov children's choir school was founded in 2007. Malev said about the school:

It's not a secret that the more you work with children, the greater their prospect of achievement in society. We approached the Ministry of Defence with an appeal to organize this choir and it was approved. October 1st 2007 was the opening day of the Aleksandrovcy creative school for musical and aesthetic education for children. This became an important event in the year of the Ensemble's 80th anniversary.

The first night of the boys' Aleksandrovcy Choir on December 26th at the Cadets' Gold Epaulette Ball went like clockwork. After that night they participated in many concerts. The latest was on Poklonnaya Hill in memory of the Beslan tragedy, as part of City Day on the 3rd and 7th of September. It should be mentioned that we have an excellent director of the school Nina Anatolievna Putilina who puts all her soul into raising this worthy generation. We do a lot in order to raise the new generation with regard to physical, spiritual and moral health. Here children begin at the beginning of vocal music and literary speaking; they absorb the best practice of their teachers. The children's choir has become an integral part of the Ensemble's life and takes part in its important concerts. We plan to have tours together.

Films
The ensemble under the direction of Boris Alexandrov can be heard singing It's a Long Way to Tipperary in the 1981 film Das Boot. Members of the ensemble are seen performing The Internationale in New York's Grand Central Station in Peter Miller's 2000 documentary The Internationale. Several films have been made of the ensemble's performances: see Alexandrov Ensemble discography.

Awards for the ensemble

 * For global recognition of high art: The Global Team Award
 * From the French Academy of Records, for the best record: Gold Disk (1961)
 * From the French company Chant Du Monde, for record sales: Gold disk (1964)
 * Order of the Mongolian Combat Merit (1964)
 * Czechoslovak Order of the Red Star (1965)
 * From the Dutch company N.O.K, for record sales: Gold disk (1974)
 * Two awards of the Order of the Red Banner
 * The honorary title of academy (1979)

Reviews

 * 1989 "Red Army Ensemble Offers" etc.: J. Rockwell, New York Times
 * 2008 "Russia Beyond the Headlines": Canada tour
 * Voce del leone webpage: Review of EMI Classics CD: Red Army Ensemble
 * Musicweb International CD review of EMI Classics 3 92031 2

title: Alexandrov Ensemble


text:
Talk:OZ magazine

Oz (magazine) and OZ magazine clearly should be merged. I have no strong opinion on which direction the merge should go. -- Jmabel | Talk 21:39, Dec 6, 2004 (UTC)

title: Talk:OZ magazine


text:
Talk:Lituites

Would much like to know how this species relates to the genus Trilacinoceras. Picture at nautiloid looks just like a Lituites. --DanielCD 21:43, 6 Dec 2004 (UTC)

identical images, different labels
Identical photos on this page, labeled Lituites, and under Nautiloid, where it's labeled Trilacinoceras. There is no other mention of Trilacinoceras within the text of either article, nor does Trilacinoceras have its own article. To the uneducated reader (like myself) this is confusing. Was Trilacinoceras a species of the genus Lituites? If so, please specify the label in the Lituites article. If not, one of them seems to have been mislabeled. ---Sluzzelin 04:59, 30 August 2006 (UTC)

title: Talk:Lituites


text:
Hispano-Suiza 8

The Hispano-Suiza 8 is a water-cooled V8 SOHC aero engine introduced by Hispano-Suiza in 1914 that went on to become the most commonly used liquid-cooled engine in the aircraft of the Entente Powers during the First World War. The original Hispano-Suiza 8A was rated at 140 hp and the later, larger displacement Hispano-Suiza 8F reached 330 hp.

Hispano-Suiza 8 engines and variants produced by Hispano-Suiza and other companies under licence were built in twenty-one factories in Spain, France, Britain, Italy, and the U.S. Derivatives of the engine were also used abroad to power numerous aircraft types and the engine can be considered as the ancestor of another successful engine by the same designer, the Hispano-Suiza 12Y (and Soviet Klimov V12 derivative aero-engines) which was in service during the Second World War.

Origins
At the beginning of World War I, the production lines of the Barcelona based Hispano-Suiza automobile and engine company were switched to the production of war materiel. Chief engineer Marc Birkigt led work on an aircraft engine based on his successful V8 automobile engine. The resulting engine, called the Hispano-Suiza 8A (HS-31), made its first appearance in February 1915.

The first 8A kept the standard configuration of Birkigt's existing design: eight cylinders in 90° Vee configuration, a displacement of 11.76 litres (717.8 cu in) and a power output of 140 hp at 1,900 rpm. In spite of the similarities with the original design, the engine had been substantially refined. The crankshaft was machined from a solid piece of steel. The cylinder blocks were cast aluminium and of monobloc type that is, in one piece with the SOHC cylinder heads. The inlet and exhaust ports were cast into the blocks, the valve seats were in the top face of the steel cylinder liners, which were screwed into the blocks. Using a rotating bevel gear-driven tower shaft coming up from the crankcase along the rear end of each cylinder bank, with the final drive for each cylinder bank's camshaft accommodated within a semicircular bulge at the rear end of each valve cover. Aluminium parts were coated in vitreous enamel to reduce leakage. All parts subject to wear, and those critical for engine ignition were duplicated: spark plugs for dual ignition reliability, valve springs, magnetos, etc.

Engine reliability and power to weight ratios were major problems in early aviation. The engine and its accessories weighed 185 kg, making it 40% lighter than a rotary engine of equivalent power. This empty weight does not include the radiator and coolant fluid. Generally, air-cooled engines are lighter than their equivalent horsepower water-cooled counterparts. For example, the Bentley BR.2 rotary put out 230 hp and weighed 220 kg, Clerget 9B rotary 130 hp, 173 kg. The new engine was presented to the French Ministry of War in February 1915, and tested for 15 hours at full power. This was standard procedure for a new engine design to be admitted into military service. However, because of lobbying by French engine manufacturers, the Spanish-made engine was ordered to undergo a bench test that no French-made engine had yet passed: a 50-hour run at full speed. The HS-31 was therefore sent back to Chalais-Meudon on July 21, 1915, and tested for 50 hours, succeeding against all expectations. The design also promised far more development-potential than rotary engines. This was despite being the most common type, then in use, for most aircraft. Also, rotary engines were getting close to the limits of their development at this time. Rotary engines of increased power generally had increased weight, which in turn increased the already serious gyroscopic torque generated by the engine's rotation. A further increase in torque was considered unacceptable, and the power to weight ratio of the new rotary engines under development did not appeal to aircraft designers.

French officials ordered production of the 8A to be started as soon as possible and issued a requirement for a new single-seat high-performance fighter aircraft using the new engine. The Louis Béchereau-designed SPAD VII was the result of this requirement and allowed the Allies to regain air superiority over the Germans.

Variants
Some data from: British Piston Engines and their Aircraft

Note: Hispano-Suiza company type numbers were prefixed by HS- or written in full as Hispano-Suiza Type 31, but military designations used the conventional system of Hispano-Suiza(engine manufacturer) 8(no of cylinders) A(engine series) b(variant) r(attribute), thus Hispano-Suiza 8Abr.

 * 8 (HS-31): 140 hp, initial production and test engines, with few applications, including early Nieuport 14s.

 * 8Aa (HS-31)
 * 150 hp at 2000 rpm, entered production in July 1915. Early HS-8A engines were plagued with various problems which required further work and was the standard powerplant for early-production SPAD VIIs and the Curtiss "Jenny" JN-4H variants. The demand for the Hispano-Suiza engine was such that other manufacturers began producing it under licence, in France, Great Britain (Wolseley Adder), Italy (Nagliati in Florence and Itala/SCAT (automobile) in Turin) and Russia. Total production of the HS-8Aa amounted to some 6,000 engines.

 * 8Ab (HS-34)
 * 180 hp at 2,100 rpm, increasing the compression ratio from 4.7 to 5.3, Birkigt was able to increase the power output . The 8Ab began replacing the 8Aa on SPAD VIIs in early 1917.

 * 8Ac

 * 8Ad
 * (1929) 120 x bore x stroke, 210 hp for take-off.

 * 8B (HS-35)
 * 200 hp, compression ratio 5.3:1, geared at 0.75:1. The HS-36 was the 8B with a Lewis gun firing through the propeller boss.

 * 8B twin (HS-39):Coupled 8B engines

 * 8Ba
 * 200 hp at 2,300 rpm, low compression ratio of 4.7:1, spur geared at 0.585:1.

 * 8Bb
 * 200 hp, compression ratio of 4.8:1, reduction gear 0.75:1. However the reduction gear system was fragile, and often broke down, sometimes with spectacular results ending up with the entire propeller, driveshaft and driven gear parting company from the airframe. Progressive refinement of the engine brought the available power to 235 hp by the end of 1917.

The 8B, 8Ba and 8Bb were used (a) to power the earliest versions of the S.E.5a, (b) along with the 8Bd, the SPAD S.XIII, (c) front-line active versions of the Sopwith Dolphin, and (d) several other Allied aircraft types, with its gear reduction easily identifiable in vintage World War I photos, from its use of a clockwise (viewed from in front, otherwise known as a left hand tractor) rotation propeller.

 * 8Bc: 220 hp, compression ratio of 5.3:1, reduction gear 0.75:1.

 * 8Bd: 220 hp, compression ratio of 5.3:1, reduction gear 0.75:1.
 * 8Bda

 * 8Be: 220 hp, compression ratio of 5.3:1, reduction gear 0.75:1.

 * 8BeC (HS-38): The 8Be fitted with the 37 mm SAMC Model 37 cannon, or a similar weapon, firing through the propeller boss. A reduction gear equipped power-plant with a resultant clockwise rotation propeller like the 8B, produced 220 hp at 2,100 rpm. Two known weapons fitted were the SAMC with a rifled barrel and a smooth-bore cannon firing canister ammunition. The moteur-canon could fire a single shot at a time through the hollow drive shaft without propeller interference. This cannon mount required an "elevated" intake manifold design, bringing the intake "runners" straight off the inner surfaces of the cylinder banks to the updraft carburetor's plenum chamber. The engine was used on the SPAD S.XII.
 * 8Ca/220: Cannon-equipped 225 hp at 2,100 rpm with 5.3:1 compression. Given the company designation HS Type 38
 * 8Cb/180: Cannon-equipped 220 hp at 2,000 rpm with 4.7:1 compression. Given the company designation HS Type 44
 * 8Cc/220: Cannon-equipped 220 hp at 2,100 rpm with 5.3:1 compression. Given the company designation HS Type 44

 * Hispano-Suiza Type 40: (8E ?)

 * Hispano-Suiza Type 41: (8A ?)
 * 8F (HS-42)
 * 300 hp at 2,100 rpm (eq. 750 lb·ft torque). The direct drive 8F was a bored out version of the 8B, intended for use in bombers, with a displacement of 18.5 L. Despite the increased weight of 256 kg, the 8F was also installed in fighters such as the Nieuport-Delage NiD 29 and Martinsyde Buzzard, and would have powered the never-produced Mk.II version of the Sopwith Dolphin. Engine speed being lower than that of the HS-8B, the reduction gear was deleted, thereby increasing engine reliability.

 * 8Fa
 * generally similar to the 8F.

 * 8Fb
 * 300 hp, aka HS Type 42, compression ratio of 5.3:1, direct drive.

 * 8Fd Special
 * For the CAMS 38 Schneider Trophy racer developing 380 hp

 * 8Fe (HS-42VS)
 * (1926) 140 x bore x stroke, 350 hp for take-off.

 * Wolseley W.4A Python I
 * 150 hp, compression ratio of 4.7:1. License production of the 8Aa at Wolseley Motors Ltd.

 * Wolseley W.4A Python II
 * 180 hp, compression ratio of 5.3 :1.

 * Wolseley W.4A Viper
 * 200 hp, compression ratio of 5.3 :1. Wolseley's engineers removed problems with the crankshaft and increased the compression ratio to give more power, with some early engines having a compression ratio of 5.6:1.

 * Wolseley W.4A Viper II
 * 210 hp at 2,000 rpm.

 * Wolseley W.4B Adder I
 * 200 hp, compression ratio of 4.7 :1, reduction spur gear to 0.593:1.

 * Wolseley W.4B Adder II
 * 200 hp, compression ratio of 4.7 :1, reduction spur gear to 0.593:1. With stronger crankshaft webs.

 * Wolseley W.4B Adder III
 * 200 hp, compression ratio of 4.7 :1, reduction spur gear to 0.593:1. With balanced crankshafts.

 * Wright-Hisso A:Wright-Martin built Type 34/HS8Aa 150 hp at 1,400 rpm and 4.72:1 compression.
 * Wright-Hisso B: 4-cyl in-line water-cooled 75 hp 120 x
 * Wright-Hisso C: 200 hp  geared A
 * Wright-Hisso D: 200 hp  geared A with cannon
 * Wright-Hisso E: 180 hp at 1,700 rpm and 5.33:1 compression(HC 'I')
 * Wright-Hisso E-2: (HC 'E')
 * Wright-Hisso F: ('D' without cannon)
 * Wright-Hisso H: 300 hp, based on the Type 42/HS8F
 * Wright-Hisso H-2: improved 'H'
 * Wright-Hisso I:
 * Wright-Hisso K: H with 37mm Baldwin cannon
 * Wright-Hisso K-2:
 * Wright-Hisso M: experimental 300 hp
 * Wright-Hisso T:
 * Wright-Hisso 180 hp V-8: direct drive
 * Wright-Hisso 220 hp V-8: geared drive
 * Wright-Hisso 300 hp V-8: geared drive
 * M-6: A 300 hp Soviet Union produced copy of the 8Fb
 * Wright-Hisso V-720

Applications

 * Austin-Ball A.F.B.1 (single prototype)
 * Avia BH-21 (from 1925)
 * Avia BH-22
 * Bartel BM-5
 * Bernard SIMB AB 10
 * Blanchard Brd.1
 * Caudron R.11 (8Bba)
 * Caudron C.59
 * Caudron C.61 (8Ac)
 * Curtiss JN-4H Jenny (rare subvariant)
 * De Bruyère C 1
 * Descamps 27 (8Fb)
 * Dewoitine D.1 (8Fb)
 * Farman F.121 Jabiru (8Ac)
 * FBA Type H (8Aa)
 * Felixstowe F.1
 * Fokker D.IX
 * Fokker D.X (8Fb)
 * Fokker D.XII (8F) initial design only
 * Fokker S.III
 * Gourdou-Leseurre GL.21
 * Hanriot HD.5
 * Hanriot HD.15
 * Hanriot HD.20
 * Itoh Emi 29
 * Letord Let.1 (8A)
 * Letord Let.2 & Let.3 (8Ba)
 * Letov Š-7 (8Fb)
 * Letov Š-13 (8Fb)
 * Letov Š-14 (8Fb)
 * Levasseur PL.1 (8Ab)
 * Martinsyde F.4 Buzzard (8Fb)
 * Nieuport 14 (8A)
 * Nieuport-Delage NiD 29 (8Fb)
 * Nieuport-Delage NiD 38 (8Ab)
 * Nieuport-Delage Sesquiplan (8Fb)
 * Royal Aircraft Factory S.E.5 (8Aa) and S.E.5a (8B, 8Ba or 8Bb on earliest versions and the Wolseley Viper derivative on later models)
 * Sopwith Dolphin (8B)
 * Sopwith B.1 prototypes (8Ba)
 * SPAD S.VII (8A)
 * SPAD S.XI (8Be)
 * SPAD S.XII (8Cb)
 * SPAD S.XIII (8Be)
 * Standard J-1 (post-war modification)
 * Waco DSO (8a)
 * Wibault 1 (single prototype)

Wright-Hispano E

 * Boeing NB-2
 * AT-3
 * Consolidated PT-1
 * Cox-Klemin TW-2
 * Curtiss AT-4
 * Dayton-Wright TW-3
 * Huff-Daland TW-5
 * Loening M-8
 * Naval Aircraft Factory TS-3
 * Travel Air 3000
 * Vought VE-7
 * Waco DSO

Mitsubishi "Hi"shiki

 * 200 HP (8B)
 * Yokosuka Ro-go Ko-gata
 * Hanza-shiki suijō teisatsuki (ハンザ式水上偵察機, Type Hansa Surveillance Floatplane)
 * 300 HP (8F)
 * Mitsubishi 1MF
 * Mitsubishi 2MR

Engines on display

 * A Hispano-Suiza 8Aa Type 34, made in 1916, is on public display at Museo de Aeronáutica y Astronáutica at Madrid, Spain.
 * A Wright-Hisso 8A is on public display at the Aerospace Museum of California.
 * A Wright-Hisso 8A is on public display at the National Museum of the U.S. Air Force

title: Hispano-Suiza 8


text:
Ron Palillo

Ronald Gabriel Palillo (April 2, 1949 – August 14, 2012) was an American actor and teacher. He was best known for his role as the endearingly dim-witted character Arnold Horshack on the ABC sitcom Welcome Back, Kotter (1975–1979).

Early life and education
Ronald Gabriel Paolillo was born in New Haven, Connecticut, to Italian-Americans Gabriel and Carmel Paolillo, and raised in nearby Cheshire. His father died of lung cancer when he was 10 years old. He graduated from Cheshire High School and the University of Connecticut at Storrs, where he would teach in the 1990s. He attended Fairfield University while pursuing a postgraduate degree. He adopted the last name Palillo for his acting career.

Career
In 1975, Palillo was cast as Arnold Horshack, one of the misfit "sweathogs" in the high school sitcom Welcome Back, Kotter, whose antics made him one of the standout characters of the series. In the last season of the series, a backdoor pilot episode for a spin-off series featuring Horshack was produced, but the series was not developed.

Following Kotter, Palillo appeared in leading and supporting roles in various television series and films. He voiced characters on such animated series as Laverne & Shirley in the Army, Darkwing Duck, and Rubik, the Amazing Cube, in which he played the lead character. In 1996, Palillo played himself in several episodes of the television sitcom Ellen, playing the love interest of Ellen's friend Audrey. Palillo also spent a year on the daytime show One Life to Live and also acted in Friday the 13th Part VI: Jason Lives (1986), and the lead in The Curse of Micah Rood.

He returned to New York in 1991, and played such stage roles as Mozart in Amadeus and regionally as George in Who's Afraid of Virginia Woolf?, Arthur in Camelot and Nathan Detroit in Guys and Dolls. He appeared on Broadway in 2008 in Broadway Backwards 4, a charity event benefiting Broadway Cares/Equity Fights AIDS and The Lesbian, Gay, Bisexual & Transgender Community Center. Among his other New York City credits were a one-person show in 2000 where he portrayed Nazi criminal Adolf Eichmann in The Diary of Adolf Eichmann off-Broadway. Palillo, in a newspaper interview in 1997, said he lamented his role as Horshack as he was permanently typecast, which he believed had damaged his career. The following year Palillo starred in The Fourposter at the Wayside Theatre in Middletown, Virginia.

As a director, Palillo directed successful productions of the musical Three Guys Naked From The Waist Down in Los Angeles, A Closer Walk with Patsy Cline, and a new edition of Phantom of the Opera at the Cuillo Center for the Arts in West Palm Beach, Florida. In 2007, he introduced a clothing line specializing in limited-edition T-shirts produced by Rotter and Friends. Palillo was also an artist, providing artwork for two children's books: The Red Wings of Christmas and A Gift for the Contessa.

In 2006, his first full-length play, The Lost Boy, the true story of Peter Pan author J. M. Barrie, premiered at the Helen Hayes Theatre in Nyack, New York, and later played at the Queens Theatre in the Park in Queens, New York, and at El Dorado Springs High School in El Dorado Springs, Missouri.

He taught freshman drama at G-Star School of the Arts for Motion Pictures and Broadcasting in Palm Springs, Florida.

Personal life and death
Palillo and his partner of 41 years, Joseph Gramm, lived in Palm Beach Gardens, Florida. On August 14, 2012, Palillo suffered a heart attack at his home and was taken by ambulance to a nearby hospital, where he was pronounced dead on arrival. He died seven months after co-star Robert Hegyes, who also died from a heart attack.

Palillo's funeral service was held in Palm Beach Gardens on August 22, 2012. He is buried at St. Lawrence Cemetery in West Haven, Connecticut. A memorial tribute, directed by Lawrence Leritz and hosted by Tyne Daly, was held to honor and celebrate Palillo's life and career at New York City's Triad Theatre on October 3, 2012.

title: Ron Palillo


text:
Bobby Holík

Robert Holík (born January 1, 1971) is a Czech-American former professional ice hockey center who played 18 seasons in the National Hockey League (NHL). Holík is the son of Jaroslav Holík, a Czechoslovak ice hockey world champion in 1972 and Czech national team head coach who led the under-20 team to world titles in 2000 and 2001. Holík is the current head coach of the Israel men's national ice hockey team.

Playing career
Holík began his NHL career playing for the Hartford Whalers in 1990 after being selected tenth overall by them in the 1989 NHL Entry Draft. After two seasons with the Whalers, he was traded to the New Jersey Devils where he played for ten seasons, featuring as a member of the "Crash Line" alongside Mike Peluso and Randy McKay, and winning two Stanley Cup championships, in 1995 and 2000. Prior to the 2002–03 season, as a free agent, Holík signed a five-year, $45 million contract with the New York Rangers.

In 2005, following the 2004–05 NHL lockout, the Rangers bought out the remainder of Holík's contract, after which he signed with the Atlanta Thrashers. On October 2, 2007, he was named captain of the Thrashers for the 2007–08 season.

On July 1, 2008, as a free agent, Holík signed a one-year contract with the New Jersey Devils for the 2008–09 season, returning to the team he played ten seasons with.

On May 23, 2009, following the conclusion of the 2008–09 season, Holík announced his retirement from the NHL. He was 38 when he retired and cited a focus to be with his family. Since 2017, Holík has run a hockey school in Israel and coached their U-18 and U-20 programs.

Personal life
Holík became an American citizen in a ceremony in Newark, New Jersey, on November 4, 1996. He is married with a daughter, Hannah Marie Holík, born in 1997, and splits his time between Wyoming and Florida.

Holík's nephew, David Musil, was drafted by the Edmonton Oilers.

Holík is an avid rifle, pistol and shotgun enthusiast. After being introduced to firearms manufacturer CZ-USA's president Alice Poluchová by shooting instructor Shepard Humphries, Holík became CZ-USA's celebrity representative.

Awards and achievements

 * Stanley Cup champion – 1994–95, 1999–2000
 * NHL All-Star – 1998, 1999

title: Bobby Holík


text:
George McCartney (footballer)

George McCartney (born 29 April 1981) is a Northern Irish former footballer who is currently a coach at Linfield. He began his career at Sunderland in 1998 before having two spells each with West Ham United and Leeds United. He won the 2004–05 Football League Championship with Sunderland and was named the club's player of the season award as well as being named in the 2004–05 Football League Championship PFA Team of the Year. He moved to West Ham in 2006 before returning to Sunderland under Roy Keane's managership in 2008. He spent one season, the 2010–11 season, on loan with Leeds United before returning in 2011 to play on loan for West Ham. From 2001 until 2010 he also played international football for Northern Ireland.

Sunderland
Born in Belfast, McCartney was a trainee with Sunderland before signing a professional contract on 28 May 1998 and made his debut against Luton Town in the League Cup in 2000. He was made team captain in 2003–04 after Jason McAteer suffered a long-term injury and in 2004–05 was voted Player of the Season by Sunderland fans during the successful Championship winning campaign.

During the season his excellent performances earned him the title "Mr. Consistent" from manager Mick McCarthy. McCartney missed a large percentage of Sunderland's ill-fated 2005–06 season due to injury. He showed glimpses of his potential once he had regained his fitness, but his return came far too late in the season for him to have any meaningful impact on the team's dreadful run of results. He made 157 appearances for Sunderland in all competitions.

West Ham United
On 8 August 2006, McCartney moved to West Ham United in a four-year deal, in exchange for Clive Clarke and an additional £600,000. He made his debut in the team's 2–1 defeat to Chesterfield in the League Cup on 24 October 2006. After initially spending most of his time as substitute, regular left back Paul Konchesky joined Fulham and as a result McCartney eventually became a first team regular under Alan Curbishley and his strong forward runs and crosses played a crucial role in West Ham's eventual escape from relegation.

He went on to make 25 appearances in all competitions for West Ham during the 2006–07 season. McCartney scored his first goal for The Hammers, a strong back post header, in a friendly against Roma one week before the start of the 2007–08 season. He scored his first Premier League goal for West Ham in the 1–1 home draw with Bolton Wanderers on 4 November 2007 with a magnificent volley. At the end of the 2007–2008 season McCartney received the runner up Hammer of the Year Award, having played in all 38 Premiership games. McCartney's sale back to his former club Sunderland led to West Ham manager Alan Curbishley resigning after he claimed the player was sold against his wishes.

Return to Sunderland
McCartney rejoined former club Sunderland on 1 September 2008, signing a five-year contract for an undisclosed fee. He was a regular under manager Roy Keane, but after Steve Bruce became manager McCartney picked up an ankle injury in March 2010 and lost his place in the team to Anton Ferdinand whilst out injured. McCartney wasn't given a squad number for the 2010–11 season after suffering a knee injury in 2010–11 pre-season on a tour of Portugal. However, he was included in Sunderland's 25 man Premier League squad. Kieran Richardson changed his squad number and was given the number 3 shirt for the 2010–11 season where he became Sunderland's first choice left back and McCartney was given the number 23 jersey.

Leeds United loan
In order to help him regain match fitness after suffering a knee injury in pre-season and losing his first-team place at Sunderland, he joined Leeds United on 23 September 2010, initially on a one-month loan, a move which saw him link up with Northern Ireland assistant manager Glynn Snodin. On 25 September, he made his Leeds debut in a 1–0 victory in the Yorkshire derby against Sheffield United. In his second game, Leeds suffered a 6–4 defeat to Preston North End, and McCartney gave away a penalty in the match which was scored by Callum Davidson. On 4 October Leeds announced that McCartney's loan had been extended by a further two days so he could play in the game against Cardiff City.

On 30 October 2010 McCartney signed a one-month extension to his loan deal and made an appearance against Scunthorpe United on the same day. His loan was extended for a third month on 1 December. McCartney's loan expired on 30 December and he returned to Sunderland with Leeds attempting to extend the loan deal once the transfer window had re-opened in January 2011. On 14 January 2011, McCartney re-signed for Leeds on loan until the end of the 2010–11 season. After McCartney gave an interview where he stated that Leeds players were jaded hence the poor run of form late on in the season, he was criticised by Leeds chairman Ken Bates who revealed his anger at McCartney and that he had been fined on several occasions for turning up late to training. At the end of his loan he returned to his parent club Sunderland.

Return to West Ham United
On 10 August 2011 McCartney returned for another spell at West Ham United for a season-long loan.

On 19 December, McCartney was quoted as saying although Martin O'Neill had taken over at his club Sunderland, he had had no contact with the manager, and "To be honest, before I agreed to come to West Ham, it was decided that my contract would be left to run out in the summer and sorted out at the end of the season. "So there is no chance of a call back and no chance of me ever going back to Sunderland."

On 4 March 2012, he scored his only goal for West Ham since returning on loan, in a 2–0 away victory over Cardiff City. At the end of season awards for the 2011–12 season, he was awarded the club's Players' Player of the Year award. His performances have also helped West Ham clinch promotion back to the Premier League after winning the play-off finals.

On 1 July 2012 McCartney rejoined newly promoted West Ham signing a two-year contract after agreeing to make the loan move permanent. In November McCartney suffered a serious knee injury playing against Liverpool. He made his comeback on 30 March 2013 against West Bromwich Albion but lasted only 15 minutes before a recurrence of the same injury which was expected to keep him from playing for the remainder of the 2012–13 season. McCartney returned to the first team for a League Cup game against Cheltenham Town on 27 August 2013. His Premier League return however was not until 30 November 2013, in a 3–0 win against Fulham. McCartney was released by West Ham at the end of the 2013–14 season. McCartney had played 82 games in all competitions in his second spell with the club, scoring a single goal.

International career
McCartney was capped four times for Northern Ireland national under-18 team during 2000 before earning five caps for the under-21 team from 2000 to 2001. He made his debut for the senior team in September 2001 in their World Cup qualifying win against Iceland, scoring his only goal in his professional career until that for West Ham in 2007. In 2005, he fell out with the then manager of the Northern Ireland senior team, Lawrie Sanchez and retired from international football.

However, after Nigel Worthington took charge of the national team, McCartney stated his willingness to return and on 22 August 2007, he came out of international retirement and returned to international football in the 3–1 win against Liechtenstein. Following regular run of games for Leeds, in November 2010 McCartney was recalled to the Northern Ireland Squad. In February 2011 McCartney was called into the Northern Ireland squad to face Scotland, but on 8 February 2011 he once again announced his retirement from international football.

Coaching career
During the 2021–22 NIFL Premiership season, McCartney joined Linfield as a coach, reuniting with former Northern Irish teammate David Healy.

Club
Sunderland
 * Football League Championship 2004–05

West Ham United
 * Football League Championship play-offs: 2012

Individual

 * PFA Team of the Year: 2004–05 Football League Championship
 * Sunderland Player of the Season: 2004–05
 * West Ham United Player's Player of the Season: 2011–12

title: George McCartney (footballer)


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John Cameron (theologian)

John Cameron (c. 1579 – 1625) was a Scottish theologian.

Life and academic career
Cameron was born in the Saltmarket district of Glasgow the son of Thomas Cameron and received his early education in his native city. He entered Glasgow University in 1595 and graduated MA in 1599.

After having taught Greek in the university for twelve months, he removed to Bordeaux, where he was soon appointed a regent in the college of Bergerac. He did not remain long at Bordeaux, but accepted the offer of a chair of philosophy at the Academy of Sedan, where he passed two years. He then returned to Bordeaux, and in the beginning of 1604 he was nominated one of the students of divinity who were maintained, at the expense of the church, and who for the period of four years were at liberty to prosecute their studies in any Protestant seminary. During this period he acted as tutor to the two sons of the chancellor of Navarre. They spent one year at Paris, and two at Geneva, whence they removed to Heidelberg. In this university, on 4 April 1608, he gave a public proof of his ability by maintaining a series of theses, De triplici Dei cum Homine Foedere, which were printed among his works. The same year he was recalled to Bordeaux, where he was appointed the colleague of Dr Gilbert Primrose; and when Francis Gomarus was removed to Leiden, Cameron, in 1618, was appointed professor of divinity at the Academy of Saumur, the principal seminary of the French Protestants.

In 1620, the progress of the civil troubles in France obliged Cameron to seek refuge for himself and family in England. For a short time, he read private lectures on divinity in London; and in 1622 the king appointed him principal of the University of Glasgow in the room of Robert Boyd, who had been removed from his office in consequence of his adherence to Presbyterianism. Cameron was cordially disliked for his adherence to the doctrine of passive obedience. He resigned his office in less than a year.

He returned to France, and lived at Saumur. After an interval of a year he was appointed professor of divinity at Montauban. The country was still torn by civil and religious dissensions; and Cameron excited the indignation of the more strenuous adherents of his own party. He withdrew to the neighboring town of Moissac; but he soon returned to Montauban, and a few days afterwards he died at the age of about forty-six and perhaps at the hands of an assassin. All his works were published after his death.

Theology
Cameron's name has a distinct place in the development of Calvinistic theology in Europe. He and his followers maintained that the will of man is determined by the practical judgment of the mind; that the cause of men's doing good or evil proceeds from the knowledge which God infuses into them; and that God does not move the will physically, but only morally, by virtue of its dependence on the judgment of the mind. This peculiar doctrine of grace and free will was adopted by Amyraut, Cappel, Bochart, Daillé and others of the more learned among the Reformed ministers.

The Cameronites (not to be confused with the Scottish sect called Cameronians) are moderate Calvinists. They are also wrongly called Universalists, as holding the universal scope [not application] rather than limited extent of Christ's death, and sometimes Amyraldians. The rigid adherents to the Synod of Dort accused them of Pelagianism, and even of Manichaeism, and the controversy between the parties was carried on with great zeal; yet the whole question between them was only, whether the will of man is determined by the immediate action of God upon it, or by the intervention of a knowledge which God impresses on the mind.

Family
Cameron married twice:

Firstly in 1611 to Suzanne Bernadin of Tonneins and had one son, who died in infancy. Secondly in 1625 to Jeanne de Thomas, daughter of Jacques de Thomas, advocate, and widow of Dr Jean Gautier MD.

Literature

 * Axel Hilmar Swinne: John Cameron - Philosoph und Theologe (1579-1625): bibliographisch-kritische Analyse der Hand- und Druckschriften sowie der Cameron-Literatur. Studia Irenica volume 1. N. G. Elwert Verlag, Marburg 1968.

title: John Cameron (theologian)


text:
User talk:Ta bu shi da yu/Useful vim commands

OK, I appear to have a problem with some wikilinks... they appear to remove the first two letters of the wikilink. Not sure why, will have a look when I get a chance to get in front of vi! - Ta bu shi da yu 21:46, 6 Dec 2004 (UTC)