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Clevedon, New Zealand

Clevedon (Te Wairoa), previously known as Wairoa South, is a rural town to the south-east of Auckland, New Zealand, in the local government area of Franklin. The area is part of the rohe of Ngāi Tai ki Tāmaki, who settled around the Wairoa River. The original township was founded in the 1850s, and was named Clevedon in 1866. Over time, it has developed into a centre for the dairy industry south-east of Auckland.

Several popular beaches are close to Clevedon, including Umupuia Beach and Kawakawa Bay. The Duder Regional Park is between these two beaches.

Geography

Clevedon is located along the Wairoa River, a stream which grows into an estuarial arm of the Hauraki Gulf, at the navigable headland of the river. It is 20 km south-east of the Auckland City Centre. It is 29 km south-east of the Auckland City Centre, and 14 km from the Manukau Central. To the south-east of Clevedon rise the rugged hills of the Hunua Ranges.

Prior to human settlement, the area was swampland, and Bush moa, Mantell's moa and North Island giant moa bones have been found in the vicinity.

Māori settlement
The area was visited by the Tainui migratory waka around the year 1300. Tainui followers of Manawatere, who identified as Ngā Oho, decided to settle the Pōhutukawa Coast and the Wairoa River. Ngāi Tai ki Tāmaki traditional stories talk about the land already being occupied by the supernatural Tūrehu people, and many place names in the area reference Tūrehu figures, such as Hinerangi and Manawatere. The Wairoa River's traditional name, Te Wairoa ("The Great River") was named by early Ngāi Tai ki Tāmaki ancestors of the Tainui waka, referencing Te Vairoa in Rarotonga, which in turn took its name from a similarly named river in Tahiti. Te Wairoa was a name applying to the river mouth and surrounding area, while Ōtau referred to the areas further upstream, including around Clevedon.

The early Tāmaki Māori hapū of the Wairoa river valley between the 14th and 16th centuries included Te Ngungukauri, Te Uri Kupai, Ngāti Ruangaingai and Ngāti Parahanga, who identified as both Ngāti Tai Manawaiti, and Ngā Iwi (Waiohua). The related hapū were united under the rangatira Te Wana in the early 18th century, under the name Ngāti Tai (now more widely known as Ngāi Tai ki Tāmaki). The river mouth formed the traditional heartland of Ngāi Tai ki Tāmaki. Ngāi Tai peoples traditionally lived in seasonal cycles, focusing on fishing and shellfish collecting, cultivations and collecting berries and snaring birds in the river's upper reaches, depending on the season. The river-mouth was used as a summer pioke (Shortspine spurdog shark) fishing ground, which were dried for the winter months. Ngāi Tai settled at many pā and kāinga along the river, especially at the river's mouth.

Ngā Tai settlements in the area include Ōtau and Tuawa near modern-day Clevedon, Tararua near the mouth of the Rautawhiti Stream, and at Takatekauere, Te Totara, Te Ruato and Pehuwai on the western side of Te Wairoa River. Between the 1830s and 1863, the Te Hingawaka hapū of Ngāti Pāoa lived at the base of Te Oue pā, north-west of the Wairoa River mouth.

When William Thomas Fairburn visited the area in 1833, it was mostly unoccupied due to the events of the Musket Wars, as most members of Ngāi Tai had fled to temporary refuge in the Waikato. In 1836, Fairburn purchased 40,000 acres between Ōtāhuhu and Umupuia (Duders Beach), including much of the catchment of the Wairoa River. Fairburn's Purchase was investigated by the New Zealand Land Commission in 1841 and 1842 and found to be excessive and reduced in size. The disallowed parts of his purchase were not returned to Ngāi Tai, however in 1854 a reserve was created for Ngāi Tai around Umupuia.

European settlement

The first settlers in the area were D. McNicol and Mr G. Hoye, who purchased 1,100 acres on the eastern banks of the Wairoa River, and settled with their families circa 1852. They were joined by other early settlers within the next few years, and a community called Wairoa was established around the navigable headland of the Wairoa River. Early settlers cleared native bush for farming, worked flax mills in swampy areas, and harvested kauri logs, which were transported to Auckland to be processed. Ngāi Tai held a defended settlement on the eastern banks of the Wairoa River opposite the new settlement, known as Ōtau. During the first decade post European settlement, Ngāi Tai and the European settlers had cordial relations, trading goods and assisting each other. In September 1863 during the Invasion of the Waikato, Ōtau was attacked by the British army, and the village was evacuated. After which, the residents moved to live in communities at the river's mouth. For the remainder of the war, Ngāi Tai were designated as a "friendly" people by the Crown, and remained neutral in the fighting. During the war, military blockades were placed on either side of the Wairoa River, including the Galloway Redoubt. After the Native Lands Act of 1865, the Native Land Court individuated the collective Ngāi Tai lands, and in the process the majority of land near the Wairoa River was alienated and sold to European farmers. During European settlement, most of the Wairoa River catchment was deforested.

The first bridge across the Wairoa River was constructed by the early 1860s from timber. In 1865, 150 new immigrants from Scotland on board the Viola arrived at Wairoa, settling around the former Ōtau kāinga. The allotments were not sufficient to sustain a village, and the immigrants gradually moved away or closer to the settlement near the Wairoa Bridge. In 1866, the settlement changed its name to Clevedon. The name was chosen by local residents C.W. Stephens and Le Gally, named after the town of Clevedon in Somerset, England, where Le Gally. Many of the early settlers were Scottish, and had difficulties adopting the name. All Souls Church, built in the Selwyn style and located in Clevedon, is registered by Heritage New Zealand as a Category II structure, with registration number 682. Dairy farming became the major industry in Clevedon until the 1900s.

Demographics
Statistics New Zealand describes Clevedon as a rural settlement, which covers 5.32 km2 and had an estimated population of as of  with a population density of  people per km2. Clevedon settlement is part of the larger Clevedon statistical area.

Before the 2023 census, Clevedon had a larger boundary, covering 10.03 km2. Using that boundary, Clevedon settlement had a population of 606 at the 2018 New Zealand census, an increase of 51 people (9.2%) since the 2013 census, and an increase of 45 people (8.0%) since the 2006 census. There were 189 households, comprising 297 males and 312 females, giving a sex ratio of 0.95 males per female, with 123 people (20.3%) aged under 15 years, 105 (17.3%) aged 15 to 29, 288 (47.5%) aged 30 to 64, and 93 (15.3%) aged 65 or older.

Ethnicities were 91.1% European/Pākehā, 5.9% Māori, 3.0% Pacific peoples, 6.9% Asian, and 2.5% other ethnicities. People may identify with more than one ethnicity.

Although some people chose not to answer the census's question about religious affiliation, 43.1% had no religion, 44.6% were Christian, 1.0% had Māori religious beliefs, 2.5% were Hindu, 2.5% were Buddhist and 1.5% had other religions.

Of those at least 15 years old, 138 (28.6%) people had a bachelor's or higher degree, and 60 (12.4%) people had no formal qualifications. 138 people (28.6%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 279 (57.8%) people were employed full-time, 84 (17.4%) were part-time, and 6 (1.2%) were unemployed.

Clevedon statistical area
Clevedon statistical area covers 48.67 km2 and had an estimated population of as of  with a population density of  people per km2.

Before the 2023 census, Clevedon statistical area had a larger boundary, covering 49.97 km2. Using that boundary, the statistical area had a population of 1,515 at the 2018 New Zealand census, an increase of 63 people (4.3%) since the 2013 census, and an increase of 171 people (12.7%) since the 2006 census. There were 507 households, comprising 762 males and 753 females, giving a sex ratio of 1.01 males per female. The median age was 43.0 years (compared with 37.4 years nationally), with 294 people (19.4%) aged under 15 years, 261 (17.2%) aged 15 to 29, 756 (49.9%) aged 30 to 64, and 207 (13.7%) aged 65 or older.

Ethnicities were 92.5% European/Pākehā, 7.1% Māori, 1.8% Pacific peoples, 5.0% Asian, and 1.8% other ethnicities. People may identify with more than one ethnicity.

The percentage of people born overseas was 21.0, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 49.5% had no religion, 41.2% were Christian, 0.4% had Māori religious beliefs, 1.2% were Hindu, 0.2% were Muslim, 1.2% were Buddhist and 1.4% had other religions.

Of those at least 15 years old, 351 (28.7%) people had a bachelor's or higher degree, and 144 (11.8%) people had no formal qualifications. The median income was $44,200, compared with $31,800 nationally. 375 people (30.7%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 690 (56.5%) people were employed full-time, 234 (19.2%) were part-time, and 27 (2.2%) were unemployed.

Amenities

Clevedon Scenic Reserve is a 100 ha nature reserve that was established in 1930, formerly a part of William Thorp's farm. The reserve includes native bush such as pūriri, tōtara and taraire, a wetland, a quarry that was abandoned in 1957, and a viewpoint at the top of a 225 m hill.

The local Umupuia Marae and Ngeungeu meeting house is a traditional meeting place for Ngāi Tai ki Tāmaki and the Waikato Tainui hapū of Ngāti Koheriki and Ngāi Tai.

Education
Clevedon School is a coeducational full primary school (years 1–8) with a roll of as of  The school began in 1859 as Wairoa School and  moved to its current site in 1878. In 1895 it became Clevedon School.

Local government
The first local government in the area was the Wairoa Highway District, established in 1862, and was absorbed into the Manukau County in 1918. Clevedon became a part of Manukau City in 1965, and in November 2010, all cities and districts of the Auckland Region were amalgamated into a single body, governed by the Auckland Council.

Clevedon is part of the Franklin local board area, who elects members of the Franklin Local Board. Residents of Clevedon also elect the Franklin ward councillor, who sits on the Auckland Council.

Notable people

 * Phil Goff, politician and Auckland mayor

title: Clevedon, New Zealand


text: Category:Russian chemists

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

title: Category:Russian chemists


text:
Tomás Blanco (writer)

Tomás Blanco (December 9, 1896 – April 12, 1975) was a Puerto Rican writer, poet, narrator, historian, author and physician. Blanco was a writer during the 1930s who was known for his critical essays that analyzed the Puerto Rican culture. Similar to other authors of his generation that lived through the Great Depression, his work focused on political and social issues. He also wrote novels, short stories and poetry.

Early years
Blanco (birth name: Tomás Blanco Geigel) was born and raised in San Juan, Puerto Rico, where he received his primary and secondary education in Catholic schools. After graduating from high school, he went to the United States and enrolled in the Georgetown University in Washington, D.C., to study medicine. Tomás Blanco first pursued the path of pharmaceutical work but progressively began to focus his attention on literature. Blanco traveled throughout Europe and in Spain where he developed his love for writing. Blanco wrote about literature, plus he was also a music critic.

Written works
Blanco returned to Puerto Rico where he dedicated himself to write about Puerto Rican topics. His works are considered very important in the analysis of the "state" of the Puerto Rican culture in both the 19th century and 20th century. Among Blanco's most recognized works are Prontuario Histórico de Puerto Rico and El Prejuicio Racial en Puerto Rico (Racial Prejudice in Puerto Rico). He also wrote many novels and stories such as Los Aguinaldos del Infante (Christmas Stories for Children) and Cuentos Sin Ton Ni Son. He was also the songwriter of the lyrics Tres estrofas de amor: Canción para soprano composed in 1925 by Pablo Casals. Tomás Blanco died on April 12, 1975, in the city of San Juan.

Essays
In 1935, he published his first literary piece Prontuario Histórico de Puerto Rico which showcases the cultural aspects of the Puerto Rican people and racial dynamics within the country. In the essay he recounts significant events of the history of Puerto Rico, in hope of finding the country's national idiosyncrasy and cultural identity.

The mixing of races and religions created a unique combination of ideas and culture, which sometimes sparked conflict. Tomas Blanco's thoughts on these racial relationships and controversies are presented in, The Racial Prejudice in Puerto Rico. The essay discusses the influence of the slave trade and the discrimination of people of African descent in Puerto Rico. Tomas Blanco speaks of the connection between Spanish Conquistadors influence, Catholicism, and the interconnection of different races. Tomas Blanco argues that the African influences in Puerto Rico are beneficial to the uniqueness and richness of the country.

Other essays include Sobre Palés Matos (1950), which analyzes Palés Matos' poetry influenced by African and Antillean culture and Miserere: en la muerte de Georges Rouault y luz perpetua luzca en él (1959), a review on various paintings by Rouault. He also wrote essays for many newspapers and magazines, such as the Ateneo Puertorriqueño, Isla Asomante, Presente, Revista de la Asociación de Mujeres Graduadas and Revista del Instituto de Cultura Puertorriqueña. He wrote the essay Elogio de la plena en the magazine, Ateneo Puertorriqueño, which discussed the diversity of Puerto Rico and how it positively impacts the island.

Poetry
Blanco's interest in race relations led him to study African-American poetry. Racial mixing was considered immoral and was looked down upon in the 19th and early 20th century in Puerto Rico. Tomas Blanco challenges these ideas by bringing up these topics in his literary work in a positive manner. In the book "Literatura PuertorriquenÌa Del Siglo Veinte Antologia," the poem La Unicornia de la Isla highlights these controversial ideas and different viewpoints. The poem investigates the cultural identity of the people of Puerto Rico through the mention of topics like miscegenation and incorporating traditional Antillean myths. Much of Tomas Blanco's work highlights the various cultures and belief systems of Puerto Rico and explains how it both positively and negatively affects the environment of the country. In Los cinco sentidos: inventario de cosas nuestras (1955), he presents Antillean myths in poetic form. Much of Tomas Blanco's work highlights the various cultures and belief systems of Puerto Rico and explains how it both positively and negatively affects the environment of the country. He also wrote the poem Letras para música in 1964.

Short stories
Blanco wrote a number of short stories, such as Los aguinaldos del Infante: glosa de Epifanía (1954) about Christmas, La dragoneta: cuento de Semana Santa (1956) and Cuentos sin ton ni son (1970).

title: Tomás Blanco (writer)


text:
Nguyen Huu Chanh

Nguyễn Hữu Chánh (born October 1, 1952) is the Vietnamese-American founder of anti-communist organization Government of Free Vietnam (GFVN), in which he served as its prime minister.

Rebel years in Vietnam
In 1975, said to be a member of the "Bao Long Liberators", a democratic organization in Nha Trang, under the leadership of Nguyen Hoang Dan.

In 1982 he secretly fled Vietnam while being pursued by the Vietnamese government for his engagement in the weapon-smuggling activities. He later immigrated to the United States.

Exile in the United States
In 1995, was selected by a members of the Government of Free Vietnam as Prime Minister, General Linh Quang Viên as Vice Prime Minister, Admiral Lâm Nguơn Tánh as Minister for Foreign Affairs, Mr. Nguyen Khac Chinh as the Minister of Information, Mr. Nguyễn Huy Đẩu as Minister of Justice, Nguyen Son Ha as Secretary of Foreign Affairs, Mr. Edgar Foshee as Chairman of the International Committee, and Mr. Ngô Trọng Anh as President of the advisory council.

In June 1999, the government of Vietnam police issued an international order to pursue Nguyen Huu Chanh for his role behind the terrorist attacks against Vietnamese embassies overseas as well as in Vietnam since 1995.

On January 2, 2005, he stepped down as Prime Minister of the Government of Free Vietnam when former head of state of South Vietnam Nguyễn Khánh was elected by delegates of the GFVN. Nguyen then took the helm as the chairmanship of the Walk Against Terror International, a new organisation tasked with combatting terrorism around the world.

Detention in South Korea
On April 5, 2006, Nguyen Huu Chanh was detained by KNP police officers in Seoul, South Korea, because the Vietnamese government had made a request to the Korean authorities to detain Nguyen Huu Chanh for possible "charges of arms weapon trafficking and acts of terrorism".

Protests in support of Nguyen in Vietnamese and South Korean communities grew throughout the United States and in South Korea for his release. There was a petition presented to the South Korean court that had over 70,000 signatures in support of Nguyen's release.

Nguyen was released from custody at Uiwang, south of Seoul, on Thursday, July 27, 2006. The Seoul High Court rejected the Vietnamese request to hand over Chanh, whom the Vietnamese government accused of involvement in failed attempts to bomb its embassy in Thailand and state facilities in Vietnam, including a statue of founding leader Ho Chi Minh, between 1999 and 2001.

Quotes

 * "As we stand on these foreign shores, we shall never forget those suffering beyond the horizon."
 * "Tyranny and Totalitarianism in any form must be terminated."
 * "We are blessed by God to have the opportunity to live in freedom, to breathe freely. So it is our obligation, by the bond of our common humanity, that we give others who are less fortunate, to have the same opportunity as we do."

title: Nguyen Huu Chanh


text:
Talk:ATRAC

128 kbps vs. 132 kbps
Shouldn't be every occurence of "128 kbit/s" bitrate replaced with 132 kbps? Has someone more information? Picasso Pablo 11:54, 18 April 2006 (UTC)

 * The 132kbps bitrate is used by the original ATRAC3 codec, which corresponds to LP2 mode on the MDLP recorders. The 128kbps bitrate is used by ATRAC3plus codec, and its support is limited to few devices, PSP and some Flash Memory based Walkmans.  None of the Minidisc units nor ATRAC CD Players support the 128kbps bitrate. 69.228.3.99 00:13, 28 July 2006 (UTC)

Doesn't ATRAC files (.oma extension files) have DRM encryption?
.oma files, which add DRM encryption, use ATRAC encoding, but not always the other way around. For years, MiniDisc players did not have DRM and used ATRAC. It wasn't until recently, with the advent of the NetMD and recorders that could upload files through a non-audio interface, that DRM has been used.

Likewise, SCMS, which has always beeon used on the MD, as well as DAT and DCC and is also a form of DRM, isn't strictly part of ATRAC. Because of this, if Sony decided to make a video game system or car stereo or new type of telephone and needed to compress audio, they could use a chipset supporting ATRAC and not use any form of DRM if they wanted to.

--Jkonrath 21:41, 14 Mar 2005 (UTC)

Lossiness of MD recording
Please see the discussion at Talk:MiniDisc. I think that there's a contradiction between the two articles.--Amir E. Aharoni 21:43, 21 December 2005 (UTC)

 * Resolved? --KJ 04:01, 23 December 2005 (UTC)

 * Not really, MiniDisc still says the "this data can be thrown away without creating a noticeable difference in the perceived sound" and ATRAC says that it is worse than an MP3.
 * I came here, 'cuz there was a discussion about the quality of MD recording vs. DAT on a bootleg-sharing site that i frequent. That site's rules strongly discourage even high-quality MP3's and encourage FLAC, but someone claimed that recording anything to MD is already as lossy as an MP3... So if "no noticeable difference" is the same MP3, then there is a difference. While a difference between CD and MP3 is easily noticeable, i never noticed a difference between CD and ATRAC (without further MDLP compression), but then i'm not an expert audiophile...--Amir E. Aharoni 09:12, 23 December 2005 (UTC)

 * I don't see how that constitutes a contradiction. Some data can always be discarded without creating a noticeable difference in perceived quality for some people. It's a matter of how many people can notice the difference, and people who are attuned to lossy artifacts can hear ATRAC3 artifacts more easily than they can hear MP3 artifacts, at the same bit rate. Anyway, edited. Would it be resolved now?
 * I'm sure you're not listening to ATRAC hard enough, or not doing a fair comparison. If you think you are, then you might need to check out double-blind testing. --KJ 15:55, 23 December 2005 (UTC)

ATRAC3 LP2 Mode section
The double blind test referenced used VBR MP3, which is stated in the article. But VBR generally does sound better than constant bit rate, so surely to say that this test shows that 132 kbps ATRAC3 sounds worse than 128 kbps (CBR implied) is invalid. --Nathan (Talk) 00:45, 5 January 2006 (UTC)
 * So how do you propose it should be changed? While the logic in the article may be invalid, 132kbps ATRAC3 probably does sound worse than 128kbps MP3. --KJ 04:01, 17 January 2006 (UTC)

Without knowing the exact details of the tests (double blind or otherwise) it's impossible to really make a judgement about ATRAC. It is also essential to consider the bit rates as well. I have seen it claimed that Codec X is better than Codec Y, yet this may apply - if at all - only at low bit rates, or a specific bit rate. Thus WMA probably does sound better than MP3 at 32 kbps, but at 64 kbps there may be much less difference. At higher bit rates the differences between codecs tend to be slight.

One must also look into the conditions of each test more carefully. One test which was done by experts from the BBC, and several other broadcasting stations, and appears to have been done satisfactorily, "showed" that no one could tell the difference between original source material and audio encoded at 192kbps. Investigation shows that the original source material was only a few seconds long - as this presumably makes the testing feasible - and possibly did not contain audio sufficiently challenging to show up any significant differences. Most music will encode well - with most codecs - at 192kbps, but if you watch the encoder (say an MP3 encoder) operating in VBR mode on complex music you may notice that there are occasional patches which encode at 256 kbps. Listening to these patches usually reveals that these are critical audio highlights. Usually the edge is taken off these if they are encoded at 192kbps or lower.

One concern I have about ATRAC is the possibility of transcoding artefacts, as the audio may be repeatedly processed when using tools such as SonicStage. At times one wonders if sufficient care has been taken with even simple things, like anti-aliasing filters. However this is somewhat speculative, and without doing many tests one cannot claim that this is definitely the case.

There may well be problems with ATRAC, but without knowing the exact details of the test which "proved" this, then it's really unwise to make strong judgements.

Maybe it's best just to use whichever system works for you! I have heard some really good ATRAC recordings, and some really poor ones. At the end of the day, compression does discard information, so it's a compromise between perceived quality, storage space and transfer times, and users have to decide what's convenient for them.

David Martland 07:38, 28 February 2006 (UTC)

NPOV Check
When I came to this article this afternoon looking for some technical information, the layout of the article caught my eye as it seems to fail to completely adhere to the NPOV requirements. Looking further, a number of lines were deleted as of April 1st and other lines changed(all without citations), significantly shifting the tone of the article. The revision prior to this also seems to be weighted however, so I am not convinced the edits of April 1st were malicious, but I am not an expert in compression in any way, so I can not objectively determine what the proper description should be.

Overall, I find this article lacking in both a proper NPOV position and in citations for the double-blind tests mentioned, and hence am nominating it for a NPOV check as part of a larger process to correct the shortcomings in this article.

User:163.120.75.137 15:40, 4 April 2006 (UTC)

Gapless track transition
I understand that the ability to have gapless transitions between tracks is a major feature of ATRAC that is not supported by many other compression methods. To me, this is at least as important as differences in perceived sound quality that are so small that people argue interminably about them.

I think the article should refer to this in some way. Is there someone who could do that knowledgeably? Unfortunately, I'm not qualified to do that with the level of rigour that I would hope from Wikipedia.

83.70.87.26 05:27, 8 May 2006 (UTC)
 * There's nothing special with ATRAC compression, AFAIK, as far as gapless playback is concerned. It's got more to do with how a MiniDisc player handles cue points. --KJ

 * I accept that the player (in my case, a hard disk player not MiniDisk) has its part to play, but I would have thought that the compression format also has to support the precise insertion of cue points so that the player can avoid playing the silence at the end of the last block of the track. I've tried LAME encoded MP3 and WMA. I get momentary pauses with the MP3 and very significant pauses with WMA (due to a larger encoding block size?). A general trawl of the internet suggests that there is something special about ATRAC that enables precise cue points to be handled in the player. The Wikipedia article on gapless playback that you quote supports this but doesn't explicitly mention ATRAC. It does, however, refer to MiniDisk as an "optimum solution" which implies that ATRAC is special in that it incudes a precise cue point in it's metadata. I just think it would be worth referring to this in the article on ATRAC.
 * 83.70.87.26 22:13, 8 May 2006 (UTC)

 * Can you clarify what you're talking about here? 'Gapless playback' generally means that the player doesn't insert silence between the tracks, but if (as there usually is) there is silence recorded at the end of each track, it won't remove it.  LAME MP3 is certainly capable of this.  (In older versions you had to ask, but it's now standard.)   A modern LAME track played on a computer should be gapless in this sense. HenryFlower 22:21, 8 May 2006 (UTC)

 * The article gapless playback explains this fairly well. To clarify what I mean, there can be three types of silence at the end of a track. (1) The silence that is intended to be there, if any. (2) Silence that results from the encoder padding out the last encoding block in the track. (3) Silence that is added by the player if it is not ready to play the next track when the current one ends. By "gapless playback" I mean playing (1) but not playing (2) or (3). In other words, exactly as it was originally recorded in this respect. To avoid (2) you need a compression format and encoder that supplies information to the player which identifies where the original track ends, and a player that makes use of this information. If there is intended silence at the end of a track, it probably doesn't matter if a short amount of type (2) or (3) silence is added. But, if there is no intended silence, types (2) or (3) silence can be very intrusive.
 * 83.70.87.26 23:36, 8 May 2006 (UTC)
 * Compression schemes do not support cue points, plain and simple. Gabriel Bouvigne of the LAME MP3 project has stated this a few times, saying that if MP3 isn't gapless, then neither is Vorbis. (To which my usual counter is, "But Ogg Vorbis is.") --KJ 00:14, 9 May 2006 (UTC)
 * See gapless playback, specifically the section "Optimal solutions". The method described may not be a "cue point" as such, but it is effective. And it is implemented in ATRAC encoders.
 * 83.70.87.26 00:47, 9 May 2006 (UTC)
 * I'm the person who put that there, and I don't agree. Besides, it's possible to do it with no cooperation from the encoder, as long as you know about the encoder beforehand. --KJ 01:13, 9 May 2006 (UTC)

OK, enough with the indenting. What I'm saying is, MiniDisc is gapless, but ATRAC alone by itself isn't. --KJ 01:14, 9 May 2006 (UTC)
 * The gapless part should be mentionned in the Minidisc page, as it is the whole Minidisc "platform" that is gapless when using Atrac, but not the Atrac codec by itself.--Gabriel Bouvigne 07:32, 22 August 2006 (UTC)
 * I agree wholeheartedly. Furthermore, there have been reports of non-MiniDisc ATRAC portables that were definitely not gapless, AFAIK. --Kjoonlee 08:02, 1 September 2006 (UTC)

atrac can suport gapless playback but only if you convert from a format that already have gapless like the red book from a audio cd, which means means that if you convert a audio cd to ATRAC it will have gapless playback in any player that suport the ATRAC format, i know this cause i have a nw e003 that´s not the best walkman, but it works, so the format is gapless, he just can´t take out the silence spots that the MP3 puts on the track, but you can, using a program like NERO wave editor, there you take the silence spot and save it in wave for an example, them you convert to ATRAC and enjoy gapless playback.
 * Most lossy audio formats aren’t gapless, because of the way they encode the audio in frames of fixed sizes. ATRAC is no exception. MiniDisc is written in such a way that the player “knows” how much of the last frame of a recording is blank and skips it – so the format isn’t gapless, though the way it’s played is. — NRen2k5 (TALK), 15:53, 9 March 2008 (UTC)

enven if what you re sayng is true, we can still enjoy ATRAC in gapless, and mp3 we can't, ATRAC won! end of history! cause mp3 can oly be gapless in pc in programs like windows media player because he starts the next song before the song is playng end, but if you put it in a portable player this does not work, but ATRAC is gapless in every WALKMAN! so you can enjoy gapless anywhere. —Preceding unsigned comment added by J.U.N.K.E.R.0 (talk • contribs) 21:36, 26 July 2008 (UTC)

Sure, but how do you play it?
How about a list of computer programs that can play or encode ATRAC3 files? All this information about the codec is pretty much useless if you can’t actually use the codec. —Frungi 16:51, 22 August 2006 (UTC)

AT3 to MP3
does anyone knows where i can find an AT3 to MP3 converter? or just a windows based AT3 player please? thanks. Wikiprout 02:19, 25 November 2006 (UTC)

Add Link
I would like to see if anyone would object to me adding a link to our site, The Lossless Audio Blog? Our site tries to bridge the gap between the forums and the various Lossless Audio Guides by providing information on getting started with lossless audio formats as well as current news and information. Because the Wiki pages for lossless audio formats are such a great place for those learning about the various formats I feel that our site compliments this and have heard from a lot of users voicing the same opinion. If you have any questions or concerns let me know.

Thanks for the consideration! Windmiller 12:29, 25 January 2007 (UTC)

Vendor lock-in?
Do you think ATRAC contributes to Vendor lock-in? Would it help to have a category identifying Category:Non-interoperable systems? The issue is being voted on, please contribute your vote / opinion: here. Pgr94 23:31, 7 February 2007 (UTC)

ATRAC3plus v. ATRAC3
Below taken out because based on a guess without referance, not good practice for an encyclopedia!

While ATRAC3plus at 64 kbit/s is quite competitive, such a strong result seems quite surprising, considering that another Sony-funded test concluded that ATRAC3 at 132 kbit/s produces similar quality to MP3 at comparable bitrate (see upper section), and that it is unlikely that ATRAC3plus at 64 kbit/s and ATRAC3 at 132 kbit/s would provide similar quality.

Criticisms?
This entry seems to be free from any comparison of ATRAC to other formats, or the availability of ATRAC on non-Sony gear. --24.249.108.133 05:29, 22 August 2007 (UTC)

Software players?
I browsed the article briefly, and as I understand it there are no software players (i.e. Windows- or Mac-based applications) for this format. Am I correct? Also, the article says, "Sony has all but dropped the ATRAC related codecs in the USA and Europe and their SonicStage powered 'Connect' Music Service (Sony's equivalent of iTunes) on 31 March 2008." Dropped in favor of what exactly? SharkD (talk) 03:31, 25 February 2009 (UTC)

Transparency
Under the ATRAC1 section the information between the parentheses that has a citation needed tag, I think it's only trying to clarify the definition of transparency in this context. Perhaps if it were differently worded, for example, replacing the text between the parentheses with "transparency meaning that it is not possible for most listeners tell the difference between the encoded sound and it's source". Would this be more NPOV? —Preceding unsigned comment added by The Phool (talk • contribs) 08:20, 7 March 2009 (UTC)

Comparison and historical significance
This article busies itself ONLY with technical details, probably in far too much detail for an Wikipedia entry (WP:NOTMANUAL).

It should discuss ATRACs role in consumer media, its reception in the marketplace, competing standards (and products).

There is not a single word on how Sony's decision to use a proprietary format probably doomed its efforts to gain market share. Not a single word on the flop that is the minidisc. No general discussion around the folly of trying to hold back the digital revolution.

90.229.34.175 (talk) 07:03, 1 August 2013 (UTC)

ATRAC9
Used in PS4, PSVita consoles. at9 extension. Can not find much info except FMOD and Audiokinetic Wwise middleware support it. — Preceding unsigned comment added by OxybelisR (talk • contribs) 20:46, 16 February 2015 (UTC)

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File extensions for ATRAC
Which file extensions do each ATRAC1, ATRAC3, ATRAC3plus, ATRAC9, and ATRAC Advanced Lossless use?

 * ATRAC1
 * ATRAC3
 * at3 ?
 * ATRAC3plus
 * at3 ?
 * ATRAC Advanced Lossless
 * ATRAC9
 * .at9
 * ATRAC9
 * .at9

Filename extension .aa3 | .oma | .at3 | .at9

-- Chief38956 (talk) 15:10, 25 December 2016 (UTC)

Regarding ATRAC Lossless
This section seems to be sourced solely on a bit of ad copy and/or runs into WP:PRIMARY issues. With the format being briefly lived and, if forum posts are anything to go by, limited to PC playback and barely put to use, it seems impossible to find a better source. Should a tag just be tacked on and left to languish? — VariousDeliciousCheeses (talk) 13:29, 18 September 2021 (UTC)
 * I have added additional sources to the article and made a good structure. You can check again if the article is fine based on your concerns. --Morita Akio (talk) 11:10, 9 May 2022 (UTC)

Requested move 9 May 2022

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

The result of the move request was: moved as requested. Dekimasu よ! 05:45, 17 May 2022 (UTC)

Adaptive Transform Acoustic Coding → ATRAC – Wouldn't it be better for the title to be simply ATRAC based on WP:COMMON + considering these initials aren't used for another topic + this title format is also used for WAV and FLAC instead of the full names? Morita Akio (talk) 11:09, 9 May 2022 (UTC) The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

What happened in September 2007?
"All digital Walkman players outside Japan no longer worked with ATRAC after September 2007"

Does that mean 'Outside Japan, all digital Walkman players people had bought stopped playing tracks in ATRAC in September 2007' (similar to the way that Microsoft's DRM schemes have stopped people using things they had bought for their music player/ebook reader at least twice) or 'they could no longer buy new ATRAC-encoded tracks'? The reference probably makes it clear, but it's in Japanese and I don't want to rely on a not very good machine translation. Lovingboth (talk) 21:36, 20 January 2023 (UTC)

title: Talk:ATRAC


text:
Talk:Missouri–Kansas–Texas Railroad

Untitled
If you put the scripts for the disambiguation, the railroad info box, the picture, and a logo at the top of the page, and then all of the text, you won't get text floating to the left of the railroad info box.

You'll have to put the scripts for the disambiguation and the railroad info box at the top of the page. Then put enough article text to exactly fill the area to the left of the railroad info box. Too much, and you'll have a line or more of full-width text between the info box and the photo. Too little, and you'll have a blank area to the left of the info box. You'll have to experiment with the "Show preview" button to get the right match. Then, put in the scripts for the picture and the logo. Finish up with any remaining text. Rmeier 05:04, 30 Nov 2004 (UTC)
 * The above advice is great for a PC set at 800 x 600 resolution, but later on, I checked this page with a PC set at 1024 x 768. There was now an empty space between the text next to the info box and the text next to the image. Since that gap broke up a paragraph, it was hard to read. So if you follow my advice, don't go for the exact match between text and images in just one resolution. It won't work in another resolution. Instead, go for the too little text option, and don't break up paragraphs. Rmeier 06:59, 1 Dec 2004 (UTC)

other namesake?
Capital_MetroRail... AnonMoos (talk) 13:45, 11 May 2009 (UTC)

Bankruptcy?
I'm of the impression the MK&T was in bankruptcy in the late 1880s. Doesn't say so in this article. Am I looking for a different MK&T? DEddy (talk) 00:21, 22 July 2010 (UTC)

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External links modified (February 2018)
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title: Talk:Missouri–Kansas–Texas Railroad


text:
Age-Related Eye Disease Study

The Age-Related Eye Disease Study (AREDS) was a clinical trial sponsored by the National Eye Institute that ran from 1992 to 2001. The study was designed to:
 * investigate the natural history and risk factors of age-related macular degeneration (AMD) and cataracts, and
 * evaluate the effects of high doses of antioxidants and zinc on the progression of the two conditions in those with AMD.

The results were reported in the October 2001 issue of Archives of Ophthalmology. The study followed 3640 individuals for an average of 6.3 years between 1992 and 2001. The researchers concluded that high levels of antioxidants and zinc can reduce some people's risk of developing advanced AMD by about 25 percent. Advanced AMD is defined as either choroidal neovascularization (wet macular degeneration) or atrophic age-related macular degeneration (geographic atrophy). The anti-oxidants and zinc supplements only reduced the risk of progression to wet macular degeneration. Those that benefited from the dietary supplements included those with intermediate-stage AMD and those with advanced AMD in one eye only. The supplements had no significant effect on the development or progression of cataracts. "High levels" in this case were defined to be:
 * 500 milligrams of vitamin C;
 * 400 international units of vitamin E;
 * 15 milligrams of beta-carotene (or 25,000 international units of vitamin A);
 * 80 milligrams of the dietary mineral zinc, in the form of zinc oxide; and
 * two milligrams of copper as cupric oxide, added to prevent copper deficiency anemia, a condition associated with high levels of zinc intake.

Bausch & Lomb was a collaborator in the study. They and other suppliers provide supplements pre-packaged with formulations based on this study.

Studies in 2016 and 2018 later showed that this average 25 percent reduction in risk from the combination of anti-oxidants and zinc varies by genotype.

AREDS2
The original AREDS study was followed by AREDS2, a five-year study that started in 2006 to test whether the original AREDS formulation would be improved by adding omega-3 fatty acids; adding lutein and zeaxanthin; removing beta-carotene; or reducing zinc. In AREDS2, participants took one of four AREDS formulations: the original AREDS formulation, AREDS formulation with no beta-carotene, AREDS with low zinc, AREDS with no beta-carotene and low zinc. In addition, they took one of four additional supplement or combinations including lutein and zeaxanthin (10 mg and 2 mg), omega-3 fatty acids (1,000 mg), lutein/zeaxanthin and omega-3 fatty acids, or placebo.

The study reported that there was no overall additional benefit from adding omega-3 fatty acids or lutein and zeaxanthin to the formulation. However, the study did find benefits in two subgroups of participants: those not given beta-carotene, and those who had very little lutein and zeaxanthin in their diets. Removing beta-carotene did not curb the formulation's protective effect against developing advanced AMD, which is important given that high doses of beta-carotene have been linked to higher risk of lung cancers in smokers. According to Dr. Emily Chew, "Because carotenoids can compete with each other for absorption in the body, beta-carotene may have masked the effect of the lutein and zeaxanthin in the overall analysis."

The AREDS2 trial did not find a difference in the effects of 80mg versus 25mg zinc. The UK National Health Service suggests that people may take the lower dose if the higher dose upsets their stomach. The 25mg zinc level has not been compared to a placebo,, and 80mg remains the standard.

Packaging
The AREDS2 formulation is often sold with all the ingredients packaged together in one pill, for convenience. These formulations may be labelled as "AREDS2", the pharmaceutical generic name, or they may be labelled with trademarked brand names, or they may be labelled with both. Some preparations not explicitly labelled as AREDS2 may not contain the correct ingredients in the correct quantities, and may contain additional, non-AREDS2 ingredients, which have no proven benefit.

The AREDS2 formulation can also be taken as a set of pills which contain the individual components in the correct quantities.

title: Age-Related Eye Disease Study


text: User talk:160.39.129.96

title: User talk:160.39.129.96


text:
Guy Warren

Guy Warren of Ghana, also known as Kofi Ghanaba (4 May 1923 – 22 December 2008), was a Ghanaian musician, most notable as the inventor of Afro-jazz — "the reuniting of African-American jazz with its African roots" — and as a member of The Tempos, alongside E. T. Mensah. He also inspired musicians such as Fela Kuti. Warren's virtuosity on the African drums earned him the appellation "The Divine Drummer". At different stages of his life, he additionally worked as a journalist, DJ and broadcaster.

Biography
He was born Warren Gamaliel Kpakpo Akwei in Accra in the then Gold Coast on 4 May 1923, to Richard Mabuo Akwei, founder of the Ghana National School, and Susana Awula Abla Moore. Named by his parents after Warren Gamaliel Harding, the 29th president of the United States, he changed his name in 1943 to Guy Warren. When he was in the U.S. he became "Guy Warren of Ghana". He changed his name to "Ghanaba" on 1 July 1974, Ghana's Republic Day.

He was educated at the Government Boys' School, Accra, from 1928 to 1939. During this time, he developed his interest in music by playing for the school band. After passing with distinction, he enrolled at Odorgonno Secondary School in 1940. During the same year, he joined the Accra Rhythmic Orchestra under Yeboah Mensah as a drummer. He won a government teacher training scholarship to Achimota College, Accra, in 1941 with the intention of becoming a teacher at his father's school. While at Achimota, he participated in sports. He dropped out of the college in 1942 because, as he later said, "I was bored stiff with my studies and the stern discipline of the college, which attempted to change me into an Englishman."

In 1943, Warren Akwei enlisted in the Office of Strategic Services, a branch of the United States Army that dealt with overt and covert operations in World War II. He returned to Accra in the same year and joined the Spectator Daily as a reporter under the editor Robert Wuta-Ofei. He was editor of the Daily Echo, Gold Coast Independent, and Star of West Africa between 1950 and 1952. In 1944, he began broadcasting jazz programmes while working at the Gold Coast Broadcasting Service under the name Guy Warren, which he continued using for the next three decades. In 1951, he did a series of jazz programmes for the British Broadcasting Corporation (BBC), becoming the first African to host programmes with the service. He also acted in the 1951 film The Boy Kumasenu, playing the role of Yeboah. He worked at Station ELBC, the National Broadcasting Service of Liberia, as assistant director and disc jockey between 1953 and 1955.

He joined E. T. Mensah and others to form the jazz band The Tempos but left the band in 1951. In 1955 Warren left for Chicago and joined the Gene Esposito Band as co-leader, percussionist, and arranger. With them he recorded his first album, Africa Speaks, America Answers (Decca, 1956). African music was popular, but it had not been integrated with world music until Warren. Fela Anikulapo Kuti and Osibisa popularized Ghanaba's music. During his stay in America, he worked with Duke Ellington, Max Roach, Charlie Parker, and Louis Armstrong.

By 1974 he had returned to Ghana, where on 1 July 1974, Republic Day, he changed his name to "Ghanaba". He later said: "After the United States disillusioned me, I wanted to resurrect the African component of jazz. African interpretations of jazz were different than African American version I heard in the U.S. I discovered Africanness in the U.S. ... I wanted to do African music."

In the 1990s, he played a role in the film Sankofa (1993), written and directed by Haile Gerima, who was working in the United States. It was filmed also in Ghana and Burkina Faso. Ghanaba continued to make music until his death aged 85 on 22 December 2008 at the 37 Military Hospital in Accra. He was buried in a coffin designed as a drum by Eric Adjetey Anang of Kane Kwei Carpentry Workshop.

Family
Ghanaba's parents were Susana Awula Abla Moor and Richard Mabuo Akwei, founder and first headmaster of Ghana National School in Accra. As a child Ghanaba was a boisterous free spirit who found little peace and comfort with the strictness of his father. Richard Akwei, a disciplinarian, was an educationist and founder of the Akwei Memorial School in central Accra; also a sports administrator, he is credited with being the first Ghanaian Chief Executive of the Central Organization of Sports (COS), later known as the Sports Council.

Ghanaba was married twice and had six children. His first son, Guy Warren Jr., also known as "Odinga Oginga", is an artist specialising in sculpting, painting and carving. His second child, Glenn Gillespie Warren, also called "Ghanababa" (the son of Ghanaba), is a jazz drummer who played on the album That Happy Feeling (Safari, 1979). He recorded Bomdigi (Safari, 2008), the last album featuring Ghanaba. Glenn was chosen by Ghanaba to carry on his work, which was formally marked when Ghanaba handed Glenn his drumsticks. Ghanaba's third son, Gamal Abdel Nasser Warren, also known as "The President", was named after president Nasser of Egypt. Ghanaba's fourth son, Gamaliel Joseph Warren, inherited his father's musical talent as a jazz drummer.

In 1976, Ghanaba met and married Mrs Felicia Ghanaba, a Togolese living in Ghana. She bore him a daughter, whom they named Medie ("mine"); she is known as Medie Ghanaba Lemay. In 1982, the couple had a second daughter, named Gye Nyame Hosanna Ghanaba.

1940–80
He began his career under the name Guy Warren as a disc jockey in 1944 with several jazz programmes on the Gold Coast Broadcasting Service (later Ghana Broadcasting Corporation) and Z.O.Y. Accra. He described his performance on the drums as love-making, seeing the African drums as a woman who could not be satisfied. While the punch and power of his playing easily tore the vinyl covering on Western-made drums, the animal skin covering the African drums remained intact. Nii Anum Telfer describes climbing on stage with Ghanaba as a feeling he would always remember. A firecracker would announce their entrance.

As Seth Paris notes, "With fellow musicians, like saxophonist Joe Kelly and bassist Oscarmore Ofori, Guy was part of the generation to bring the influences of African-American musical styles into mainstream Ghanaian culture. During 1948, Guy Warren worked with Kenny Graham's Afro-Cubists in the UK, and when he returned to Ghana, helped introduce Afro-Cuban rhythms to the country."

Travelling to the U.S. in 1954, Ghanaba spent some years working there, although he found little commercial success. Once, before a U.S. show, Warren appeared backstage in authentic African wear. However, the owner of the club (African Room) was trying to force him to wear what he considered an "Uncle Tom" outfit with a tattered straw hat, which was the norm for Calypso and African musicians at the time. Ghanaba adamantly refused to change, beginning a trend that was copied both on and off stage.

Ghanaba said in a 1973 interview with John Collins, "I had to make a choice between being a poor imitation of Buddy Rich or playing something they couldn't. I could play jazz well, but I possessed something nobody else had, so I started to play African music with a little bit of jazz thrown in, not jazz with a little African thrown in."

In 1956, Ghanaba's first album, Africa Speaks, America Answers, was recorded for Decca. It confirmed his reputation as a credible musician. It cross-fertilized African and Western rhythms and introduced authentic instrumentation into the music. In 1964, Decca and German musician Bert Kaempfert released an orchestral version of "That Happy Feeling", the most popular song on Africa Speaks, America Answers, under its original title "Eyi Wala Dong (An African's Prayer)" on Kaempfert's 1962 album A Swingin' Safari.

A year later, Ghanaba worked on the release of Themes for African Drums (RCA Victor, 1958), on which he wanted to use voices, drums, and trombone, with an African influence. He collaborated on this album with trombonist Lawrence Brown, who said what Ghanaba was doing was uncommon in jazz. Cover versions of "Love, the Mystery of" were recorded by Art Blakey and Randy Weston, and Weston used it as his theme song for 40 years.

In December 1959 readers of Drum magazine voted Ghanaba the number one drummer. His album African Rhythms (Decca, 1962), was supposed to be released a year earlier by Columbia but the deal collapsed. He then joined Martin Salkin and Milt Gabler of Decca. Ghanaba is listed in the Encyclopaedia of Jazz as a trailblazer who injected African rhythms and instrumentation into mainstream jazz. On one occasion in the early 1970s, when he performed a concert at the Ohene Djan Stadium in Accra, the crowd walked out. He had given up on live performances and stopped playing drums. He only released two albums in the 1970s: The African Soundz (RCA Victor, 1972) and The Divine Drummer (1978).

He asked Nii Anum Telfer to trace a letter from Africa Obonu, later to be known as Ghanababii, a drums and percussion ensemble based at La in Accra that had written to Ghanaba. It was after Ghanababii were contacted that he began to perform again. He played many gigs, including the monthly Free South Africa shows that he and Nii Anum Telfer organized at the Accra Community Centre in solidarity with Nelson Mandela, who was at the time in prison, and the people of South Africa who were fighting against apartheid. By March 1979, he had brought together Zagba Oyortey, Ofei Nkansah, Wendy Addae, Dorothy Gordon (aiti-KACE), Akuoko, Akwasi Adu Amankwa, Anthony Akoto Ampaw (Che-Che), Tsatsu Tsikata, Fui Tsikata, Prof. Akilagpa Sawyerr, Nii Kwate Owoo, George Quaynor-Mettle, Takyiwa Manu, Kwaku Opoku, F. Ato Austin and James Quarshie. Their intent was to collect, preserve, document, and promote African arts and culture. During the Soul to Soul concert in Accra on 8 March 1971, Ghanaba performed with an ensemble of gourd players from Benin.

1980–2008
By the early 1980s Ghanaba had moved to Achimota and had his second daughter, Gye Nyame Hosanna Ghanaba. In 1983, in search of more peace and quiet, he moved to Korleman village. Although he released no major albums during this period, he remained active in the music industry in Ghana. He was instrumental in setting up the Musicians Union of Ghana and led the union as its National President from 1989 to 1992, advocating the need for Ghanaian musicians to use indigenous musical instruments. Ghanaba considered his greatest work to be the African talking drums interpretation of the "Hallelujah Chorus" by Handel. In 1981, he was enstooled as Odomankoma Kyrema (The Divine Drummer) by Aklowa, the African Heritage Village, based at Takeley, near London, England. Three historical concerts in dedication of Africa's Contribution to the World took place at London's Royal Albert Hall in March 1986. From this period, he performed at the National Theatre, the Goethe-Institut, the Du Bois Centre, and other venues in Ghana.

In 2001, he participated as The Divine Drummer in the stage show Yaa Asantewaa: Warrior Queen written by Margaret Busby. It was produced by Adzido Pan-African Dance Ensemble, the African and Caribbean Music Circuit, Black Voices, the Pan-African Orchestra and West Yorkshire Playhouse, which toured the UK and performed in Accra and Kumasi.

Ghanaba liked to share ideas with musicians. Introduced to Robyn Schulkowsky, a female drummer from the U.S. living in Germany, by Sabine Hentzch of the Goethe-Institut in Accra, he said: "My whole life I thought I was the only one on earth who is crazy enough to deal with music the way I do. And now I have to recognize that there is another one; a woman, a white one." In 1992 he also set up and edited Hwe (Observe), a weekly newspaper.

In February 2005, during Black History Month celebrations, Ghanaba was awarded a Lifetime Achievement Award at the W. E. B. Du Bois Centre in Accra. On 18 January 2008, he handed his drumsticks to his son Glenn "Ghanababa" Warren at a ceremony at the National Theatre in Accra.

Ghanaba died on 22 December 2008. On 21 June 2009, a tribute was held at the Jazz Gallery in New York with Randy Weston, Obo Addy, and Kwaku Martin Obeng.

Africa first
On 1 July 1974, the anniversary of Ghana's Republic Day, he adopted the name Ghanaba. From a young age he wanted to remain true to his African roots. His pride in his African heritage was revealed in his music and the clothes he wore. His goal was to make the African presence felt in world music.

Max Roach said in 1974 that Ghanaba wanted to strengthen "Afro-American music" by turning to African music for inspiration.

He was disturbed by the desire of many Ghanaians for material goods manufactured outside the country. Ghanaba was among three people picked by Osagyefo Kwame Nkrumah to give advice on political, spiritual, and personal matters. He repeated the same service to Jerry John Rawlings when he became head of state.

In the 1970s, Ghanaba joined African Obonu (later known as the Ghanababii) and others to perform the monthly Free South Africa Shows. These were organized at the Accra Community Centre in solidarity with Nelson Mandela and the people of South Africa in the fight against apartheid. Other shows were organized to commemorate important dates in African history, such as Namibia's Independence Day, and also to honor Africans such as boxers Azumah Nelson and Ike Quartey. He was an avid reader who had a sign in his house that read "I would rather read". He collected books, newspapers, and other material that he hoped could be catalogued. New York University expressed interest in his collections. A professor of African Studies at the school established the African Heritage Library in Accra with most of the material coming from Ghanaba's collections. Decades earlier, he had wanted to donate it to the government of Nigeria because of its commitment to the second edition of the World Festival of Black Arts in 1977.

A Pan-Africanist, he opined that if political and economic developments did not go hand in hand with cultural developments no progress would be made.

The Ghanaba Afro-Jazz Gallery is an independent art project "dedicated to honouring, and preserving, the legacy of the legendary Kofi Ghanaba" and to promoting Afro-Jazz music and culture.

The title of Robin D. G. Kelley's book Africa Speaks, America Answers (2012) is taken from Ghanaba's 1956 album of the same name.

Hallelujah!, a film by Steven Feld about Ghanaba, was screened at the 6th Annual New Mexico Jazz Festival, Albuquerque, followed by a post-screening discussion with Randy Weston and Steven Feld.

Publications

 * I Have a Story to Tell …, by Guy Warren, Accra [Ghana]: Printed by the Guinea Press, c. 1962. Tells the story of Guy Warren's sojourn in America as an African jazz musician.
 * Hey Baby! Dig Dat Happy Feelin' – A biographical retrospective; produced by Roger Davies, Chelmsford, UK, 2003.

Discography

 * Africa Speaks America Answers (Decca, 1956)
 * Themes for African Drums (RCA Victor, 1959)
 * African Rhythms (Decca, 1962)
 * Emergent Drums (Lansdowne, 1964)
 * Afro-Jazz (Columbia, 1969)
 * Native Africa (KPM Music, 1969)
 * The African Soundz of Guy Warren of Ghana (Regal Zonophone, 1972)

title: Guy Warren


text:
User:Almafeta

Administrator at ia:Wikipedia.

Copyright info
All submissions to Wikipedia from 23 February 2006 and prior were removed from the GFDL, and have been removed as found.

Bumper Stickers

 * Many are being reworked at User:Almafeta/Bumper Stickers.

fr:Utilisateur:Almafeta ia:Usator:Almafeta

title: User:Almafeta


text:
File:ManFromUNCLEbook.jpg

Licensing
scan of a mid-1960s publication, copyright Whitman Publications. Used to illustrate the TV series in question.

title: File:ManFromUNCLEbook.jpg


text:
Camelot Software Planning

Camelot Co., Ltd. (株式会社キャメロット) (doing business as Camelot Software Planning) is a Japanese video game developer established in 1994 and headquartered in Shinjuku, Tokyo. It is known for developing sports games, particularly in Nintendo's Mario franchise.

History
Camelot was founded on April 4, 1994 by Shugo Takahashi, the brother of producer Hiroyuki Takahashi, with the intention of developing games for Sony's PlayStation. They developed their first game, Beyond the Beyond, while providing assistance to Sonic! Software Planning on Shining Wisdom. They would then provide assistance on Sonic's next game, Shining the Holy Ark.

In April 1998, after Sega merged its investment in Sonic into its subsidiary Nextech, Hiroyuki Takahashi joined Camelot as its president. Camelot then finished development of Shining Force III in Sonic's place and moved on to develop titles for Nintendo consoles.

The studio has developed many Mario sports games, including Mario Golf, and Mario Tennis, as well as the Golden Sun series of role-playing games. The creation of the Mario character Waluigi can be attributed to Camelot, after Mario creator Shigeru Miyamoto consulted with them to create a "Wario-like" counterpart for Luigi during the development of Mario Tennis.

Cancelled

 * I Love Golf – (PC)

title: Camelot Software Planning


text:
Wikipedia:Personal user awards/Wiffle

The Wiki Wiffle Bat is an award given to those who have shown exceptional skill in the area(s) of logic, rationality, dispute resolution/mediation particularly in the face of flames and general animosity. These people keep swinging in the face of long odds and distant goals! This award was introduced by Reene on November 29,2004.

Requirements
The requirements for giving someone the Wiki Wiffle Bat are:

 * They must have exhibited qualities befitting of the Bat, including but not limited to:
 * General coolness or awesomeness as demonstrated over an extended period of time
 * Logic or the ability to reason under the heat of flames
 * The ability to stand ones' ground despite being faced with a person or people that could be easily mistaken for solid brick walls.
 * The image of the Bat must be displayed on their user page. Therefore the person must consent to receiving the Bat.
 * You must add their name to the list on this page as well as your reasons for awarding it.

People who have been awarded the Wiki Wiffle Bat

 * AlexR – General awesomeness and willingness to stand his ground despite tedious opposition
 * Comaze – For holding his own against a one-year siege of puppets and personal attacks, and refusing to stoop to the methods of his antagonists.
 * Dr Zen – General awesomeness and a great sense of humour
 * DV8 2XL – For having played wack a rat with bad science, spam and other nonsense on a regular basis.
 * dysprosia – General awesomeness and a good attitude
 * func – General awesomeness and a good attitude
 * GhostPirate For dedication in marking inappropriate pages while staying cool in the face of insults
 * Mackensen – For this fine discussion of what's gone wrong on Wikipedia
 * Ombudsman – General awesomeness and willingness to stand his ground despite tedious opposition
 * RickK – General awesomeness and for exceptional skill in the areas of logic and rationality, and a general attitude that betters Wikipedia as a whole
 * shamir1
 * silsor – General awesomeness and besting Reene in a battle of wits and gross pictures
 * Spylab – For continually applying exceptional logic and rational skills in editing the Millwall brick article to the betterment of that article in the face of flames and heated scrutiny and challenges to just about every fact posted and every reference cited.
 * Folic Acid and Nat.tang for maturity and civility when dealing with continuous insults and abusive editing, and efforts to engage in constructive dialogue with their attacker.
 * Jayjg – For having displayed extraordinary skills as an editor, admin, and as a member of the arbcom, often in the face of, and in spite of, harsh attacks against his superlative work.
 * Coppertwig – For your exceptional logic, endurance, civility, and especially neutrality in the face of relentless irrationality.
 * Duke – For his patience, endurance and forgiveness, even when I tried my best to enrage him. I played him as many jokes as the raindrops in a storm but he never even yelled at me.

title: Wikipedia:Personal user awards/Wiffle


text:
The Affairs of Annabel

The Affairs of Annabel is a 1938 American comedy film directed by Benjamin Stoloff and starring Lucille Ball, Jack Oakie and Ruth Donnelly. It was produced and distributed by RKO Pictures. The film was followed by the sequel Annabel Takes a Tour the same year, also starring Oakie, Ball and Donnelly.

Plot
Wonder Pictures studio publicity man Lanny Morgan has actress Annabel Allison taken to prison in order to generate publicity before the release of her new film. However, when Annabel is released one month later, she finds that nobody has noticed, and she has Lanny fired. But when he pays a struggling actress to pretend to be his sick mother, Annabel has Lanny rehired, and he immediately begins plotting his next stunt.

The head of Wonder Pictures informs Annabel that her film has been canceled, and that she is to star in a new film, The Maid and the Man. Lanny arranges to have her work as Mary, a maid for the Fletchers, their teenage son Robert and inventor Major. While Robert becomes infatuated with Annabel, she is expected to cook and clean for the family, so she calls on Lanny to help. Meanwhile, the investors interested in one of Major's inventions, a rubber ring placed around a plate so that it will bounce rather than break when dropped, appear in the morning newspaper as robbers. They are in fact waiting for their own publicity to dissipate so that they can make a getaway.

Back at Wonder Pictures, The Maid and the Man has been scrapped, but when Lanny calls Annabel to tell her, she answers that she cannot leave. Though at first confused, he finds Annabel's police mug shot in the paper along with the robbers, and forms a plan to outfit 50 extras as policemen. As they march toward the house firing blanks, the robbers return fire with real bullets, and the extras scatter. Lanny sneaks into the house alone but is captured.

When the real policemen arrive, the robbers try to escape, using Lanny and Allison as shields. Instead, Annabel uses her martial arts training to throw one of the robbers to the ground, while Lanny bites the other.

Annabel returns to Wonder Pictures and is disappointed to find that The Maid and the Man has been replaced by The Diamond Smuggler, in which she is to play the lead. On her way out, Annabel collects a gift that Lanny had arranged for her to receive, and is apprehended when the police open it to discover the precious jewels inside. Lanny watches from the front of the new billboard for The Diamond Smuggler as Annabel is driven away screaming.

Cast

 * Jack Oakie as Lanny Morgan
 * Lucille Ball as Annabel Allison
 * Ruth Donnelly as Josephine
 * Bradley Page as Howard Webb
 * Fritz Feld as Vladimir Dukov
 * Thurston Hall as Major
 * Elisabeth Risdon as Mrs. Margaret Fletcher
 * Granville Bates as Jim Fletcher
 * James Burke as Officer Muldoon
 * Lee Van Atta as Robert Fletcher
 * Anthony Warde as Bailey aka Rogers
 * Leona Roberts as Mrs. Hurley
 * Charles Coleman as The Butler, Perkins
 * Brooks Benedict as Man in Webb's Office
 * Stanley Blystone as Cop
 * Maurice Cass as Dr. Rubnick
 * Claire Du Brey as Convict
 * Mildred Gover as Scarlet, the Maid
 * Kane Richmond as Detective
 * Madame Sul-Te-Wan as Benzedrina, a Convict
 * John Sutton as Man at newsstand

Reception
In a contemporary review for The New York Times, critic Frank S. Nugent speculated that The Affairs of Annabel would be the first in a series: "A promising first, we might add; in a light farce vein, with some flip players in it. ... Between them, and with the help of a smartly written script, they have created an amusing trifle about a movie actress and a press agent with a Svengali complex. ... Miss Ball, who is rapidly becoming one of our brightest comediennes, plays it broadly and without a disruptive trace of whimsy."

title: The Affairs of Annabel


text:
Talk:Port Melbourne

I've written up some history on Port Melbourne, but there's so much more to add: its relation to Melbourne's postwar immigration history, the Port Melbourne Lighthouse, information about the docks, Garden City, Fishermans Bend, etc. Cnwb 05:18, 30 Nov 2004 (UTC)

The main shopping strip is along Bay Street which over recents years has been transformed entertainment precinct littered with cafes, bars and restuarants of all types, rivalling Chapel St, South Yarra and Brunswick St, Fitzroy.

I have fixed up this rather convoluted sentence, and removed the "rivalling" section, because I believe it to be POV. Cnwb 02:17, 11 Feb 2005 (UTC)

FIsherman's Bend has just warranted a substantial historical treatment (see refs.) and a library exhibition in its own right. Why then has it recently been incorporated into the Port Melbourne entry?

Fishermans Bend neighbourhood name
There are multiple references to "Fishermens Bend" - a name that appears to have been consigned to "historical" status on 18 May 1977, and officially replaced with "Fishermans Bend" (http://services.land.vic.gov.au/vicnames/place.html?method=edit&id=15591). The local government authority for the area (http://www.portphillip.vic.gov.au) consistently uses the "Fishermans Bend" name. Kapunda 14:01, 23 March 2008 (UTC)
 * Yes, but it has no official status - there are plenty of these around Melbourne. The Gazetteer of Australia recognises the name, but not as an official one, and the Melway notes its inclusion in Port Melbourne. Back in 2006, it had an article of its own, but we found it could only be improved so far. The article subsequently got merged in (I think) Nov 2006, and what you see there is almost exactly the complete article. Some local names do eventually become official names - for example, Gardenvale, whose dual status has been confusing us all for months. Orderinchaos 17:15, 23 March 2008 (UTC)

Sorry, "Orderinchaos" but nothing you wrote has any relevance to my post, however true it might be in its own right. I cited the official source (Registrar of Geographic Names website) proving that "Fishermans Bend" is an official neighbourhood name (not a suburb name), so any misspellings as "Fishermens Bend" need to be corrected. I have nothing further to request. Kapunda (talk) 03:43, 24 March 2008 (UTC)
 * Ah, I get what you mean - the spelling. Yes, it should be -mans, not -mens. I hadn't noticed that it had been misspelt. Orderinchaos 06:59, 24 March 2008 (UTC)

Map
Map sucks. Needs larger - whole island - location map. If you want to show city limits and major roads, go ahead and add suburb and neighborhood names. I say screw WP maps, they all suck -- replace them with Google or Bing insets. 71.164.227.51 (talk) 03:33, 10 October 2011 (UTC)

External links modified
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Move discussion in progress
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title: Talk:Port Melbourne


text:
File:ManfromUncle1.jpg

Licensing
scan of a mid-1960s publication

Fair use rationale for The Man from U.N.C.L.E.
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It illustrates an article about the comic from which the illustration was taken.
 * 2) The image is used to visually identify the original novels based on The Man from U.N.C.L.E..
 * 3) The use of the cover will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original. In particular, copies could not be used to make illegal copies of the comic.
 * 4) It is a low resolution image.
 * 5) The image is only a small portion of the commercial product.
 * 6) It is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.

title: File:ManfromUncle1.jpg


text: User talk:141.149.132.78

title: User talk:141.149.132.78


text:
Ernesto Djédjé

Ernesto Djédjé (1948–1983) was an Ivorian musician from Daloa. His parents were Wolof and Bété. Djédjé began playing music at fifteen when he became a guitarist with Ivoiro Star, a leading dopé band, in 1962. He moved to Paris in 1968 and became a student. He continued to perform and made his first recording with Anoma Brou Felix in 1970 with the help of Manu Dibango.

In 1972, he returned to his homeland to lead the San Pedro Orchestra. He later formed a band called Les Ziglibithiens and pioneered a musical style called Ziglibithy based on a kind of Bété roots music combined with Congolese rumba rhythms. Djedje's Ziglibithy is highly syncopated dance music, in which the sinuous guitar lines are punctuated with fat horns.

Djedje recorded his first solo album in 1977, calling it Ziboté with producer Gbadamassi Raïmi. Another album, Le Roi du Ziglibithy, was released on Badmos Records in 1977. He also released albums entitled Aguisse (also on Badmos Records), Tizere and Zouzoup Ale. All of these vinyl LP's are rare today, although Le Roi du Ziglibithy, which is arguably Djedje's best record, has been reissued on CD by Popular African Music, headquartered in Germany.

Ivoirian president Félix Houphouët-Boigny honored him for his contributions to national culture in 1982. Djédjé died suddenly of an untreated ulcer in 1983 at 35, although many claim that he was poisoned.

Discography

 * 1970 - Anowah - Tetialy Ble
 * 1970 - Gniah Pagnou
 * 1971 - N'Wawuile
 * 1971 - Lorougnon Gbla / Ernesto
 * 1973 - Zokou Gbeuly / Zokoly
 * 1977 - Ziboté
 * 1977 - Le Roi du Ziglibithy
 * 1978 - Aguisse
 * 1979 - 79 Golozo
 * 1981 - Zouzoup Ale
 * 1982 - Tizere
 * 1983 - Souvenir
 * 2001 - Le Roi du Ziglibithy (Popular African Music, P.A.M.)

title: Ernesto Djédjé


text:
Category:Ivorian musicians

Musicians from the country of Ivory Coast (officially the Republic of Côte d'Ivoire).

title: Category:Ivorian musicians


text:
Apollo Theatre

The Apollo Theatre is a Grade II listed West End theatre in Shaftesbury Avenue in the City of Westminster, in central London. Designed by the architect Lewin Sharp for owner Henry Lowenfeld, it became the fourth legitimate theatre to be constructed on the street when it opened its doors on 21 February 1901, with the American musical comedy The Belle of Bohemia.

Construction
Henry Lowenfeld had bought land on the newly created Shaftesbury Avenue at the turn of the 20th century—next door to the Lyric Theatre, which opened in 1888—and as a consequence the Apollo is one of the few theatres in London to be freehold.

The only complete theatre design of architect Lewin Sharp, the Apollo was specifically designed for musical theatre and named after the Greek god of the arts and leader of the muses. It was constructed by builder Walter Wallis of plain London brick in keeping with the neighbouring streets; the front piece is in the Renaissance style with a sculpted stone fascia by T. Simpson. The structure encloses a four-level auditorium, with three cantilevered balconies and a first-floor central loggia, decorated in the Louis XIV Style by Hubert van Hooydonk. In keeping with then European style, each level has its own foyer and promenade.

Owing to the death of Queen Victoria the previous month, it became the first London theatre to be completed in the Edwardian period. The capacity on the opening night, 21 February 1901, was 893, with a proscenium of 9.14 m wide and 8.89 m deep.

The capacity today is 757 seats, with the balcony on the 3rd tier considered the steepest in London.

Operations
Owing to a relatively unsuccessful opening, impresario Tom B. Davis took a lease on the building, and hence management of operations, from 1902. The theatre was renovated by Ernest Schaufelberg in 1932, with a private foyer and anteroom installed to the Royal Box. Prince Littler took control of the theatre in 1944.

Stoll Moss Group purchased the theatre in 1975, selling it to Andrew Lloyd Webber's Really Useful Group and Bridgepoint Capital in 2000. Nica Burns and Max Weitzenhoffer purchased the theatre and several others in 2005, creating Nimax Theatres, which still owns the theatre.

2013 ceiling collapse
On 19 December 2013, at about 20:15 GMT, 10 m2 of the auditorium's ornate plasterwork ceiling collapsed around 40 minutes into a performance of The Curious Incident of the Dog in the Night-Time. It brought down a lighting rig and a section of balcony, thereby trapping two people and injuring around 88, including seven seriously. There were 720 people in the audience at the time. The incident was preceded by heavy rain.

The emergency services responded with 25 ambulance crews, an air ambulance rapid response team, 8 fire engines with more than 50 firefighters, and the Metropolitan Police. Casualties were taken to the foyers of the adjacent Gielgud and Queen's theatres, where the emergency services could triage. The London Ambulance Service later stated that they had treated 76 injured people, with 58 taken to four London hospitals, some on commandeered buses. Guy's and St Thomas' NHS Foundation Trust said 34 adults and 5 children were subsequently treated in accident and emergency at St Thomas' Hospital.

The venue reopened on 26 March 2014, with an adaptation of Let the Right One In produced by the National Theatre of Scotland. The owners were able to reopen the theatre by sealing the fourth level and balcony with a temporary floor, which allowed investigators to continue their work in determining the cause of the collapse. That month Westminster City Council issued a notice to other historic theatres saying that the ceiling collapse appeared to have been caused by the gradual deterioration of Hessian wadding mixed into plaster of Paris to form the ties lashing timbers together, which had probably been in place since the theatre was built.

Production history
The opening caused a public uproar, with a selected audience for the first performance, on Thursday 21 February 1901, and the first public performance scheduled for 22 February. The Times refused to review the private opening, instead waiting until the first public production on the following day. The opening production was the American musical comedy The Belle of Bohemia, which survived for 72 performances—17 more than it had accomplished when produced on Broadway. The production was followed by John Martin-Harvey's season, including A Cigarette Maker's Romance and The Only Way, an adaptation of Charles Dickens' A Tale of Two Cities.

George Edwardes produced a series of successful Edwardian musical comedies, including Kitty Grey (1901), Three Little Maids and The Girl from Kays (1902). An English version of André Messager's light opera Véronique became a hit in 1904, starring with Ruth Vincent, who also starred in Edward German's Tom Jones in 1907 in which Cicely Courtneidge made her London debut. Between 1908 and 1912 the theatre hosted H. G. Pelissier's The Follies. After this it staged a variety of works, including seasons of plays by Charles Hawtrey in 1913, 1914 and 1924, and Harold Brighouse's Hobson's Choice in 1916. Inside the Lines by Earl Derr Biggers ran for 421 performances in 1917. Gilbert Dayle's What Would a Gentleman Do? played in 1918 and Tilly of Bloomsbury by Ian Hay was the success in 1919.

George Grossmith, Jr. and Edward Laurillard managed the theatre from 1920 to 1923, presenting a series of plays and revivals, including Such a Nice Young Man by H.F. Maltby (1920) and Trilby (1922), the latter based on the 1894 George du Maurier novel of the same name. They had produced The Only Girl here in 1916 and Tilly of Bloomsbury in 1919. The Fake was produced in 1924, starring Godfrey Tearle. 1927 saw Abie's Irish Rose and Whispering Wires, with Henry Daniel. The next year, Laurence Olivier starred in R. C. Sherriff's Journey's End. Seán O'Casey's The Silver Tassie and Ivor Novello's A Symphony in Two Flats both played in 1929. Diana Wynyard starred as Charlotte Brontë in Clemence Dane's Wild Decembers in 1932. Marion Lorne was the star of a number of plays by her husband Walter Hackett from 1934 to 1937. Ian Hay's Housemaster had the most successful run in this period with 662 performances from 1936. Raymond Massey starred in Robert Sherwood's Pulitzer Prize-winning Idiot's Delight in 1938. Patrick Hamilton's play Gaslight held the stage in 1939, and Terence Rattigan's Flare Path played in 1942.

Control of the theatre transferred to Prince Littler in 1944. John Clements and Kay Hammond starred that year in a revival of Noël Coward's Private Lives, and Margaret Rutherford starred in The Happiest Days of Your Life in 1948, followed by Sybil Thorndike and Lewis Casson in Treasure Hunt, directed by John Gielgud in 1949. After this, Seagulls Over Sorrento ran for over three years beginning in 1950. The theatre's longest run was the comedy Boeing-Boeing, starring Patrick Cargill and David Tomlinson, which opened in 1962 and transferred to the Duchess Theatre in 1965. In 1968 Gielgud starred in Alan Bennett's Forty Years On, and in 1970 he returned in David Storey's Home, with Ralph Richardson. He returned to the theatre in 1988, at the age of 83, in The Best of Friends by Hugh Whitemore.

A number of hit comedies transferred to or from the theatre in the 1970s and 1980s, and other important plays here during the period included Rattigan's Separate Tables, with John Mills in 1977, Romantic Comedy with Tom Conti and Pauline Collins in 1983, Lyle Kessler's Orphans in 1986 with Albert Finney, I'm Not Rappaport the same year, with Paul Scofield, and Dorothy Tutin, Eileen Atkins and Siân Phillips in Thursday's Ladies in 1987. Driving Miss Daisy played in 1988, starring Wendy Hiller, and 1989 saw Zoë Wanamaker in Mrs Klein, Vanessa Redgrave in A Madhouse in Goa, Thunderbirds FAB starring Andrew Dawson and Gavin Robertson, and Peter O'Toole in Jeffrey Bernard Is Unwell. Penelope Wilton starred in Rattigan's The Deep Blue Sea in 1993, and In Praise of Love played in 1995 with Peter Bowles. Mark Little starred in the Laurence Olivier Award-winning one-man show, Defending the Caveman in 1999.

Selected post-1999 productions

 * Side Man (2000) with Jason Priestley
 * Fallen Angels (2000) with Felicity Kendal and Frances de la Tour
 * The Odd Couple (2001)
 * Noël Coward's Star Quality (2001) with Penelope Keith and Una Stubbs
 * Arthur Miller's The Price (2003) with Warren Mitchell
 * The Goat or Who is Sylvia? (2004) with Jonathan Pryce
 * David Mamet's A Life in the Theatre (2005) with Patrick Stewart and Joshua Jackson
 * Mary Stuart (2005) with Harriet Walter
 * Edward Albee's Who's Afraid of Virginia Woolf? (2006) with Kathleen Turner
 * Tennessee Williams' Summer and Smoke (2006) with Rosamund Pike
 * The Glass Menagerie (2007) with Jessica Lange
 * The Last Five Years (2007)
 * Glengarry Glen Ross (2007) with Jonathan Pryce
 * An Audience with the Mafia (2008)
 * The Vortex (2008) with Felicity Kendal
 * Divas (2008)
 * Rain Man (2008) with Josh Hartnett and Adam Godley
 * Three Days of Rain (2009) with James McAvoy and Nigel Harman
 * Carrie's War (2009) with Prunella Scales
 * Jerusalem (2010)
 * All My Sons (2010) with David Suchet and Zoë Wanamaker
 * The Country Girl (2010–2011) with Martin Shaw and Jenny Seagrove
 * Blithe Spirit (2011) with Alison Steadman
 * Yes Prime Minister (2011)
 * Jerusalem (2011–2012)
 * The Madness of George III (2012)
 * Long Day's Journey Into Night (2012) with David Suchet
 * Richard III and Twelfth Night (2012) with Mark Rylance and Stephen Fry
 * The Curious Incident of the Dog in the Night-Time (2013–2014)
 * Let the Right One In (2014)
 * Urinetown (2014)
 * My Night with Reg (2015)
 * The Audience (2015) with Kristin Scott Thomas
 * Dear Lupin (2015) with James Fox and Jack Fox
 * Peter Pan Goes Wrong (2015–2016)
 * Nell Gwynn (2016) with Gemma Arterton
 * The Go-Between (2016) with Michael Crawford
 * Travesties (2017) with Tom Hollander and Freddie Fox
 * Cat on a Hot Tin Roof (2017) with Sienna Miller and Jack O'Connell
 * Everybody's Talking About Jamie (2017–2021)
 * Magic Goes Wrong (2021–2022)
 * Jerusalem (2022)
 * Cruise (2022) with Jack Holden
 * The Upstart Crow (2022) with David Mitchell and Gemma Whelan
 * Derren Brown - Showman (2022–2023)
 * 2:22 A Ghost Story (2023)
 * The Time Traveller's Wife (2023–2024) with David Hunter and Joanna Woodward
 * Mind Mangler: Member of the Tragic Circle (2024)
 * Fawlty Towers: The Play (2024)

title: Apollo Theatre


text: User talk:65.30.81.140

title: User talk:65.30.81.140


text:
John Vartan

John Vartan (February 8, 1945 – December 15, 2004) was an American entrepreneur and a noted educational philanthropist in the Harrisburg, Pennsylvania area where he lived.

Business career
Vartan grew up in the Armenian village of Anjar in Lebanon, also known as Haoush Mousa. After obtaining an engineering degree from Michigan Technological University, and a master's degree from Pennsylvania State University, he started working for Gannett Fleming, Inc. in the early 1970s. He subsequently started his own firms which include:
 * Vartan Group, Inc. (real estate development)
 * Vartan Construction Company (building construction)
 * Vartan National Bank (later sold and renamed Centric Bank in early 2007)
 * Parev (restaurant business)

Vartan became an expert in developing relatively inexpensive office buildings that helped spur widespread development in the greater Harrisburg area. While other developers shunned the area, Vartan actively capitalized on its low land prices. Often allied with Harrisburg Mayor Stephen R. Reed, Vartan helped change downtown Harrisburg by acquiring substandard residences and businesses, and constructing new office buildings in their stead. Although he did not achieve everything that he sought out to do, his achievements changed the public's perception of Harrisburg.

Yet as Harrisburg developed, intense competition emerged. Faced with what he considered as unfair public subsidization and favoritism to competitors, Vartan was never hesitant in filing lawsuits against both competitors and local governments, and he won most of the time. His life was, however, marred with serious obstacles. At one point, his ambitious development plans aroused so much community opposition that he threatened to leave Harrisburg. A "Committee to Keep John Vartan in Harrisburg" was quickly formed, and succeeded in persuading him to stay put.

Vartan's crowning achievement was perhaps his re-establishment of Harrisburg's venerable "Tuesday Club", founded by state Senator Harvey Taylor, in the 1950s. To help subsidize the building, he constructed the first permanent headquarters for the "Tuesday Club" at his own expense. He also established a high quality restaurant, Parev, decorated with distinctive Armenian art, to provide another high quality restaurant for Harrisburg. The "Tuesday Club" soon became a mecca for Pennsylvania's political, business, media and  civic leaders.

In early 1989, Vartan was diagnosed with throat cancer. Even though his cancer made it difficult for him to talk and to be understood at times, he continued with his business expansion and civic leadership. On November 22, 2004, the Management announced that the Vartan family would be taking over the operations of the "Vartan Group". Vartan died on December 15, 2004, after his 15-year battle with throat cancer. He is survived by his wife, Maral, his four children, his three brothers, and his sister.

Philanthropy
Vartan's faith in the American legal process made him unusually responsive to suggestions that Harrisburg needed a new law school. Approached by Widener University for help in 1986 because of his dual role as a developer and the then-largest individual contributor to Penn State University, he surprised the university and other law school advocates by donating land, including his own spacious home, and cash of nearly $2 million, and by offering financial loans.

After the Harrisburg campus of Widener University School of Law opened in 1989, Vartan donated the surrounding land to the campus, including an even more luxurious home that he had built to replace his first home. After the establishment of the law school, Widener University added nursing and social work programs to the campus.

He was named to the PoliticsPA list of politically influential Pennsylvanians.

Vartan's publicly acclaimed generosity to Widener University led to renewed requests from Penn State. He then made donations for two Harrisburg buildings, one across from the state capitol, and the other one, a few blocks away. Vartan's educational philanthropy also included the funding of a Harrisburg public school program of after-school tutoring, the results of which were praised by both parents and educators.

title: John Vartan


text:
Albert Reichmann

Albert Reichmann (אלברט רייכמן; January 18, 1929 – December 17, 2022) was a Canadian businessman. He was one of five brothers who controlled the Reichmann business empire. Together with his wife Egosah they had four children, Philip, David, Bernice and Libby. The Reichmann family is listed as one of Canada's 100 richest families.

Early life
Albert Reichmann was born in Vienna, Austria to Orthodox Jewish parents. He was one of six siblings. The family escaped Nazi occupied Austria and Paris.

Career
Reichmann joined his younger brothers Paul and Ralph Reichmann, who had set up business in Toronto. Paul was the president of their company, Olympia and York, in 1989 worth 8.4 billion dollars. Albert served in a secondary role as chairman of the company, but was most known for his philanthropic work. In the late 1980s while Paul was devoting his time to the Canary Wharf project, Albert became closely involved in the cause of the Jews in the Soviet Union. He used his money and influence in an effort to enable their emigration to Israel. In 1993, it was reported that he lobbied congress about Libya and Israel. His endowment is based in Brooklyn, New York.

His son, Philip Reichmann, was born in 1958. He managed O & Y Properties Incorporation before it was sold to Brookfield in 2005.

Reichmann was also an investor in ImageSat, who sued the company.

Death
Albert Reichman died in Toronto, Ontario, Canada on December 17, 2022, at the age of 93.

title: Albert Reichmann