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Grime music

Grime is a genre of electronic dance music (EDM) that emerged in London in the early 2000s. It developed out of the earlier UK dance style UK garage, and draws influences from jungle, dancehall, and hip hop. The style is typified by rapid, syncopated breakbeats, generally around 140 beats per minute, and often features an aggressive or jagged electronic sound. Emceeing is a significant element of the style, and lyrics often revolve around gritty depictions of urban life.

The style initially spread among pirate radio stations and underground scenes before achieving some mainstream recognition in the UK during the mid-2000s through artists such as Dizzee Rascal, Kano, Lethal Bizzle, and Wiley. In the mid-2010s, grime began to receive popular attention in Canada. The genre has been described as the "most significant musical development within the UK for decades."

Though they are often compared, grime is generally considered distinct from hip hop due to its roots primarily being genres such as UK garage and jungle. Many but not all grime artists are from the black British community.

Origins
Grime emerged in the early 2000s in London. It has origins tied with UK pirate radio stations such as Rinse FM, Deja Vu, Major FM, Delight FM, Freeze 92.7 and Mission. and it was through pirate radio that artists could first present themselves and build an audience. In the late 1990s, UK garage grew in popularity and also found crossover commercial success with shows on Kiss 100 and BBC Radio 1. Whilst much of the popular UK garage sound fused soul and R&B influences, a 'darker garage' sound was also appearing which was more instrumental and less vocal, which allowed MCs to lay down lyrics over them. The role of MCs became more prominent on radio shows, and collectives such as So Solid Crew (on Delight FM), Heartless Crew (on Mission), and Pay As U Go (on Rinse FM) would begin to pave the way for what would eventually be called "grime". Members of these crews would begin to experiment with accessible music creation software such as Fruityloops to write their own instrumentals which were cut to dubplate for shows.

The first grime track is often debated. Some will credit Pay As U Go's "Know We" or So Solid Crew's "Dilemma" (both were released in 2000), however, "Eskimo" by Wiley (produced in Christmas 1999 or early 2000, but released in 2002) and "Pulse X" by Youngstar (released in 2002), a member of Musical Mobb, are also often considered to be contenders. Dizzee Rascal personally claimed his song "Crime", released in 2000, was the first grime song. DJ Slimzee and DJ Karnage have also suggested "Year 2000" (released 2000) by Wiley as a contender. Other tracks that were among the first to be labelled as "grime" include "Ice Rink" and "Igloo" by Wiley, "Creeper" by Danny Weed, and "Dollar Sign" by Sticky featuring Stush.

Wiley at the timed dubbed the sound 'eskibeat' rather than "grime", which had yet to gain popular usage. His song "Eskimo" was characterised by its sparse and cold production, and "awkward, off-kilter rhythms". Wiley explained this colder, darker sound, reflected his mental state at the time, stating "The music reflects what's going on in society. Everyone's so angry at the world and each other. And they don't know why" to Spin magazine in 2005. The name "grime" was coined by journalists who initially termed the music's sub-bass heavy sound as "grimy", which subsequently became "grime". It has also been suggested by artists themselves that the term fits as the music frequently talks about "grimy goings-on" in deprived areas. Initially, some referred to the genre as 'grimey garage'.

At this point, the style was known by a number of names, including 8-bar (meaning eight-bar verse patterns), nu shape (which encouraged more complex 16-bar and 32-bar verse patterns), sublow (a music style and movement created by Jon E Cash with Dread D (T Williams) and crew "The Black Ops", the name sublow being a reference to the very low bassline frequencies, often around 40 Hz) and eskibeat, a term applied specifically to a style initially developed by Wiley and his collaborators, incorporating dance and electro elements. This indicated the movement of UK garage away from its house influences towards darker themes and sounds. Wiley's song "Wot Do U Call It" was released in 2004 and was made to address the identity problems grime was experiencing at the time, and to establish its separation from garage. It became Wiley's first grime hit song.

Grime is not an offshoot of early electronic music, but rather a subgenre that draws from a wide variety of influences. Early innovative artists such as Dizzee Rascal and Wiley were able to take the strong thumping drums of drum and bass, lyricism and vocal styles of UK garage and alter some of the rhythms of dancehall to capture all three genre's essences and add a new half-time, down-tempo dimension to the mix. The genre's popularity grew exponentially in the United Kingdom, as people across the scene's musical spectrum appreciated grime's eclectic mix of instrumentation and subcultures. This hybridisation united many different music scenes, allowing for it to spread in the same word-of-mouth and mixtape-based style as hip-hop, yet still appeal to fans of electronic music. It also paved the way for more electronic music artists to incorporate stronger Jamaican influence in the future. Grime never received the same attention worldwide that it did in the UK. Much like many other less mainstream forms of British electronic music, its main scene and fan base remain in the United Kingdom.

Although grime is recognised as a creative and innovative musical style, there are other contributing factors to its rapid and widespread growth in popularity. The MCs producing current grime music are overwhelmingly young as a group, the most well known names in the industry, Dizzee Rascal and Kano, both getting their first hits at the age of 16 with "I Luv U" and "Boys Love Girls" respectively, and the resultant package of "youth making music for youth" is seen as a crucial factor for grime's success.

Grime producers often battle in so-called "war dubs". Clashing between MC's is generally considered to be an important part of grime culture.

Development
Dizzee Rascal, Wiley, Kano and Lethal Bizzle were among the first to bring the genre to mainstream media attention in 2003–2004, with their albums Boy in da Corner, Treddin' on Thin Ice, Home Sweet Home and Against All Oddz respectively. Dizzee Rascal garnered widespread critical acclaim and commercial success with Boy in da Corner winning the 2003 Mercury Music Prize. From 2001 to 2006 The RWD magazine forum was cited as a key development in the genre's culture. Moderators included Logan Sama, and artists such as Wiley, Skepta and Jme would often come on the forum to engage with the community. This was the birthplace of Wiley's famous rants, where he would often target forum users and resort to either trolling or humorous insults.

The genre was predominantly non-visual in its early stages, meaning you would primarily only hear artists on pirate radio or through their music as opposed to actually seeing what they looked like. This changed with the rise of various DVD series' such as Lord of the Mics, Lord of the Decks, Risky Roadz, Run the Roads and Practise Hours, filmed by amateur videographers such as Roony 'Rsky' Keefe and Troy 'A Plus' Miller. The DVDs often featured artists giving interviews and performing freestyles. These videos often featured record store Rhythm Division on Roman Road in East London, which served as a key community hub for both developing and established Grime MCs during this time. The store was frequented by artists like Wiley, Skepta and Dizzee Rascal before its eventual closure in 2010. Jammer created Lords of the Mics in 2004. The DVD primarily showcased underground artists clashing (or "battle rapping") each other. Lord of the Mics was originally sold by Jammer, Jammer secured an exclusive deal with ukrecordshop.com which helped catapult sales worldwide. The DVD eventually helped smaller grime artists find a platform through selling the DVDs to independent record stores throughout the UK and eventually helping grime form an internet following from uploads to YouTube. This series built a unique platform for artists, because the majority of prior exposure for these artists was through pirate radio. This video series allowed artists to be more visible, and spread their sound.

In 2003, TV channel Channel U was formed (later became Channel AKA, now Now 70s). It would become one of the most important places for people to discover new grime music.

In 2004, grime received its first UK Top 20 single with Lethal Bizzle's song "Pow! (Forward)". The song would prove controversial for the alleged fights it caused in clubs, leading to many venues banning the song from being played. This made it difficult for Lethal Bizzle to find a platform to perform his music. Lethal stated in 2012 to The Guardian that he was unable to play in urban clubs for over a year due to the bans placed on him. Many other grime artists also experienced difficulties performing in clubs due to Form 696, a police risk assessment form that many clubs were asked to fill in by the Metropolitan police. The form was created in 2005 after a spate of gun violence in clubs. The form was criticised in 2009 by John Whittingdale, a Conservative Party MP, for being "draconian". The form was also criticised for allegedly targeting black music nights due to it asking specifically what ethnic groups may be attending the event. Many grime raves were shut down by police using the form. Lethal Bizzle stated in 2012 this led to a shift from making grime music for the clubs, to making grime music for "in-your-house listening". Form 696 has been blamed for contributing to the decline in popularity grime experienced during the late 2000s.

Logan Sama's show on radio station Kiss FM was one of the only daytime radio shows that would regularly play grime during the 2000s.

Decline
By the late 2000s, grime had begun to enter into a decline. Record labels, radio, and the media struggled with knowing what to do with grime, and as a result limited its impact and exposure. The rise of dubstep and UK funky also made it harder for grime to gain a limelight. Many grime MCs also began to move towards commercial electro house-influenced rap and away from grime music. Artists such as Tinchy Stryder, Chip, and Wiley began to shift away from grime music and instead began releasing music with pop elements to much success. Wiley's track "Wearing My Rolex", produced by Bless Beats, has been credited for kickstarting this wave of commercialisation, but while it managed to gain a number 2 spot in the official singles chart, many of the initial attempts to replicate this success failed. Tinchy Stryder's "Stryderman" only managed to peak of No. 73, while Roll Deep's "Do Me Wrong" failed to chart at all. Skepta's "Rolex Sweep" only peaked at number 86, although it did briefly start a dance craze after it was released, received a remix by the band Coldplay, and featured on the comedy show Misfits. Dizzee Rascal found more success than most, with his songs such as "Dance wiv Me" finding itself on the number one spot on the UK Singles Chart. The wave of commercialised music received some criticism from fellow grime artists for being inauthentic to the original sound.

Another commercialisation that happened during this period was grindie, which fused grime with indie rock.

Grime did still have some success during this period, such as the popular Tempa T song "Next Hype" released in 2009. "Pow" by Lethal Bizzle was dubbed the 'unofficial song' of the 2010 student protests. The grime scene outside of London was also flourishing in the midlands, particularly in Birmingham. In 2008, GrimeForum was created by Hijj. The forum was a major platform for grime music at the time, providing a space for artists to promote themselves and a space for fans to discuss grime as a whole, something that was important to people outside of London due to the lack of information they had access to. Canadian artist Tre Mission credited the forums importance in his early growth.

The lack of media attention towards grime, or any mainstream platforms that would reliably showcase grime, gave rise to internet platforms such as SB.TV (formed in 2006), Link Up TV (formed in 2008), and Grime Daily (formed in 2009, now known as GRM Daily). With their initial focus only on grime music (though this has since changed), these platforms provided an easy outlet for artists to funnel their music through and gain fame from, collectively creating an ecosystem that allows artists to easily record, produce, and release music to the masses without the need of support from traditional media or the music industry.

In 2012, Charlie Sloth created "Fire in the Booth" on BBC 1Xtra (later moved to Apple Music). The show became a popular segment and granted grime MCs and UK hip-hop artists a large platform to showcase themselves.

Revival
In 2011, a new edition of Lord of the Mics was released, the first since 2006. Lord of the Mics is a series of grime clashes hosted by Jammer. Both the LOTM III DVD and CD charted. Wiley, inspired by the return of LOTM, also brought back Eskimo Dance the following year, a grime rave from the 2000s that had been discontinued. Jammer suggested that the success of Eskimo Dance encouraged more grime raves to be held than had been previously.

By 2013, a revival of instrumental grime was occurring in the underground, with a new wave of producers experimenting with grime music. Logos, who was credited by FactMag for initiating the revival, credited the fall of dubstep as inspiration for going back to grime and reimagining it. In 2013, just a year prior to grime's resurgence in the mainstream, a large 'war dub' occurred amongst dozens of grime producers. It started off with grime producer Bless Beats releasing "Wardub" on Twitter, followed by a response from Shizznit which also included disses towards various producers within the scene, who in-turn followed up with their own diss instrumentals.

In the following year, grime experienced a commercial MC-led revival, initiated by the success of Meridian Dan's "German Whip" featuring Big H and Jme. The song reached number 13 in the UK Singles Charts. Two months after that, Skepta reached number 21 in the UK Singles Chart with his single "That's Not Me" featuring his brother Jme. Two months later, Lethal Bizzle released the single "Rari WorkOut" featuring Jme and Tempa T, which also charted, peaking at number 11 in the UK Singles Charts. A wave of new successful young grime MC's also began to emerge, such as Stormzy, AJ Tracey, Novelist, Jammz, and Lady Leshurr.

In 2015, Kanye West invited various grime artists to join him on stage at the Brit Awards. Following criticism of the performance, Stormzy released "Shut Up", using the 2004 instrumental "Functions on the Low" produced by XTC, a member of Ruff Sqwad. The song was a massive hit for Stormzy and helped further popularise grime music. Stormzy's performance of the song during the ring walk to Anthony Joshua's Heavyweight boxing match with Dillian Whyte further pushed the song higher up the charts, eventually peaking at number eight on the UK Singles Chart. In February 2016, Ministry of Sound and DJ Maximum released a grime compilation entitled Grime Time, which topped the UK compilations chart.

In May 2016, Skepta's fourth studio album, Konnichiwa, entered the UK Albums Chart at number two. The album was awarded the 2016 Mercury Prize, and was later credited for introducing grime to a new generation of fans. In January 2017, Wiley released his eleventh studio album Godfather, debuting at number 9 in the charts.

In February 2017, Stormzy's Gang Signs & Prayer was the first grime album to reach number one on the UK Albums Chart. In June, the British Phonographic Industry reported that grime sales had risen over 100% with physical sales growing over 109%, digital sales 51% and streaming up 138%. This led to the Official Charts saying grime had "smashed" its way into the mainstream.

By 2018, grime's momentum had begun to slow down. Grime's rise has been credited for 'opening the door' for competing genres, such as afroswing and UK drill, that had begun to take the limelight.

In 2019, Stormzy became the first grime artist to headline Glastonbury Festival.

National growth
As grime became more popular in the UK throughout the mid-2000s, it spread out of London to other major British cities. Birmingham, Manchester, Nottingham, Leeds, Sheffield, Blackpool, and Bristol now have grime MCs who are currently gaining major exposure in the scene and have featured on Lord of the Mics, an annual DVD released by Boy Better Know's Jammer.

The national growth of the grime scene has also been evident with many grime artists playing on the urban music stages of the big summer festivals such as Glastonbury, Reading and Leeds, T in the Park and O2 Wireless Festival in Hyde Park. Dizzee Rascal played at all these events in the summer of 2008.

In 2015, Manchester grime artist Bugzy Malone was involved in a heavily publicised grime feud with London-based MC Chip who had created controversy with comments during a Fire in the Booth session. The feud catapulted Bugzy Malone to national fame and he has so far released three commercial projects, all debuting in the top 10 in the UK with his latest album charting at number four.

The largest scene outside London is based in Birmingham and the wider Birmingham area.

So Solid Crew influenced many grime artists, their raw dark track "Dilemma" considered by some to be one of the first grime songs ever.

Mike Skinner released an EP entitled All Got Our Runnins, which featured a number of grime MCs on the remixes of some of his tracks. Skinner also produced and featured on Kano's 2005 hit single "Nite Nite", from the critically acclaimed Home Sweet Home album.

In 2006, the second in the series of Lord of the Mics DVDs was released. It featured Devilman from Birmingham, clashing Skepta. Devilman's appearance on Lord of the Mics is one of the earliest examples of a Midlands MC at the forefront of the scene and is credited by Jammer with helping to break down the stigma of accents from outside London over grime music. The clash is considered to be one of the greatest in the LOTM series with artists such as Drake praising it. Devilman would later link up with Mike Skinner to appear on the remix of "Prangin' Out".

In 2007, Trilla released the single "G Star", produced by the Dwellaz. A fusion of grime and bassline, it became an underground hit. Several other tracks were released during this time which were also well received by fans, such as Slash's "Birmingham" and C4's "Oorite".

In 2009, Wolverhampton producer S-X released the Woooo Riddim, which was widely regarded as one of the most successful instrumentals that year, with many MCs recording their own vocals over the beat.

By the early 2010s, the grime scene in Birmingham was well established and the city hosted several highly successful events called 'Goonies' at the Rainbow Warehouse in Digbeth. These events attracted some of the biggest names in grime, most notably P-Money, who referenced the events on his single "Slang Like This".

Other prominent artists include Deadly, who formed the grime group N.O.D.B, the first group from Birmingham to feature on BBC Radio 1Xtra; Mayhem, who is also a founding member of N.O.D.B, known for his bombastic sound and his 2012 feud with Wiley, C4, Sox, JayKae and SafOne. Many Birmingham artists have now had success outside the Birmingham region in recent years. The fourth edition of Lady Leshurr's "Queen's Speech" freestyle has gained over 28 million views on YouTube as of May 2016. In 2016, Lady Leshurr won a MOBO award for the best Female Act.

As well as hosting large events, the pirate radio scene includes stations such as Silk City Radio, where Birmingham DJ Big Mikee hosts a regular slot between 10-12pm every Sunday.

Birmingham producers such as Preditah and Swifta Beater have become established figures in the grime scene, with leading artists such as Wiley giving recognition to their contribution to grime. In 2011, Preditah released his Solitaire EP; a collection of four grime instrumentals. This EP reached number 1 on the iTunes album charts.

Comedy in grime
Channel U commissioned the first grime comedy series in 2002: The Booo Krooo, made by RWD magazine's founding team members Matt Mason and Lex Johnson. Comedy, satire, and playing on stereotypes would become a common theme in grime music, with artists such as Mr Wong, Bearman, and Big Narstie, Junior Spesh, and Tempa T employing humour in their music. In 2006, Afrikan Boy's "One Day I Went to Lidl" song went viral gaining over a million views on YouTube by 2007.

2014 saw the release of People Just Do Nothing, a mockumentary series that parodied UK garage, pirate radio culture, and the early stages of grime. In 2017, the show won 'Best Scripted Comedy' at the BAFTA Awards. In June 2018, grime MC Big Narstie and comedian Mo Gilligan launched The Big Narstie Show on Channel 4.

In November 2019, IKEA UK used grime MC D Double E as the voice of their Christmas advert 'Silence the Critics'. D Double E wrote a song talking about how dirty the house was and the lyrics were placed over animated household items.

International growth
The 2005 release of 679 Recordings' Run the Road compilation showcased some of the most popular grime releases to that point, increasing the popularity and fame of grime and grime artists internationally. A particularly notable grime artist who has had success overseas is Lady Sovereign, who appeared on Late Show with David Letterman, signed to Jay-Z's Roc-A-Fella Records, and whose "Love Me or Hate Me" became the first video by a British artist to reach number one on MTV's Total Request Live.

It was not until the release of his third album, 2007's Maths + English, that Dizzee Rascal experienced international acclaim. He was nominated for the Mercury Music Prize again, and despite the fact that the album was not released in the United States in 2007, it received high praise from international music critics, magazines, websites and blogs, including Pitchfork Media, Rolling Stone, and Rock Sound. By 2010, he had achieved three number one singles in a row.

In Canada, British Man Dem (B.M.D.), a grime collective originally from the UK, popularised grime with their radio show "Brits in the 6ix" in 2008 in which they brought grime artists to the spotlight in Canada. Grime became increasingly popular in Canada during early 2010, most notably by Canadian grime artist Tre Mission, one of the first North American artists to be associated with the predominantly United Kingdom-based grime genre. Drake also proved helpful in bringing grime to the spotlight in Canada; Skepta's single Shutdown sampled a video by Drake, and Skepta later worked on Drake's More Life project.

Various UK MC's have had successful tours in New Zealand, such as Wiley, Stormzy and Eyez. Stormzy's album Gang Signs & Prayer reached No.14 in the New Zealand charts. A grime tour known as Eskimo Dance was intended to occur in Australia and New Zealand in late 2018, featuring MC's Wiley, Lethal Bizzle, Devlin, P Money & Little Dee, President T and producers DJ Target and Rude Kid. It was anticipated to be the 'biggest ever' grime tour in New Zealand. The event was cancelled in late 2018 by Wiley himself for unclear reasons. New Zealand grime MC Stanza Switch Blade and NZ grime crew Spreading The Sickness (STS Crew) have both featured on Risky Roadz, a long-running influential grime video series wherein MC's are made to freestyle over handpicked beats.

Australian grime
Some DJ's, such as Lady Erica, were playing British grime by the mid-2000s in Australia but it was not common place. UK-born Fraksha is widely regarded as a pioneer of the scene in Australia. Fraksha originally started MC'ing in UK Hip-Hop crew Nine High alongside Scotty Hinds and Byron during the early 2000s. Nine High released two successful UK Hip-Hop mixtapes and performed alongside fellow UK Hip-Hop pioneers including Skinnyman and Klashnekoff. At the time, both Fraksha and Scotty Hinds were involved with the local London rave scenes and were exposed to grime, Jungle and Dubstep. In 2006, both Fraksha and Scotty Hinds would move to Australia and get involved with the local scene there. Fraksha and Scotty Hinds, alongside local MC's Diem and Murky, formed the first Australian based grime collective, Smash Brothers, in 2008. By 2010, the collective was booking grime shows and doing radio sets around Australia. Smash Brothers pioneered what would become Australian grime music, and were known for their high energy performances.

In 2010, Fraksha released the first official Australian grime release called It's Just Bars. The mixtape was a success, and was awarded 'Mix-tape of the year' by Ozhiphop Awards.

For the most part, few members of Smash Brothers initially released a lot of music other than Fraksha, but all were active in the raving scene where they would go on to expose many to grime music. They also worked with UK based artists such as Skepta, Foreign Beggars and Dexplicit. Another first for Fraksha was the launch of Melbourne radio show The Sunday Roast on KissFM with Affiks, dedicated to grime and Dubstep music. In 2011 he started the first Australian grime night alongside Affiks and Arctic called 50/50. Fraksha in 2011 would go on to perform in New Zealand alongside UK grime pioneer Dizzee Rascal.

The resurgence grime was experiencing in the UK during the mid-2010s would also reach Australia. Many British MC's, including Footsie, D Double E, Stormzy, Skepta and Wiley would have successful tours in Australia. In late 2018, a UK MC tour Eskimo Dance was scheduled to occur in Australia featuring MCs Wiley (who created Eskimo Dance), Lethal Bizzle, Devlin, P Money & Little Dee, President T and producers DJ Target and Rude Kid. The event was anticipated to the 'biggest grime event' to ever occur in Australia. It was cancelled just prior to schedule by Wiley himself for unclear reasons.

The sound's resurgence also affected the popularity of grime in Australia, with various other Australian MC's picking up the sound with success, such as Diem, Alex Jones, Shadow, Talakai, Nerve, Wombat and Seru.

Grime continues to gain traction in Australia with new artists showing face on a regular basis. Promotions such as Melbourne's 50/50 Grime Melbourne and Invasion Crew Perth heavily incorporate the UK's "Rave" style setup for live performances.

Sonically speaking, Aussie grime is similar to its UK counterpart aside from the local accents and slang. The Australian hip hop scene also has a significant influence on the sound.

Brazilian grime
During the early- to mid-2000s, British electronic music was crossing over into Brazil in the form of Dubstep, UK garage, and grime, leading to local DJ's to mix the various sounds into their sets, and set-up events and parties dedicated to the genres. This in-turn led to a small interest in grime music, culminating in early releases such as "Cidadão Comum Refém", released by MV Bill (influenced by a Dizzee Rascal CD) in 2002, and "Vou Keimah!", produced by Bruno Belluomini featuring MC Jimmy Luv. "Vou Keimah!" was premiered in 2005 at a São Paulo called Tranquera and later premiered by British DJ Kode9 on Rinse FM. Brazilian MC Vandal is also an early Brazilian grime pioneer from the 2000s period.

Grime in Brazil would fade by the late 2000s, however it would be picked up again during grime's resurgence around 2014 in Rio de Janeiro, São Paulo. Influenced by artists such as Skepta and Dizzee Rascal, a new crop of DJ's and MC's emerged, such as Fleezus, Febem, Diniboy, SD9, Kbrum, Turistas de Guerra, 03 Noxio, and others. Antonio Constantino and Diniboy came up with the idea for a Brasil Grime Show, a radio show modelled after British grime radio sets, such as the Grime Show on London radio station Rinse FM, wherein a DJ will play instrumentals and invite an MC to perform over them for an extended period. The show is recorded at Casa do Meio Studio in Bangu, Rio de Janeiro. Similar to early British grime music, the group has a lack of financial support in making music. New Brazilian MC's, such as Leall, have experienced growth after appearing on the show. Leall's episode in particular has over 80 thousand views. Antonio Constantino and Diniboy grouped up with local DJ's and producers Lucas Sá, Diego Padilha, Yvie Oliveira, and Rennan Guerra in order to create the show, regularly inviting local MC's to perform over grime instrumentals. Brasil Grime Show has also held grime events in Botafogo, Duque de Caxias, and Copacabana. The Brasil Grime Show has been credited with helping the growth of grime music in Brazil.

In October 2019, Febem and Fleezus visited the UK and performed on GrimeReportTV and Pyro Radio. This visit was also accompanied by a documentary filmed in London about Brazilian grime, first premiered on October 18 in São Paulo. They also performed a cypher alongside British MC's Eyez, Yizzy, and Jevon for Red Bull.

In March 2020, Febem, Fleezus, and producer Cersv released an EP titled BRIME ("brime" itself being a nickname for the Brazilian grime scene ). It featured collaborations with British MC's Jevon and Teeboi. In 2021, it was re-released in vinyl in collaboration with Butterz.

Brazilian grime has incorporated elements of the local genre baile funk to their sound. Puterrier described his sound as "70% funk, 30% grime".

Chinese grime
A relatively small grime scene exists in Shanghai and Beijing, China, started by two British expats Naaah and Alta. Around 2015, Alta's and Naaah's label Push & Pull and promoter Puzzy Stack began promoting grime parties. In Shanghai, these were primarily hosted in a club called The Shelter. Many local producers would go to the club to showcase their music. The club was shutdown in late 2016 due to licensing problems and they would later move to All Club.

A style of grime known as 'sinogrime' which incorporates elements of East Asian motifs first began being noticed in China by 2009, and would influence local producers. Shanghai based producer Swimful remixed Wiley's sinogrime instrumental "Shanghai" in 2016. Beijing based producer Howie Lee also produced an album with Sinogrime elements, called "''Mù Chè Shān Chū". ''

Unlike grime elsewhere, Chinese grime is mostly instrumental due to the lack of local MCs. According to Puzzy Stack, a grime promoter based in Beijing, the fast intensity of grime makes it difficult for Chinese MCs to rap over. Clubs play a large role in the scene, holding grime nights wherein local DJs and producers can come and showcase their music. Producers sometimes include samples and references from local pop-culture like Kung-Fu movies or Mandopop.

In 2016, UK grime MC Novelist and AJ Tracey visited Shanghai and played alongside local grime producers. Killa P, P Money and Japanese MCs Pakin and Dekishi have also visited.

In 2018, Chinese rapper After Journey (艾福杰尼 Àifújiéní) visited the UK to film a documentary about grime alongside UK MC Cadell. As well as the documentary, Cadell and After Journey made the first ever grime song featuring a UK & Chinese MC called "2 Much", which was later featured by DJ Target on BBC Radio 1xtra.

Japanese grime
In 2004, Japanese DJ's had already begun to play grime music from the UK. In 2008, a group of MC's from Osaka emerged who were inspired by Roll Deep's Rules And Regulations mixtape, led by pioneers MC Dekishi, MC Duff and MC Tacquilacci. MC Dekishi released the first ever Japanese grime mixtape in 2009, titled "Grime City Volume 1". Osaka MCs are known for rapping extremely fast. Another scene sprung up in the Tokyo region of Shibuya led by Carpainter, Double Clapperz, MC ONJUICY, PAKIN and Sakana Lavenda. PAKIN visited the UK in 2013 where he was invited by Devilman to join the Dark Elements crew. However, Japanese Grime has stayed an underground genre in Japan with little local media attention.

In 2013, over a hundred Japanese grime producers participated in a producer clash called War Dub Japan Cup which garnered a massive response in the UK. In 2014, Elijah and Skilliam held a set with Japanese MC's and Producers that went viral via media outlets like SB.TV and GRM Daily receiving significant attention in the UK.

In November 2018, record label Butterz celebrated its eighth anniversary at Tokyo based club Unit. Butterz are notable for having an early investment into the Japanese grime scene; this goes back as far as 2009, when Japanese producers would send the label beats via MSN Messenger.

Japanese grime has more DJs than it does MCs; as a result, the former takes more importance. Lyrical content differs to UK grime, with a lack of crime related lyrics and more of a focus on societal and political issues, with rebellious counterculture elements. Japanese Grime uses samples and references from local pop-culture like Anime, Japanese Idols and J-pop.

Musical style
Grime is typified by complex 2-step, 4/4 breakbeats, generally around 140 beats per minute, or sometimes structured around a double-time rhythm, and constructed from different synth, string and electronic sounds. Self-proclaimed 'godfather' of grime Wiley claims in his 2017 autobiography Eskiboy that he personally created most of his early tracks at 140 BPM as it is the default tempo in FL Studio. Stylistically, grime draws on many genres including UK garage, drum and bass, hip hop and dancehall. The lyrics and music combine futuristic electronic elements and dark, guttural basslines.

Grime predominantly evolved from the UK speed garage scene and genre towards the latter stages, although it takes influences from other genres. According to Sasha Frere-Jones of The New Yorker, grime has developed a fierce sound by "distilling" rhythms to a minimal style resulting in a choppy, off-centre sound. Whereas hip hop is inherently dance music, the writer argues that "grime sounds as if it had been made for a boxing gym, one where the fighters have a lot of punching to do but not much room to move." Frere-Jones also states that grime has maintained a style different to hip hop. Hattie Collins supports Frere-Jones' analysis, asserting that grime is "an amalgamation of UK garage with a bit of drum & bass, a splash of punk".

According to Alex de Jong and Marc Schuilenburg, grime music also samples sawtooth wave sounds (chiptunes) from video game music and ringtones which had become part of everyday life in London and other parts of the country; Street Fighter II, for example, is frequently sampled and referenced, as grime is "built around lyrical clashes" which are "equated with Street Fighter's 1 on 1 battles". British grime lyrics often reference communication technologies popular with artists and listeners such as smartphones and social media. Sirpixalot recently brought attention to the game Wolverine: Adamantium Rage from 1994 which bears some of the hallmarks sounds of grime.

Subgenres and styles
Many of the various subgenres and styles of grime, such as 8-bar, nu shape, eskibeat and sublow, were initially names applied to the genre as a whole. In the early 2000s, "grime" had negative connotations for being a "dirty word" and received resistance from within the scene. Over time the various names would encapsulate different niches, whilst "grime" eventually won out to become the overarching name.

8-bar
According to cultural sociologist Monique Charles, grime is typically characterised by four beats to a bar, in 8 or 16 bar cycles. It is one of the reasons why grime was unofficially called 8 bar or 16 bar in its formative years. 8-bar is a subgenre or style of grime, first seen in Youngstar's "Pulse X" instrumental. 8-bar instrumentals switch beats every eight bars, meaning that each 8 bars the MC would be rapping over a different rhythm. This was in contrast to "nu shape", another style of grime which encouraged 16–32 bar patterns.

Darkside
Darkside was a subgenre pioneered by Terminator. Darkside is defined by its dark, sluggish, and violent content, similar to road rap but over grime instrumentals. Only a few other MCs have tried making the subgenre, such as Shxdow.

Eskibeat
Eskibeat was initially a name given to music by Wiley before grime was the agreed upon title. The term "eskibeat" is derived from Eskimo, a name for indigenous people who live in the extremely cold northern circumpolar region. This reflected Wiley's mindset at the time, which was both "angry" and "cold-hearted". Eskibeat would later develop into a subgenre of grime, defined by the "futuristic, icy cold synths, devastating basslines and awkward, off-kilter rhythms" pioneered by Wiley in tracks like "Igloo" and "Eskimo", one of the first examples of grime music and eskibeat. Eskibeat production has had a massive impact on grime music, and has had an influence on UK drill.

Notable producers of Eskibeat are Wiley, Zomby, Danny Weed, and Lewi B.

Rhythm & grime
Rhythm & grime, also known as R&G or R'n'G, is a subgenre pioneered in 2004-2005 by producers Terror Danjah, DaVinChe and Scratcha DVA, along with the support of BBC 1Xtra's DJ Cameo. The subgenre mixed grime with R&B, showcasing a softer side of grime, often with accompanying R&B vocals, while keeping the 140bpm rugged sound of grime. Many UK R&B singers, such as Sadie Ama, Lady Ny, Katie Pearl, and Gemma Fox, would perform over R&G instrumentals, usually without an MC rapping alongside them. Many grime artists also made various R&G tracks, such as Ruff Sqwad, Wiley, Kano, Skepta and Dizzee Rascal. Producers such as Blackjack, Iron Soul, Low Deep and Kid D also incorporated R&G elements into their instrumentals. Lady Ny has stated she was the first woman to sing on grime, and the first woman to bring out a grime mixtape.

There was some push back against R&G from people who felt it was too Americanised, such as DJ Logan Sama who referred to R&G as having "gimmicks". According to Terror Danjah, after making the track "So Sure" with Kano and Sadie Ama, grime MC Crazy Titch initially told him to stop making "girl tunes", although he would later request Terror produce one for himself.

In 2006, Scratcha DVA released the album The Voice of Grime featuring 22 different singers. It was unique at the time due to being the first project to have so many different women singing over grime instrumentals; however, the sound would mostly disappear after the album was released. Many of the R&B singers that were singing over R&G were inconsistent and would regularly disappear.

The subgenre made a comeback in the 2010s after American singer Kelela released a mixtape in 2013, Cut 4 Me, featuring a heavy R&G influence. In 2014, she collaborated with British artist Bok Bok to make Melba's Call, another modern take on R&G. Terror Danjah formed R&G Records, a record label dedicated to R&G. In 2017, Terror Danjah and Olivia Louise released "I'll Follow U" on the label.

In 2018, Gemma Fox released Grime Vocals Archive, a collection of previously unreleased or unheard rhythm & grime songs.

Sinogrime
Sinogrime is a term coined by Kode9 in 2005 to describe a style of grime that incorporated East Asian motifs, such as traditional East Asian instruments and samples from vintage Kung Fu films. The style was present before this, however. Earlier examples include Jammer's instrumental "Chinaman" which was released in 2003 and included a sample from the 1993 martial arts film Twin Warriors. The sound was initially pioneered by many people, such as DJ Target, Wiley, Terror Danjah, Ruff Sqwad, Jammer, Geenus, DJ Wonder and Wookie. In a 2003 interview, Wiley stated he "used to watch a lot of Kung Fu films" and used to go to a store called Sterns to find world music to sample. Dizzee Rascal stated his song "Brand New Day", released in 2003, was also inspired by Kung Fu films.

The term does not necessarily apply to grime made in Japan or China, unless the instrumental includes East Asian motifs. Sinogrime first began being noticed in China in 2009 and would influence local producers, particularly in Shanghai and Beijing. Shanghai-based producer Swimful remixed Wiley's sinogrime instrumental "Shanghai" in 2016. Beijing-based producer Howie Lee also produced an album with Sinogrime elements, called Mù Chè Shān Chū. Howie Lee described sinogrime as "propaganda", a sound that represents an image in people's heads, but one that is not necessarily accurate.

Sinogrime was described by music critic Dan Hancox as a genre that "barely existed". Dan Hancox suggested that sinogrime reflected a shift away from looking towards America for influence, and instead looking East. This was possibly the result of the rising popularity of Japanese video games and Chinese movies which featured music from their respective countries. Both Wiley and Dizzee Rascal have stated they were inspired by Kung-Fu movies.

Sinogrime would see a resurgence in the 2010s via producers like Fatima Al Qadiri, Slackk, Walton and JT The Goon. In 2014, Kuwaiti producer Fatima Al Qadiri released Asiatisch, which had a heavy sinogrime influence and was highly acclaimed, although Fatima was actually unaware of the term "sinogrime" whilst she was making the album. In 2015, Kid D released the Shaolin Struggle EP.

Sublow
Sublow was an early subgenre of grime, and one of the early names that was used to refer to the entire genre.

The subgenre is defined by its heavy synths, edgy rhythms and deep low bass. The sound was initially pushed by Jon E Cash, Dread D (T Williams) and other members of the Black Ops collective.

Weightless
Weightless is a sound that appeared during the mid 2010s, pioneered by Logos and Mumdance. Weightless is defined by its atmospheric, minimal and ambient sound, giving it a "weightless" feel. Logos compared it to "Devil Mixes", which is a grime instrumental where the drums have been stripped, primarily popularised by Wiley, which he had wanted to expand upon. However weightless goes much further than that, stripping away the typical aggressiveness of a grime track. Mumdance was encouraged to make the sound after being annoyed with the drum infested tracks that DJ's were playing at clubs, without any contrast in-between. Weightless is also influenced by the noise genre.

Mumdance and Logos' label, Different Circles, have released two "Weightless" mixtapes showcasing the sound, featuring producers like Rabit, Inkke, Dark0, Murlo, Logos and Strict Face. Mr. Mitch was another notable producer of the subgenre.

Criticism
As with many similar scenes around the world, grime has encountered some criticism, especially from government officials such as Kim Howells, who made comments that some grime supporters claimed to find "deeply racist", referring to popular artists and crews as "boasting macho idiot rappers". A counter argument is given by Jeff Chang in an article in The Village Voice, where he said Dizzee Rascal's often violent and sexual lyrics are heralded as "capturing, encapsulating, and preserving" the life that he and his peers live on the streets every day.

title: Grime music


text:
Talk:Technical writer

Article on technical communication
Hmmmm. There is no article on Technical communication (it's a redirect to this page), which is what the STC focuses on. The role of Technical communication/a Technical communicator is a superset of Technical writing/a Technical writer... —iFaqeer (Talk to me!) 04:28, Nov 30, 2004 (UTC)

 * Absolutely right. How's this for a start? Elf | Talk 02:33, 1 Dec 2004 (UTC)

Technical writing vs. professional writing
So what's the difference between "technical writing" and "professional writing"? I've seen professional writing talked about, but I don't really know what it is. -- Creidieki 21:36, 11 September 2005 (UTC)

 * A professional writer is one who gets paid for writing. Could be technical writing, travel writing, fiction writing, whatever. Most technical writers are professional writers--even though I do it and enjoy it, I can't imagine anyone doing it only for fun (compared to, say, many unpublished fiction writers).  Elf | Talk 04:16, 12 September 2005 (UTC)

 * LOL. You can't? Is somebody paying you for your work on Wikipedia?? Tell us who! S  B Harris 03:51, 18 August 2006 (UTC)

Link to techwriter.com
I have removed the links to techwriter.com because this site specifically promotes a particular commercial organisation and appears to contain little general information about technical writing per se. If there is such info somewhere on the site then any new link should be directly to that information. -IMOɲ.

Grammar changes
I changed this: Technical writers are responsible for creating media that are helpful, accurate, comprehensible, and accessible to the intended audience.

To this: Technical writers are responsible for creating media that is helpful, accurate, comprehensible, and accessible to the intended audience. AuroraMae 03:09, 18 August 2006 (UTC)

The latter is correct: since "media" describes a single object, it isn't grammatically appropriate to use "are" to describe it -- even if plurality is assumed. And yes, I realize the irony in affirming a corrected "correction" on the edit side of a Technical writer page when concision is paramount.

 * Actually - not to be too pedantic - media is the plural of medium and does not describe a single object. It covers more than one avenue of communications and should therefore be used as you would use the word data (the plural of datum). The correct usage is "data are..." and so the correct usage is "media are...".

 * Examples of different media include print publishing, display-based offline publishing such as CD-ROM and DVD-ROM-based information resources, online publishing such as "help" files, intranets, extranets, "traditional" Web pages including forms, wikis, interactive PDF forms, CBT/interactive video, PDAs, even production approaches such as single-sourcing wherein a single source document may be required to appear in several different media and so must be written exceptionally carefully, and so on. Even writing for content management systems requires skills that differ from those used for print publishing, for example.

 * However, this article has been hacked about so badly by some pretty clumsy and inconsistent editing that IMHO it's probably not worth the hassle involved in fixing all the errors that have been introduced (no matter how well-meant). AncientBrit (talk) 18:57, 13 February 2009 (UTC)

Creating separate articles for 'Technical Writer' and 'Technical Writing'
What does everyone think about creating a separate page for techical writer and technical writing? The whole 'technical communication'section should have a different title, as a new article is going to be created for that subject. If no one objects, I'm going to change the header and split the articles. AuroraMae 03:23, 18 August 2006 (UTC)

I made some changes: I changed 'technical communication' to 'qualifications' and reorganized. I also added a 'methodology' sub-header. The article still needs work, but now its organized better and makes more sense as an article about technical writers.AuroraMae 03:39, 18 August 2006 (UTC)

I think its best to have a separate product page from the skill page in all professions. Often the end user of the product doesn't (or need not) care about the skill required to produce the product. Likewise, staffing professionals and customers of the skill don't care about (or are overwhelmed by) the critical details of the product, which is why they must hire someone with the skill. I added user guides and documentations as the product pages. Oicumayberight 08:39, 5 September 2006 (UTC)

I split the articles; technical writer is its own entity now, as is technical writing.AuroraMae 14:14, 17 September 2006 (UTC)

 * Good idea. The last version basically defined a technical writer as the guy responsible for upkeep of documentation. That confuses the work product with the work. "A scientist is responsible for keeping up the supply of fresh scientific papers..." S  B Harris 18:24, 19 February 2007 (UTC)

Linked articles
Ideas about Structured writing might be welcome. Also I am a bit surprised (as a technical writer that uses and implements DocBook) to see only a link to DITA. DITA has a clear and bright future in technical documention, but is not so representative of the present situation and needs of many companies that involve technical writers. Just my thought. Franciszek (talk) 09:09, 13 February 2008 (UTC)

possibilities
I apologize in advance if I am overstepping bounderies by placing this job posting: I thought you were to put it mildy so I deleted it. I apologize in advance if anyone thinks I am overstepping bounderies by doing so.

misc. changes
To whom it may concern: I made various changes but nothing major. Apparently whoever wrote this is big into API, as there were numerous references to this very small niche of tech writing, including having that as a general tech writing reference. Also having been in the "biz" for 20+ yrs and having met/worked with many tech writers, I can say with great confidence that many tech writers have never even heard of the "Chicago Manual," let alone adhered to it. No offense meant to whoever included it and pardon for any taken.

Indexing
I think Indexing should link to Subject indexing but I am not sure so I added the disambiguation needed rather than guess. Aureomarginata (talk) 22:17, 20 August 2013 (UTC)

Possible sources
I've scoped out a few sources, but their acceptability in concordance with WP:IRS might be suspect.
 * US Dept. of Labor statistics site on occupational outlook
 * "I'd Rather Be Writing" site Q&A about technical writing careers
 * Business News Daily article about what technical writing is
 * Internet Writing Journal article from 1998 about what a technical writer does

Do these sites pass the reliability test according to site policy? We as subject matter experts might be able to independently verify the information within, but that isn't sufficient. MezzoMezzo (talk) 03:59, 3 December 2014 (UTC)

For
For the perhaps this page helps http://competencies.technical-communication.org/profiling-tool.html go to 4.1 Chief335 (talk) 17:16, 13 April 2018 (UTC)

Notable Technical Writers
I removed a number of "writers" from this list who dont appear to be "notable technical writers" just writers that once were technical writers - which is hardly noteworthy for this article. If we dont see any reliable citations that they are notable technical writers then we should really remove them again, thanks. MilborneOne (talk) 19:39, 29 November 2018 (UTC)

Inaccurate Information
The following information is inaccurate: "The job title emerged in the US during World War II,[5] although it wasn't until 1951 that the first Help Wanted: Technical Writer ad was published.[6] In fact, the title Technical Writer wasn't added to the US Bureau of Labor Statistic's Occupational Employment Handbook until 2010.[7]" If sources 5 and 6 have been paraphrased correctly, then those sources are mistaken. I notice that those sources are not peer-reviewed publications. The job title "Technical Writer" emerged in the US before World War II; moreover, the first newspaper help wanted ad for a technical writer was published before 1951. The paraphrase of information from source 7 is wrong. Source 7 doesn't say that "Technical Writer" was added to the handbook in 2010; it says that it was given its own (separate) chapter in 2010. Source 7 also states that "Technical Writer" made its debut in the U.S. Employment Service's Dictionary of Occupational Titles in 1943. That doesn't mean, of course, that the job title made its debut in the US in 1943, just in DOT. Chironomia (talk) 10:27, 26 April 2023 (UTC)

 * Most of the existing references in this article are very outdated; it seems that most contributors to this article were active until about 2010. It may be helpful to run through the entire article and check the accuracy of the sources, maybe even replacing some of them with more recent information. If you know of any credible sources about technical writers after 2019 or 2020, please share. Bl00burry19 (talk) 01:45, 17 November 2023 (UTC)

Wiki Education assignment: Introduction to Technical and Professional Communication
— Assignment last updated by Savmanbanans (talk) 17:29, 7 November 2023 (UTC)

Adding to 'Environment' Section
This section seems a bit misleading as it describes the work of technical writers, but not their actual workspace--which would be implied by "environment." I am adding a paragraph about the typical work environment of a technical writer, with up-to-date information on remote work and freelancing which has become popularized over the past three years.

If anyone has found recently published information about the work environment of professional technical writers, I would appreciate it if you would link some sources below.

Does anyone else think we should elaborate on usability tests? It seems to be an essential part of professional technical writing but it may belong in its own section. Bl00burry19 (talk) 10:38, 12 November 2023 (UTC)

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

title: Talk:Technical writer


text:
Principal part

In mathematics, the principal part has several independent meanings but usually refers to the negative-power portion of the Laurent series of a function.

Laurent series definition
The principal part at $$z=a$$ of a function
 * $$f(z) = \sum_{k=-\infty}^\infty a_k (z-a)^k$$

is the portion of the Laurent series consisting of terms with negative degree. That is,
 * $$\sum_{k=1}^\infty a_{-k} (z-a)^{-k}$$

is the principal part of $$f$$ at $$ a $$. If the Laurent series has an inner radius of convergence of $$0$$, then $$f(z)$$ has an essential singularity at $$a$$ if and only if the principal part is an infinite sum. If the inner radius of convergence is not $$0$$, then $$f(z)$$ may be regular at $$a$$ despite the Laurent series having an infinite principal part.

Calculus
Consider the difference between the function differential and the actual increment:
 * $$\frac{\Delta y}{\Delta x}=f'(x)+\varepsilon $$
 * $$ \Delta y=f'(x)\Delta x +\varepsilon \Delta x = dy+\varepsilon \Delta x$$

The differential dy is sometimes called the principal (linear) part of the function increment Δy.

Distribution theory
The term principal part is also used for certain kinds of distributions having a singular support at a single point.

title: Principal part


text:
String Quartet No. 12 (Beethoven)

Ludwig van Beethoven completed his String Quartet No. 12 in E♭ major, Op. 127, in 1825. It is the first of his late quartets. Commissioned by Nicolas Galitzin over a year earlier, the work was not ready when it was scheduled to premiere. When it was finally premiered by the Schuppanzigh Quartet, it was not well received. Only with subsequent performances by the Bohm Quartet and the Mayseder Quartet did it begin to gain public appreciation.

Background
String Quartet No. 12, Op. 127, is the first of Beethoven's late quartets and was commissioned by the wealthy Russian prince Nicolas Galitzin, an enthusiast of Beethoven's music. A cellist himself, Galitzin strove to play Beethoven's music, waiting impatiently for him to compose at whatever price he saw fit. Galitzin's commission brought Beethoven back to composing in the string quartet genre after a 10-year absence, and suspended his financial woes. Beethoven replied to Galitzin on January 25, 1823, requesting 50 ducats for three quartets: Opp. 127, 132, and 130. He committed to completing the first quartet by the end of February or mid-March. At the time, his Symphony No. 9 was taking the majority of Beethoven's time. Therefore he pushed work on Op. 127 back well over a year, completing Symphony No. 9 in February 1824.

Analysis
Op. 127 has four movements and a typical performance takes 36–38 minutes. Beethoven initially planned two additional movements: one between the first and second, and another between the third and fourth.

1. Maestoso (time signature) – Allegro in E♭ major

2. Adagio, ma non troppo e molto cantabile – Andante con moto – Adagio molto espressivo  – Tempo I  in A♭ major

3. Scherzando vivace in E♭ major

4. Allegro in E♭ major

In the first edition of 1826, published by Schott, the finale had no initial tempo marking other than Finale, and the third movement's opening indication was "Scherzo: Vivace", not "Scherzando vivace".

1st movement: Maestoso
The first movement is in sonata form and opens with a six-bar chorale-like Maestoso. The Allegro ensues with the start of the exposition at bar 7 with a more committed tone. The Maestoso has an unusual rhythmic structure. Rhythms of two-bar groups fall in a 5+3 pattern in eighth notes. The metric pulse is in quarter notes. Each of its bars stresses a rising step until ultimately C is reached in the first violin with an elaborate trill leading to the Allegro. Episodic explosions or virtuosic passages occur toward the middle of the development. Contrapuntal texture ensues in the first half of the development. Canons come in with thematic material, leading to thematic material from the C major Maestoso.

2nd movement: Theme and variations
The immense second movement, marked Adagio, ma no troppo e molto cantabile, is in the subdominant key of A♭ major. It consists of a set of six variations and a coda. The last two variations have qualities of recapitulations in unrelated keys. The 3rd variation is in the flat submediant F♭ major, enharmonically notated in E. The 4th variation returns to the tonic and the original theme. It is altered rhythmically, using 16th-notes in place of eighth notes in the melody.

 * 1) The first variation is in  meter with darker harmonies and quick changes in dynamics.
 * 2) The second variation increases the tempo to andante con moto and adjusts the meter to . The violins engage in a dialogue over staccato accompaniment.
 * 3) The third variation shifts to E major, enharmonically the flat submediant, and the tempo shifts to a hymnlike adagio molto espressivo.
 * 4) The fourth variation returns to  and A♭ major by dropping a half-step from E to the dominant, E♭. This variation has a codetta that transitions to D♭ major in preparation for the next variation.
 * 5) The fifth variation is sotto voce and has been called a "mysterious episode". It begins in D♭ major and transitions to the parallel C♯ minor.
 * 6) The recapitulatory sixth variation returns to, presents only half of the theme and connects directly to the coda.

The penultimate variation recapitulates the theme after a contrasting section in the submediant, while the final variation restores the tonic and basic thematic material after an episode in the subdominant. Beethoven based this tonal progression on the finale of the Ninth Symphony, where the orchestral double fugue episode in B♭ is followed by the "grand" variation for full orchestra and choir in D major, followed by the "Seid umschlungen" episode in G major, which moves into the choral double fugue in the tonic D major.

 * Op. 127: A♭ → E (lowered submediant) – penultimate variation → D♭ (subdominant) → final variation
 * Op. 125: D → B♭ (lowered submediant) – penultimate variation → G (subdominant) → final variation

3rd movement: Scherzo
The dancelike scherzo features a dotted-rhythm figure. This is the quartet's most contrapuntal movement. The scherzo's trio is a Presto of a kind Beethoven did not use very often, though it is similar in sound and phrasing to some of his bagatelles from the contemporary Op. 126 set.

4th movement: Finale
The fourth movement is in sonata form. Its four-bar opening is expanded to an 11-bar harmonic recall. The coda, marked Allegro con moto, is in 6/8 meter. The key changes from E minor to C major.

Reception
The Schuppanzigh Quartet premiered Op. 127 on March 6, 1825. Few people were moved as the performance was regarded as a failure. Its first listeners described it as incomprehensible. Joseph Bohm, first violinist of the Bohm Quartet, reported: "When Beethoven learned of this—for he was not present at the performance—he became furious and let both performers and the public in for some harsh words." Op. 127's premiere was scheduled for a concert on January 23, 1825, but the quartet was still unfinished at this time. Op. 95 was substituted for it instead. Op. 127's next scheduled performance was on March 6, 1825. On February 8, Schuppanzigh asked Beethoven how the quartet was going as the quartet hadn't had any rehearsals yet. The quartet ended up with only two weeks for rehearsal. After the premiere, Schuppanzigh wrote to Beethoven saying he didn't want to present it until it was perfect.

title: String Quartet No. 12 (Beethoven)


text:
Talk:Split Enz

Untitled
Is Photography allowed in Te Papa? - Maybe a Wellington Wikipedian could photograph the costumes displayed there.dramatic 04:31, 30 Nov 2004 (UTC)0+
 * ...or maybe a Hamiltonian could pop down to the display at Te Awamutu museum? User:Grutness|Grutness talk [[Image:Grutness.jpg|30px|]] 09:04, 11 Dec 2004 (UTC)

Peer Review
This article has some great content, but its structure is really hard to read. It has a lot of potential, but it needs some work, and some news ideas to make it a feature article. --Brendanfox 03:51, 15 Feb 2005 (UTC)

Vinyl
Surely should mention the remarkable laser-etched vinyl of True Colours -- Jmabel | Talk 18:46, Feb 14, 2005 (UTC)

I think that's a great idea, feel free to add something along those lines. --Brendanfox 10:49, 15 Feb 2005 (UTC)

I can't work out where to place this in this rather strangely structured article, but here's what I'd say; you can work out where to put it:

 * The crisp sounds of 1979's True Colours placed the Split Enz firmly in the New Wave camp. Their neo-mod haircuts were equally crisp, as was the geometric laser etchings into the vinyl of the disc, which reflected light in colorful patterns as the disc rotated. All tracks were listed on the A-side label, allowing the B-side a solid black label to maximixe the dramatic visual effect.

Jmabel | Talk 18:18, Feb 15, 2005 (UTC)

Okay, I see what you mean. I think we need to address the structure of the article as a whole, possibly making some areas more brief, and expanding on others. We'll hold onto that piece until we get the structure right, and then add it in, where appropriate. --Brendanfox 05:50, 16 Feb 2005 (UTC)

"Like nothing else"? Lo-rent KISS, or Lex & the Blue Scream, from where I'm sitting... Trekphiler 06:27, 23 December 2005 (UTC)

1. The only similarities with Kiss would be the make-up. Also Kiss didn't have a keyboardist and are in different music genres. 2. I have never heard of "Lex and the blue scream" has anyone alse heard of them? also I did google search on them and got zero hits! -- —The preceding unsigned comment was added by Mutley (talk • contribs) 24 June 2006.

Needs flow
This article is chock-full of great information, but there's no flow to it. I would like to break out the wealth of Enz trivia by album, because it would provide a more logical direction to the article. PitShig | @    17:02, 22 January 2006 (UTC)

 * Any re-working of the structure could only be an improvement, go for it! Brendanfox 23:45, 22 January 2006 (UTC)

 * Y'know? I just might. And it might also be able to be accessed over here. :) PitShig |  @    01:02, 23 January 2006 (UTC)

 * I think one of the major problems with this article is that much of what is in the introduction (such as the band's origins) is then repeated in the body of the article. Probably the best thing to do would be to cut down the introduction to 1 paragraph. It's also extremely long, although I do like the structure of NZ, OZ, UK. Willnz0 23:02, 9 June 2006 (UTC)
 * I have added some subheadings to make the article easier to read. If anyone can think of more appropriate ones then please change them--Mutley 10:16, 11 October 2006 (UTC)

ENZ ARE NOT TOURING NZ. WHAT ABOUT ENZSO? —Preceding unsigned comment added by 203.110.145.13 (talk • contribs) 1 Feb 2006

David Tickle
FYI, a separate Wiki entry for David Tickle now exists. Grimhim 23:47, 22 February 2006 (UTC)

I Got You sleeve?
Minor nitpick, but the image of the picture sleeve for the "I Got You" single looks like an *Italian* pressing rather than a UK copy. See the comparison on this web page: http://www.kiakaha.net/nifty/Enz/True.html - the Italian sleeve has geometric shapes that are not present on the UK version. 118.93.163.111 (talk) 00:27, 2 January 2010 (UTC)

Missing Band Member Wiki pages
A few months ago I added a page for Phil Judd

Just added a new one for Malcolm Green —The preceding unsigned comment was added by Dizrythmia (talk • contribs) 2 July 2006.

Reefer cabaret
The Enz performed multiple Gigs in Australia early in their career at a venue called the Reefer Cabaret can anyone add something about this? —The preceding unsigned comment was added by 203.214.21.129 (talk • contribs).

Discography
The discography is getting too big - it needs to be moved to a separate page--Mutley 09:12, 20 April 2007 (UTC)

- I'm all for that... of course you'll get certain people who insist on merging everything (like my Enzology article). Kinda why I've given up writing this in this entry.--Dizrythmia 20:11, 01 May 2007

Mental Notes
I have a comment about this passage: "Mushroom's staff were young, keen, aggressive and willing to take risks — exactly the kind of company Split Enz needed. He is often criticised (with some justification) for the treatment of artists on the Mushroom roster." Who is "he"? That's unclear in this paragraph.
 * Gudinski I'd assume. I should fix that.BrianFG 04:53, 29 July 2007 (UTC)

Much of it should have been re-written! "exactly the kind of company Split Enz needed" is that subjective? (24.62.100.251 (talk) 15:17, 10 February 2012 (UTC))

Reunion speculation
I removed the following from the Reunions section since it was entirely speculative, and Wikipedia is not a crystal ball. If concrete plans are announced, or specifically rejected, it will be worth noting then.

"Rumours of them continuing as a "working band" after this tour have not yet been debunked, nor has the unlikely event of another album, though this is doubted to include Neil Finn if it does occur, as he reformed Crowded House in 2007, releasing a new studio album and promising at least another in the near future." Gusworld (talk) 04:56, 29 March 2008 (UTC)

 * Death of Wally Wilkinson —Preceding unsigned comment added by Gervox (talk • contribs) 12:44, 12 September 2008 (UTC)

Just a note to mention that one of the early line up members Don "Wally" Wilkinson, lead Guitarist (Feb 1973-early 1974) later became a police officer,and was killed in the line of duty.10-09-2008.I heard this on our national New Zealand news today. 12-09-08.````
 * This story is being reported on a number of blogs and news aggregation sites, eg . It seems to have been pulled from the only primary news sites I could find which carried it - Newstalk ZB carried the story but then removed any mention of a Split Enz connection, and stuff.co.nz quoted Superintendent Ted Cox as saying that Wilkinson was in Split Enz, but then removed this part of their story.. The name of the Split Enz member was Paul Wilkinson. I think perhaps someone got confused, and these are two different people.- gadfium 19:41, 12 September 2008 (UTC)

Tours & Shows
I saw Split Enz around 1982 or 1983 - a 3XY Under 18's concert in Melbourne, which also featured DD Smash and the Eurogliders before hand. Sadly, no references seem to be available. I also saw the Enz at "The Club" in Collingwood one night - must have been 1983 or 1984 - without Tim Finn, who was apparently off in the US promoting "Escapade" from memory. They had a black girl singing backup - had never seen her before, never seen her since. I wonder who she was... --Commking (talk) 05:06, 12 January 2009 (UTC)

Commking, what do any of your cherished hazy memories ("I seem to remember....was it 1982 or 1983? Hmmm?) have to do with the article? This isn't a Split Enz Fan Forum. This page is for discussion of the Wikipedia entry. Please refrain from these off topic asides. Thank you (24.62.100.251 (talk) 14:55, 10 February 2012 (UTC))

POV Issues
This article does have a lot of potential, however, there are countless problems with POV and some contradictory text as well. There needs to be more flow, chronologically, and referencing.--leahtwosaints (talk) 05:51, 18 February 2009 (UTC)
 * I have made some changes to the lead in regards to genres and years.--Mutley (talk) 12:17, 6 November 2010 (UTC)

It is still heavily POV and reads like a rave review. There are numerous references to the band's "excellence" "talent" ect...ect... The entry needs much work and I have inserted a POV check as the article is heavy on opinion and low on objectivity. Here is just one startling example of this:" their musical excellence, originality and enthusiasm again won them a cult following" hardly objective! (24.62.100.251 (talk) 14:44, 10 February 2012 (UTC))

I have removed the POV words from the article. There were about 3 or 4 in the first half of the history section --Mutley (talk) 04:21, 14 March 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 2 one external links on Split Enz. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20090225040650/http://www.news.com.au:80/heraldsun/story/0,21985,25099180-661,00.html to http://www.news.com.au/heraldsun/story/0,21985,25099180-661,00.html
 * Added archive https://web.archive.org/20090227073309/http://www.soundrelief.com.au:80/melb/index.php to http://www.soundrelief.com.au/melb/index.php

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 15:08, 17 October 2015 (UTC)

Contradicting Info
I noticed these two sentences which appear to contradict.
 * In preparation for their performance, they recorded "129" and "Home Sweet Home" (the songs would be released in November as their second single). Soon after, they also recorded the retro-1930s sounding "Sweet Talking Spoon Song", which would become the second single.

As I do not have much knowledge on the group I cannot do the edit. I wondered if the current editor(s) would like to address this issue.THX1136 (talk) 16:57, 29 October 2015 (UTC)

Copyright violation
A substantial portion of this article appears to have been copied from http://www.milesago.com/Artists/enz.htm on 11 October 2004. , can you shed any light on this? The diff shows whole paragraphs identical to the site, and the site was listed as an external link in the article prior to the addition of material, so seems unlikely that it copied from this article. Much of the material is still present in the current version of the article.- gadfium 23:52, 3 June 2016 (UTC)
 * Indeed! Thanks for noticing that, . Fortunately (?) there's no question here about who had it first – the external site was archived on 21 April 2003 (please see below). Unfortunately, it means that a large number of subsequent edits will need to be redone. Justlettersandnumbers (talk) 12:13, 4 July 2016 (UTC)

Dunks58 is the copyright holder of that text. See a similar discussion and my messages to him on his talk page. I don't really want to get involved in this directly; I'm just putting this out there. Graham 87 06:31, 9 July 2016 (UTC)
 * Thanks for your note . In that case, I would assume this article can be restored. I'm not sure of the best way to ensure that other articles expanded by Dunks58 are not similarly identified incorrectly as copyright violations.- gadfium 06:43, 9 July 2016 (UTC)
 * Thanks for mentioning that, ; unfortunately, it probably means that all other contributions from this editor will need to be checked, unless it can be shown that the copyright materials have at some time been released in accordance with whatever was the then-correct method. By the time of the discussion at Talk:Normie Rowe in June 2009, the procedure was, but I see no indication that OTRS permission was ever received (I've searched for tickets mentioning "milesago", "Dunks58" and "Normie Rowe"; I also checked for "Split Enz" while I was at it). , unless proper permission has been received, these have to be treated as copyright violations even if the content was placed here in good faith by the real owner (in a worst-case scenario, someone could falsely claim to be the owner of a website; we verify to exclude that sort of unpleasant possibility).
 * Yes, gadfium, the content can be restored if it can be shown that it has been released under a suitable licence; would need to follow the "donating" link in the template you left on his talk-page on, or in the section below this one. Whether it should be restored is another question – as far as I recall, it was pretty much devoid of any reliable source. Justlettersandnumbers (talk) 08:48, 9 July 2016 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: https://web.archive.org/web/20030421003339/http://www.milesago.com/Artists/enz.htm. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.)

For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and, if allowed under fair use, may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, providing it does not infringe on the copyright of the original or plagiarize from that source. Therefore, such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Justlettersandnumbers (talk) 12:13, 4 July 2016 (UTC)

It seems that there is agreement that these revisions do not contain copyright violations. Accordingly I have now restored these revisions. — Martin (MSGJ · talk) 13:48, 11 July 2016 (UTC)

 * There's certainly no agreement on my part, ! I'm still trying to understand this (it affects many articles, I think). If permission to use this content has been received and filed, can you help me see or know where it is stored, and who has access to it? I wasn't around in October 2004, when the milesago page was copied here, or, when it seems that email verification of copyright releases was required. How do we go about finding out if that was ever received? I'm going to ping and , who seem to have been the principal architects of the Donating copyrighted materials page, in the hope that either or both can shed some light. If, as appears possible, no proper permission was ever recorded, then I think we may need a CCI. I do note  by ; that editor is long gone, or I'd ask him about it. Justlettersandnumbers (talk) 15:46, 11 July 2016 (UTC)
 * I see your ping, but I have no idea what you are asking me. I'm not on the OTRS team, so I wouldn't have any record of any email granting permissions. And we should certainly not take other people's copyrighted work without their permission. - Jmabel | Talk 16:00, 11 July 2016 (UTC)
 * Sorry,, I wasn't at all clear. What I'm looking for is some insight into how copyright release was handled in about 2004, and where – if anywhere – releases from that time might be stored. I thought to ask you because I notice that you created Donating copyrighted materials in January 2005, which made me think this might have been an area where you were active at that time. If I'm wrong about that, please ignore this. Your mention of OTRS made me think: the oldest ticket I'm able to see is from 17 September 2004, a few days before the mass addition here; but I don't know if the system was up and running then. I agree, we can't use this stuff if we don't have a proper release for it, so although this is very old history, I think it has to be unpicked. Thanks for your input, Justlettersandnumbers (talk) 17:06, 11 July 2016 (UTC)
 * Evidently, Justlettersandnumbers, permission was never sent - Shell undid her confirmation flag. I did a search of OTRS, and I found nothing. It seems that this person may have made some assertions, but I have not found verification of this. --Moonriddengirl (talk) 20:26, 11 July 2016 (UTC)
 * Damn, I should have been able to find that for myself – thanks, ! Unless anyone can indicate where permission to use the milesago content was received and logged, I'm going to go ahead and request a WP:CCI for, as a number of articles seem to be affected. , I believe those revisions should be hidden again – assertions alone aren't enough for us now, and (as far as I'm able to understand) weren't enough for us then either. Justlettersandnumbers (talk) 22:56, 11 July 2016 (UTC)

Copyright and revisions etc
I was dismayed to discover yesterday the mutilated stub that the "Career" section had been left in - pathetically inadequate IMO - so I have restored it. Before you all go apeshit about this and where it's been 'copied' from ... let me state here clearly and unequivocally that I (Duncan Kimball aka dunks58) am the 'owner' and creator of the Milesago website and all the material therein (unless otherwise duly credited) is my work and my copyright. I hereby give myself and anyone else full and unqualified permission under the relevant guidelines bla bla to use anything from Milesago that is not copyright of another author for free use on Wikipedia in any form. OK? Are we good now?

I have tried to re-edit the Milesago source material (which was a FAN SITE OK?) to establish a more neutral PoV and not make it a shameless hagiography - to which however the band are entirely entitled IMHO - and create a more coherent chronological flow. I will continue to update as time permits and add more inline references as soon as possible. These are well-known sources like 'Stranded in Paradise' and McFarlane's Encyclopedia so if anyone else wants to chip in with adding these ref's - go crazy. It's not rocket science. Any problems - let me know - happy to do whatever to get this article up to a reasonable standard because this group deserves it .... (oh and to whichever doofus described them as "low-rent KISS" ... you are NOT getting it. Listen to the records pal - NOTHING like KISS.) Cheers! Dunks (talk) 02:52, 16 August 2017 (UTC)
 * Fan sites are considered unreliable sources at Wikipedia. You might want to read some documentation.

–Vmavanti (talk) 14:03, 16 August 2017 (UTC)
 * Identifying reliable sources
 * Help:Editing
 * What Wikipedia is not
 * Biographies of living persons
 * Manual of Style

–Vmavanti (talk) 14:15, 16 August 2017 (UTC)
 * Dunks58, you added a lot of information that is unsourced and you deleted and changed information that was sourced. That isn't the way Wikipedia works, however inadequate you find it, and is likely to bother the people who spent time editing correctly. Instead of deleting what you added, which I could've done, I'm telling you now. The information you added must have come from somewhere. Where? It needs to have citations to reliable sources. Your use of first name (calling Tim Finn "Tim" as if you knew him) is inappropriate to the formal, businesslike tone and neutrality of Wikipedia. See the Manual of Style regarding this matter and others. One's approach ought to be impartial and one's tone ought to be neutral, and the material must come from reliable, third-party sources as defined in the documentation. This is why it can be a bad idea to write about a topic about which one has strong feelings.

 * It also is insufficient to declare that, partly because you do not clearly differentiate between what is and isn't copyright of another author on your website, but mostly because material in Wikipedia is free for reuse by others, including by commercial endeavours. See WP:COPYRIGHTS. You will need to either change the copyright notice at the bottom of your website to one which is compatible with Wikipedia, such as CC BY-SA, or email to permissions-commons@wikimedia.org from your milesago.com email address with details of the licensing. See Donating copyrighted materials for details.

Rewrite in progress
Hi everyone. Not sure how many people are still watching this article at the moment but I am currently doing a complete rewrite in userspace to make it more in line with Wikipedia's style guidelines. You can find it here, but please note it's a work in progress and is far from finished. ToQ100gou (talk) 03:38, 10 May 2023 (UTC)
 * ToQ100gou, I did my own rewrite and just now looked at the talk page and saw that you were working on one. Did not mean to step on any toes. Please feel free to add any changes you think would be beneficial. As you will see, the page has been significantly shortened, which I thought was appropriate given that so much of the overly-detailed text was totally unsourced. MonMothma (talk) 11:21, 8 July 2023 (UTC)
 * No worries actually, I just noticed it now and I appreciate it. The shortening has made the page a lot easier to deal with, though I think the biggest problem is with how a lot of the prose was copypasted and/or slightly changed from the Milesago page, the hagiographic tone of the copypasted text, and, as you have pointed out, the lack of sources. We could probably put a lot of the information back in as long as it is worded better and properly sourced. ToQ100gou (talk) 12:17, 8 July 2023 (UTC)
 * Cool. Thanks for understanding. MonMothma (talk) 15:07, 8 July 2023 (UTC)

title: Talk:Split Enz


text:
Cichlasoma

Cichlasoma is a genus of freshwater fish in the cichlid family. The genus was previously very large (a wastebasket taxon), including cichlids from North America, including Central America, and South America.

Reclassification and subsequent splitting of the genus by Sven O. Kullander and other ichthyologists has resulted in removing many of the former species from Cichlasoma to genera such as Amphilophus, Archocentrus, Herichthys, Heros, Nandopsis, Parachromis, Thorichthys, Vieja and others in the tribe Heroini.

Species
According to FishBase, there are currently sixteen recognized species in this genus, but three very different Middle American taxa ("C." geddesi a synonym of Herichthys deppii, and "C." istlanum and "C." trimaculatum placed in Amphilophus) are not included by Catalog of Fishes, effectively limiting Cichlasoma to a group of rather similar, medium-small cichlids of South America.

 * Cichlasoma amazonarum S. O. Kullander, 1983
 * Cichlasoma araguaiense S. O. Kullander, 1983
 * Cichlasoma bimaculatum (Linnaeus, 1758) (Black acara)
 * Cichlasoma boliviense S. O. Kullander, 1983
 * Cichlasoma dimerus (Heckel, 1840)
 * Cichlasoma geddesi (Regan, 1905)
 * Cichlasoma istlanum (D. S. Jordan & Snyder, 1899)
 * Cichlasoma orientale S. O. Kullander, 1983
 * Cichlasoma orinocense S. O. Kullander, 1983
 * Cichlasoma paranaense S. O. Kullander, 1983
 * Cichlasoma portalegrense (R. F. Hensel, 1870)
 * Cichlasoma pusillum S. O. Kullander, 1983
 * Cichlasoma santifranciscense S. O. Kullander, 1983
 * Cichlasoma taenia (E. T. Bennett, 1831) (Brown coscarob)
 * Cichlasoma trimaculatum (Günther, 1867) (Three spot cichlid)
 * Cichlasoma zarskei Ottoni, 2011

title: Cichlasoma


text:
User:Scipiocoon

Mystery user. Click 'user contributions' in the toolbox (left of page) to find articles edited by this user.

title: User:Scipiocoon


text:
Urn (disambiguation)

An urn is a vase-like container.

Urn may refer to:
 * Urn problem of probability theory
 * Urn (album), an album by Ne Obliviscaris

The acronym URN may refer to:
 * Uganda Radio Network, a Ugandan news agency
 * Uniform Resource Name, an Internet identifier
 * Unique Reference Number, an identifier of UK schools
 * University Radio Nottingham, England

title: Urn (disambiguation)


text:
User talk:Gsd97jks

archaeology-stub
I see you created the archaeology-stub - if you're going through Category:Archaeology like I am relabelling stubs, one of us can start at the end, the other at the start and we'll meet in the middle (just so we're not tripping over each other's work). Only if you are, don't feel you have to do this. J OHN C OLLISON [ Ludraman] 19:01, 2 Dec 2004 (UTC)

 * I am not planning on going through them at the moment - perhaps later; just let me know which end you're going from. Gsd97jks 19:25, 2 Dec 2004 (UTC)

 * Sure, I started on A. J OHN C OLLISON [ Ludraman] 19:31, 2 Dec 2004 (UTC)

 * FYI I moved the Wari page to Huari and made the Wari page a proper disambiguation page Zenyu 20:14, Dec 8, 2004 (UTC)

Rio Moche, etc.
I did not change your edit but wish to note that Moche River is not necessarily the "English language" form of the name. The U.S. Geological Survey and UCLA among others have online reports about "Rio Moche". We don't translate Rio Grande either. Rmhermen 23:56, Dec 21, 2004 (UTC)
 * Feel free to change it back if you like, I was more interested in making an edit to differentiate between the river valleys and the rivers themselves. I was also basing the change on the naming for the Amazon. But I think both naming systems are fine. Gsd97jks 01:59, 22 Dec 2004 (UTC)

Moche photo
Is Image:Moche decapitator.jpg a picture you took yourself? Just trying to be sure of the copyright status. Rmhermen 04:16, Dec 23, 2004 (UTC)
 * Yes, the photo was taken by me. I believe I indicated as such on its page.  I will be continuing to upload photos in the near future and releasing to the public domain; please rest assured that any photos I upload are taken by me or are used with permission. Gsd97jks 20:00, 23 Dec 2004 (UTC)
 * I wasn't sure if you had indicated anywhere the connection between your user name and the real name you listed on the page. Rmhermen 20:24, Dec 23, 2004 (UTC)
 * Yes, that's me ;) Next time I'll put my user name to avoid confusion. And I do mean to fix that photo too, it's pretty bad. Gsd97jks 00:06, 24 Dec 2004 (UTC)

Books in new york
Hey thanks for contributing to the list. I haven't worked on it a while...it's getting harder for me to find stuff to add. Thanks again Bremen 19:53, 24 Mar 2005 (UTC)

Set in NYC?
I haven't actually read Neuromancer so I wasn't aware only a few scenes were set in New York. So I dunno if it belongs. The list is pretty pathetic right now so I like to have as many books as possible. I can't seem to find new books anymore...but I know tons more are out there. Bremen 05:37, 16 Apr 2005 (UTC)

Lomas de Lachay
I made that article a long time ago so I don't really remember. Probably not, so feel free to delete it. --Tuomas  hello 23:29, 25 September 2005 (UTC)

Hi!
Hi, Jessica. I'm Juan Carlos, from Lima, Peru. Nice to write you. I saw the reversion you've made of Huhsunqu's changes in Manco Inca Yupanqui article... and I have to say that I agree with it. However, I wonder if here is a policy about spelling of historical names in Quechua language. Can you guide me to that page? Sincerely, CUADRADO ORTIZ, Juan Carlos Lima, Sunday, January 15, 2006.

Juan Carlo,

There has been much debate about spelling of many of the Quechua names in the English Wikipedia. While there is currently no article on naming conventions in Quechua language, you can refer to the Naming conventions article as a general guide. It says there that "article naming should give priority to what the majority of English speakers would most easily recognize".

Above all, I think it is the best policy to discuss any potential re-naming on the article's "Talk" page first.

Gsd97jks 18:48, 17 January 2006 (UTC)

File permission problem with File:Spanish buidling Iquitos.JPG
Thanks for uploading File:Spanish buidling Iquitos.JPG. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file agreed to license it under the given license.

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File permission problem with File:Larchmont ny emblem.jpg
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Notification of automated file description generation
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This notification is placed on your talk page because a bot has identified you either as the uploader of the file, or as a contributor to its metadata. It would be appreciated if you could carefully review the information the bot added. To opt out of these notifications, please follow the instructions here. Thanks! Message delivered by Theo's Little Bot (opt-out) 11:48, 20 December 2013 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:53, 23 November 2015 (UTC)

Proposed deletion of File:Isafjord pos.png

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title: User talk:Gsd97jks


text: User talk:4.7.29.1

title: User talk:4.7.29.1