text:
Talk:Symphony No. 38 (Mozart)

Okay, this is my stab at a music article for which I am woefully underqualified. Hack away... Psp 00:34, 19 Dec 2004 (UTC)

Characteristic of the Symphony
The newly added section reads somewhat as though a section of an essay has been directly Babelfished into English with no attempt to make the result comprehensible, let alone idiomatic. If this is so then I suggest posting the original into talk, and having someone fluent in both languages make a more personal translation. I am tempted in the meanwhile to remove the section stat-and-presently since anyone happening on the page will simply blink and go away, which is contrary to the purpose of WP. And unfortunate since there do seem to be things said there. Schissel : bowl listen 23:00, May 27, 2005 (UTC)

User:UserTanaka, if you are watching the talk page, please (not that you have to, but I believe it would improve the article if you did which is what talk pages are for) move the Characteristic... section to the talk page, so that it can in fact be discussed, modified and translated/made far more idiomatic here. (Though it is not a question of a slight business of idiom.) To the extent that I can understand it it seems worthwhile, again. Schissel : bowl listen 01:24, May 28, 2005 (UTC)

The section, newly moved, is:

Completion of this work falls exactly in the time during the writing of "Le nozze di Figaro" and Don Giovanni. Even here can recognize the feature which is in common with this both large work, to everywhere. < Pitch of Figaro > (L Shyomfay) thing and 2 the D major key which is chosen in main pitch? Easy thought of subject of 3 makes "the marriage empty influence of Figaro recognize" and, tragic tension of the beginning playing section and dramatic ups and downs of inside feeling, may say that "Don Giovanni" is made to foresee. But such opera elements are absorbed with the maturity whose vessel easy technique is considerable, among the sound construction which are superior. It is as for being observed even among them, baroque Polyphony technique to permeate to all tune deeply, to show beautiful fusion with Mozart original song style. The Bach = Handel experience of Mozart's produced true unique bearing fruit with this symphony, that it probably will be possible to say. In addition to anti- rank method, syncopation and the semitone floor show the form to subject of all movements, the material which is rich in such tension and the shadow, in a manner of speaking outside, D major key has succeeded in the to inside converting direction pitch.

"the powerful backing of timpani and trumpets"?
I don't know whether this statment is subjective or not but anymway I don't agree with this. Addaick (talk) 07:56, 24 May 2009 (UTC)
 * Fixed this. I spelled out the scoring.  "full orchestra" was way too vague anyways. DavidRF (talk) 16:27, 25 May 2009 (UTC)

Prague
"Wolfgang Amadeus Mozart composed his Symphony No. 38 in D major (the "Prague"), K. 504, in late 1786." I don't understand the part in parentheses... Is this the Symphony that's also called the "Prague" Symphony? Someone who knows this clarify please. =) 131.151.26.135 (talk) 20:39, 18 September 2009 (UTC)
 * OK. DOne.DavidRF (talk) 20:55, 18 September 2009 (UTC)

Also, if someone has a sound clip, it might be appropriate to include here... Any copyright on the piece is almost certainly expired 131.151.26.135 (talk) 20:43, 18 September 2009 (UTC)
 * The composition is in the public domain (note the free scores at the bottom of the page) but that recordings are a different story. Most of the ones people have on CD are copyrighted.  Doesn't mean public domain audio can't be obtained, but it takes some effort to find and clear them with the copyright-cops in the commons area.  I agree sound files would be nice, though.DavidRF (talk) 20:52, 18 September 2009 (UTC)

Similar to Don Giovanni's Overture?
Seems to me more similar to the Overture from The Magic Flute... So where did this comparison come from? — Preceding unsigned comment added by 97.113.18.30 (talk) 16:01, 20 March 2014 (UTC)

 * Yes, there are two motives in the Prague Symphony that recur in the overture to the Magic Flute: one features staccato repeated notes, the other a descending major scale. 192.80.96.39 (talk) 18:07, 1 November 2022 (UTC)

Commons files used on this page or its Wikidata item have been nominated for speedy deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for speedy deletion: You can see the reasons for deletion at the file description pages linked above. —Community Tech bot (talk) 09:52, 30 March 2022 (UTC)
 * Mozart Symphony No. 38 In D Major (K504) Prague, 1. Adagio - Allegro.ogg
 * Mozart Symphony No. 38 In D Major (K504) Prague, 2. Andante.ogg
 * Mozart Symphony No. 38 In D Major (K504) Prague, 3. Finale (Presto).ogg

title: Talk:Symphony No. 38 (Mozart)


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Cuban Ledge

Cuban Ledge is a reef or islet composed chiefly of sand and small rocks in Eastchester Bay, the Bronx, in Long Island Sound. It is located between Rodman's Neck and Country Club in Eastchester Bay and is visible only during periods of low tide. It is a hazard to boats, and is marked with a signal tower.

Origin and name
Several stories have been circulated regarding how the Cuban Ledge formed and got its name. According to some accounts, it was formed in 1898 when sailors dumped cargo rocks overboard from a ship that was abandoned when its crew left for Cuba to fight in the Spanish–American War. Another version of the story indicates that it was created when a large barge carrying sand and gravel ran aground on a shoal. A salvage crew was mounted there and the barge was rescued, but much of the sand and gravel it was carrying needed to be removed in order to aid the rescue. The workers dumped the sand and rock overboard to get the barge off the shoal, thus forming the reef.

One story of its name stipulates that a ship by the name of Cuban Lady ran aground on the reef in the 1880s. Other theories suggest that the ledge resembles the outline of the island of Cuba.

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

title: Cuban Ledge


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Howard Altman

Howard Altman (born March 1, 1960) is an American journalist and newspaper editor who currently writes for The War Zone. He was an investigative reporter, columnist and news editor at the Philadelphia City Paper for many years, and its editor-in-chief from March 2003 until he was fired in May 2004. During his tenure at the City Paper, Altman won multiple local and state awards in the "weekly alternative" or "non-daily" categories for his columns, sports coverage, and investigative reporting. Altman and colleagues have also won awards as editors for the front-page design of the City Paper ' s issue dealing with the September 11, 2001 attacks.

Relocating to Tampa, Florida, Altman joined The Tampa Tribune as courts and cops editor in the converged newsroom of the Tribune, Tampa Bay Online (tbo.com) and the local NBC television affiliate, WFLA-TV. There, he helped form the Continuous News Desk, which merged all three platforms into one synchronized unit he helped run. It revolutionized how and when news was delivered across platforms. Page views and time on site skyrocketed, forcing competition to follow suit.

Altman later became the Tribune's military reporter, given the large military presence in the Tampa Bay. This presence includes MacDill Air Force Base, the two unified combatant commands that are headquartered at MacDill AFB, the Avon Park Air Force Range, Coast Guard Air Station Clearwater, Coast Guard Sector St. Petersburg, numerous smaller U.S. Coast Guard installations, multiple homeported Coast Guard cutters, various Reserve and National Guard facilities, two large Veterans Administration medical centers, and one of the largest active duty military, reserve military (to include National Guard), retired military and non-career military veteran populations in Florida.

With the May 2016 acquisition of The Tampa Tribune by its long-time St. Petersburg, Florida-based competitor, The Tampa Bay Times (formerly The St. Petersburg Times), Altman became the senior writer/military affairs for The Tampa Bay Times. In addition to print media, Altman is also a periodic guest on local radio and television segments in the Tampa Bay area regarding military affairs. After departing Tampa Bay, Altman moved to MilitaryTimes as senior managing editor. In February 2022 he was fired by MilitaryTimes. In April 2022 The War Zone announced his hire as a staff writer.

title: Howard Altman


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Non-Archimedean

In mathematics and physics, non-Archimedean refers to something without the Archimedean property. This includes:
 * Ultrametric space
 * in particular, a domain with non-Archimedean absolute value
 * notably, p-adic numbers
 * Non-Archimedean ordered field, namely:
 * Levi-Civita field
 * Hyperreal numbers
 * Surreal numbers
 * Dehn planes
 * Non-Archimedean time in theoretical physics

title: Non-Archimedean


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Talk:Halford Mackinder

Career
Mackinder did not join the Civil Service upon leaving Oxford but became Director of the LSE.

Sentence 'During his climb of Mount Kenya, Halford ordered the shooting of' has been left incomplete and should probably be fixed because this is an important detail about his identity. — Preceding unsigned comment added by Schipper Lisa (talk • contribs) 13:02, 12 February 2020 (UTC)

 * I've removed it for now; if anybody wants to add it back in with the complete information, feel free. Sandtalon (talk) 00:20, 15 March 2020 (UTC)

Books
Are his books still under copyright? Drutt (talk) 19:35, 14 February 2009 (UTC)
 * They might still be. It use to be 50 years after the death of the author, but that has been changed to 75 years, which has created grey areas. Best to treat it that they are until after 75 years from his death or his Estate may not be happy. --BSTemple (talk) 19:25, 7 May 2009 (UTC)

'Geopolitics' in lower case, please
This is not a proper noun. It is the name of a discipline and so, like the names for the disciplines of economics, sociology, history, literature, chemistry, etc, should be in lower case except when other contexts (appearing as the first word of a sentence, etc) require upper case. Inter lingua 02:24, 26 February 2010 (UTC)

External links modified
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title: Talk:Halford Mackinder


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Christ on the Mount of Olives (Beethoven)

Christus am Ölberge (in English, Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber, editor of the Wiener Zeitung, with whom Beethoven worked closely. It was written in a very short period; in a letter to Breitkopf & Härtel written shortly after the oratorio's completion, Beethoven spoke of having written it in "a few weeks", although he later claimed that the piece required no more than 14 days to complete. It was first performed on April 5, 1803 at the Theater an der Wien in Vienna; in 1811, it was revised by Beethoven for publication by Breitkopf & Härtel. The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number. The piece premiered in the United States in 1809; it was Beethoven's first  success in the United States.

Composition
The work is a dramatic oratorio and is considered a much more humanistic portrayal of the Christ passion than other settings, such as those by Bach. It concludes at the point of Jesus personally accepting his fate, placing the emphasis on his own decision rather than the later Crucifixion or Resurrection. The oratorio is scored for soprano, tenor, and bass soloists, with standard SATB chorus and symphony orchestra. The tenor sings as Jesus, with the soprano as a seraph (angel) and the bass as Peter. A complete performance lasts approximately 50 minutes.

Beethoven's only oratorio, he was quite critical of the piece and of the performance of the orchestra and chorus at its premiere. He panned Huber's libretto, saying, in an 1824 letter to the Gesellschaft für Musikfreunde, "Let us leave out of consideration the value of poems of this sort. We all know that allowances are to be made... so far as I am concerned, I would rather set Homer, Klopstock, Schiller to music. If they offer difficulties to overcome, these immortal poets at least are worthy of it." (Beethoven eventually did set Schiller to music in his monumental Ninth Symphony, nearly twenty years after the oratorio.) The editors at Breitkopf & Härtel agreed with Beethoven's critical assessment of the text, and Christian Schreiber was enlisted to make massive changes to the libretto. However, upon reviewing the changes, Beethoven still was not happy, saying, "I know that the text is extremely bad, but if even a bad text is conceived as a whole entity, it is very difficult to avoid disrupting it by individual corrections".

Structure
The composition consists of six movements.
 * 1. Introduction (Grave – Adagio) in E♭ minor – Recitative „Jehova, du, mein Vater!“ – Aria (Allegro) „Meine Seele ist erschüttert!“ in c minor
 * 2. Recitative „Erzittre, Erde, Jehovahs Sohn liegt hier“ in A major – Aria (Larghetto) „Preist des Erlösers Güte“ in G major – Chorus (Allegro) „Oh, Heil euch, ihr Erlösten!“ in G major
 * 3. Recitative „Verkündet, Seraph, mir dein Mund“ – Duet (Adagio molto) „So ruhe denn mit ganzer Schwere“ in A♭ major
 * 4. Recitative „Willkommen, Tod!“ in F major – Chorus (Alla marcia) „Wir haben ihn gesehen“ in C major
 * 5. Recitative (Tempo della Marcia) „Die mich zu fangen ausgezogen sind“ – Chorus (Allegro molto) „Hier ist er, hier ist er“ in D major
 * 6. Recitative (Molto allegro) „Nicht ungestraft soll der Verwegnen Schar“ – Trio and chorus (Allegro ma non troppo) „In meinen Adern wühlen“ in B♭ major – Final chorus (Maestoso – Allegro) „Welten singen“ - „Preiset ihn, ihr Engelschöre“ in C major

Instrumentation

 * SATB choir
 * 3 soloists (soprano, tenor and bass)
 * 2 flutes
 * 2 oboes
 * 2 clarinets in B♭
 * 2 bassoons
 * 2 trumpets in D and E♭
 * 2 horns in B♭, C, D and E♭
 * 3 trombones (alto, tenor and bass)
 * timpani
 * 1st violins
 * 2nd violins
 * violas
 * cellos
 * double basses

The soloists are personas: the soprano is a Seraph, the tenor is Jesus and the bass is the apostle Peter.

Reception
The critical response to the work's initial performance was mixed; while the Zeitung für die Elegante Welt's critic wrote that the oratorio contained "a few admirable passages", a review in the Freymüthige Blätter called the piece "too artificial in structure and lacking expressiveness, especially in the vocal music", and claimed that the performance "was unable to achieve really marked approbation". It has since drifted somewhat into obscurity, and is rarely performed, being regarded by some as falling below Beethoven's usual standards of excellence. However, despite conflicting contemporary critical reports and Beethoven's own misgivings about the libretto, "...after its premiere in 1803 the work was performed four times in 1804, and repeated every year, always drawing full houses, until it was banned in 1825 by the Hofmusikgraf."

The "Welten singen..." finale chorus has enjoyed some popularity on its own, usually being rendered as a "Hallelujah", frequently performed by church, high school, and college choirs.


text:
User:Smogcurling

"I meant to say that I agreed with everything you said, but not in practice."

title: User:Smogcurling


text:
Vehkalahti

Vehkalahti (Veckelax) is a former municipality surrounding the town of Hamina in south-eastern Finland. At the beginning of 2003 Hamina and Vehkalahti combined to form a new town of Hamina.

History
These southern parts of Karelia are known to be the oldest parts of modern Finland with settlements. The first markings of Vehkalahti as a continuous settlement or village date back to 1336, when it became a major place for east/west trading. The plans to build a town grew slowly as the place became crowded. In 1653 the area surrounding the village church officially became a town, which was called Vehkalahden Uusikaupunki (Veckelax Nystad, Newtown of Vehkalahti).

Surroundings
While the area in the immediate vicinity of the church building became a town, the surrounding land remained countryside. Formerly the area of Vehkalahti was much larger, almost the entire Kymenlaakso. Still, later many areas became new municipalities. The largest population centers are Husula, Salmenkylä, Uusi-Summa, Poitsila and Neuvottoma, there are also many rural villages like Metsäkylä, Reitkalli, Kannusjärvi and Pyhältö.

Peculiar Nobility
In literature, Vehkalahti is particularly renowned for its peculiar medieval petty nobility, knaappiaateli (families Husgafvel, Pilhjerta and Brandstaka), which also acted as a link between Vehkalahti and the Vyborg Castle. Built by Swedes, about 100 km east of Vehkalahti, it became a place of great military importance for European east/west foreign communication. Today it is located on Russian territory.

Vehkalahti church
The Vehkalahti church (now known as St. Mary's church, or Marian kirkko in Finnish) was built in the 14th century at the place where the town of Hamina is now.

title: Vehkalahti


text:
Talk:Maison Ikkoku

Names of Yotsuya and Ichinose
If anybody knows the first names of Yotsuya and Mrs. Ichinose go ahead and add them. I got these names directly from the manga. --Eelozano 2004-12-18 18:46:22

Yotsuya's first name (and occupation) remain a mystery throughout the series. Although they are sometimes the topic of conversation between the other tenants of Maison Ikkoku, nobody has been able to definitively determine what Yotsuya's job or name really is. —The preceding unsigned comment was added by 198.103.53.5 (talk • contribs).

 * I put in the first name for Yotsuya that he had written on a business card in anime episode #50 (covering an event that didn't occur in the manga). I'm still waiting for my copy of Viz' boxed set 4 (episodes 37-48), so I don't know if he tries to use any other first names (I wouldn't put it beyond him), but it's something other than "mister."  Guppy313 21:32, 29 March 2006 (UTC)

Some changes
I changed some of the phrasing and punuctuation here and there, but the big change I made was removin the reference to Soichiro Otonashi physically resembling Yusaku Godai. At the end of the episode where Mr. Soichiro (dog) ran off and was missing, when Kyoko saw Yusaku and Mr. Soichiro climbing the hill to Maison Ikkoku in the sunset, she was startled by the similarity to her memories of her husband, but commented to herself that the two men looked nothing alike.

It's insinuated that the two men have similar character traits (seemingly unable to take care of themselves without Kyoko's help, etc.), but it's never stated clearly what, if anything, Kyoko sees in common between Soichiro and Yusaku.

At any rate, I'm tempted to go through this and do more editing; some of it seems a little wordy, but it could just be me. Also, there seems to be an inordinate amount of attention to relatively unimportant characters (Kyoko's niece) and no attention to others (owner of Cha-Cha Maru, Akemi's boss). Any objections? David Iwancio 01:02, 16 October 2005 (UTC)
 * I've no issue with you doing so. I don't know enough about the series to do much other than rephrase information found via Google. -Fuzzy 07:00, 16 October 2005 (UTC)

My changes
I mostly just tried to change the wording of character descriptions. Some of it I thought was extraneous; spoilers are one thing, but detailing the situation the characters are in at the end of the story seems a bit much, especially when there's no sequel (and likely never will be).

I split the characters between "major" and "minor" based mostly on when they were introduced to the story or how many episodes they were involved in, generally trying to focus on how much they contributed to the story. I decided not to mention the puppeteering club at Yusaku's school, as they were mostly incidental: they went away after the school festival, cropping up pretty much only to get Yusaku a job at the day care center and finally offered as a quick comparison of marriage proposals. I also left out Yusaku's roomates for the brief period he lived over the pachinko parlor, and his workmates in the cabaret (though now that I think about it, a case can be made for the cabaret's owner as "voice of reason" in the same way as the owner of Cha-Cha Maru).

I trimmed off Ikuko's last name; it's never specified, and I get the impression she's related to the Otonashi clan more on her mother's side than her father's (at the very least I don't recall ever seeing her father).

I know with Shun, Kozue and Ibuki I get rather close to crossing the line and putting in my own interpretation of the characters (such as Shun's and Ibuki's motivations), but I feel that these are all but explicitly stated by the characters themselves.

(At least I didn't go into my own personal theory that Sakamoto is the source of all grief in the story :)  )

I can't for the life of me remember Kyoko's parents' names. I remember at least her mother being named, but I can't seem to find it skimming over my collection of Viz' first edition of the manga. Same deal with Sakamoto. I'm in the mood to reread the whole thing (or at least as much as I have of Viz' second edition of the manga), and if I come acros them I'll add them later.

I tossed in a note on the use of names between the major characters where the original author mentioned the ordering of the names in the article. It seemed important in describing the relationships between the characters. I personally find it odd that I had more to say about the people who didn't live in Maison Ikkoku than those who did; I imagine that's just part of the nature of the story that to explain more about the characters would require actually retelling much of the story.

Finally, I am sorely, sorely tempted to remove the comment about Love Hina. My judgment is likely clouded by how much I love Maison Ikkoku and how much I dislike Love Hina, but it seems that Love Hina is more of a contrast to Ikkoku, full of situations and even some characters that lose all touch with reality, while Ikkoku never seriously challenges one's suspension of disbelief. I suppose a case could be made that Maison Ikkoku was an early "innovator" in the whole "loser ronin in boarding house beset by beautiful women" genre, but lumping them together just feels so wrong to me.

Oh, and I just remembered I forgot Yusaku's grandmother. Off to fix that. David Iwancio 22:41, 16 October 2005 (UTC)

stuff that's missing
This article is missing some essential data. How many TP volumes in Japan are there? How many english volumes are there, or is it the same? Anime air dates, the movie, etc. — Adam Di Carlo 18:45, 14 November 2005 (UTC)

Review
I'm wondering if the review should be removed. Reviews generally aren't found on Wikipedia. I'm fine with incorporating what we can in the rest of the article, as long as it remains NPOV. --nihon 00:28, 23 January 2006 (UTC)

Expansion
Okay, all done. (^_^) --nihon 06:13, 23 January 2006 (UTC)

 * I guess I was wrong. I just added all the manga someone asked for. --nihon 07:02, 23 January 2006 (UTC)

 * This article is to the point where it could be spilt into something like a List of Maison Ikkoku media page. (Duane543 04:30, 26 May 2007 (UTC))

 * Created a category and have spun off characters; plan to spin off other big sections where applicable. -- Broken Sphere  22:29, 5 June 2007 (UTC)

I am long-time fan of this series and was just curious to know the General Reception of this particular series. I wanted to know because as a College Student currently taking a Marketing course, I wanted to know why the production company put so much effort and funding into the recording of the Official Soundtrack (or is that just the trend of entertainment companies in Japan?). The related parephanalia of this series must have sold like hotcakes in order for them to invest such time and effort into the CDs. (Or at the time Eight-tracks/LPs?)

While the songs are highly corny and unoriginal now, for the time it was truly innovative in terms of Japanese Pop, R&B, and Classical music. If you listen to the songs you will hear the sounds of artists popular in America in the late 70's early 80's (Specific artists that come to mind immediately are DeBarge, Lisa Lisa and Cult Jam, Prince and Barry White).

The Anime must have been very popular for them to do this, even if only in a Niche market sense. I have all the OSTs and related songs and it is quite extensive, the sound quality is sharp and clear even on today's standards, I am sure they used the highest technology of the time which must have cost a pretty penny. The same goes for the Ramna 1/2 series which also has extensive OSTs aside from the Background Music tracks(BGM).

- Jon DH —Preceding unsigned comment added by 76.124.108.17 (talk) 17:12, 7 January 2009 (UTC)

 * Japanese entertainment companies invest heavily in OSTs for tie-ins to movies and dramas. The quality on Japanese CDs tends to be higher because they are essentially limited run production items using more expensive materials and production values. Even albums by foreign artists are remastered and re-released in Japan, usually with bonus tracks and at a much higher markup. Jun Kayama 03:47, 3 January 2012 (UTC)

Also slightly unrelated, Why is this article on the Low importance scale? This Manga/Anime Series is crucial for future series. Rumiko Takahashi could very well be considered the Mother (not quite the Grandmother) of Modern Animated Series, it is especially crucial for the Seinen Love/Drama genre. While the series is obviously not very popular (not as much as Ramna anyways) outside of Japan it still is of crucial value and importance regarding the foundations and beginnings of modern Anime going into the New Millenium.

- Jon DH —Preceding unsigned comment added by 76.124.108.17 (talk) 17:18, 7 January 2009 (UTC)

 * This series deserves its Low importance scale. There are others such as Reiji Matsumoto and Hayao Miyazaki whose works are much more pivotal in inspiring Japanese animators. Maison Ikkoku itself has much, much less influence on Japanese culture and animation than Urusei Yatsura, Takahashi's previous series, and there are a good number of other series such as Mitsuru Adachi's Touch that rank far above Maison Ikkoku in terms of impact.

 * Outside of Japan, there is not a single quotable source which says this series inspired them. Love comedy genre for anime produced outside Japan does not exist. Animatrix? SpongeBob? The production values for the anime version of this series is 1980s. No CGI, three different directors, it appeared 30 years too late to be a pioneer like Tetsuwan Atom, 20 years too early to be something like Sennen Joyu. Takahashi Rumiko is not a pioneer in anime. She is a great mangaka, a living legend. Her influence in anime is nothing compared to directors who are constantly in film festivals, Cannes, Academy Award contention because her creative influence does not extend outside of print. This is why adaptations of Ranma 1/2 and InuYasha have been disasters. Only rarely does she get a director on the scale of Oshii Mamoru to commit himself to one of her works (Urusei Yatsura) and even then, the creative difference between Oshii and Takahashi was so bad he walked away from the series after the second theatrical release . There is a very sharp distinction between Takahashi Rumiko's achievements in manga and these anime adaptations over which she essentially does not have full control or talent. As far as Maison Ikkoku is concerned, the manga (and the anime which is faithful to the print version) did not move Heaven and Earth to inspire great manga or OVA in the future anywhere. Jun Kayama 10:48, 6 January 2012 (UTC)

It does seem incredibly biased to rate this series as Low Importance. Possibly one editor that has a grudge against the series?? And a question about those ratings. As this is a US English page, shouldn't the rating level reflect the US impact of the series, not necessarily how one individual in Japan rates it? Certainly in the US this series is highly considered. (Just look at the prices for used copies at Amazon.com or Ebay.) — Preceding unsigned comment added by 76.160.218.42 (talk) 03:29, 30 December 2011 (UTC)

And if it has so little impact in Japan, why did they produce 96 episodes?? That rating is just bogus. — Preceding unsigned comment added by 76.160.218.42 (talk) 03:30, 30 December 2011 (UTC)
 * 本気アホ草. FWIW, I didn't assign it Low Importance. I honestly don't care if it is ranked slightly higher, but this is not a pivotal series.

 * This series was popular in the 80s in Japan as a love comedy, but it owes much of its popularity as a concurrent series to Urusei Yatsura |うる星やつら in the 1980s. Impact on Japanese culture from this series is not significant, and for Japanese, this is extremely obvious. Long runs for TV series in Japan are normal because of different production values and sponsorship structure. Also, this started off as print manga, which gives it a completely different dynamic from work by "pure" animators because transition to TV and movie in Japan even for popular series is sponsor-driven, not artist-driven. There is much less artistic freedom for animators following the script of a pre-scripted series, which is why directors with original works (Kon Satoshi, Matsumoto Reiji, Miyazaki Hayao) are more influential on the direction of anime.

 * Version of Wikipedia is immaterial. It is fantasy to think this is the most important series in Japanese culture, even with release of all material for this series with the Japanese market as primary. For the TV Drama, the specials in 2007 and 2008 only had viewer ratings of 12% and 8% . It does not even come close to Top 20 dramas where the lowest series has 33.7% in a market with traditionally just seven TV channels in Kanto. For anime, even the #10 anime series reached 29.6%  and Touch is at #7 with 31.9% - there is not a single Takahashi Rumiko series in the Top 10 for anime viewership. In fact for the TV Asahi Program 「決定！これが日本のベスト１００」which ranks Top 100s, Maison Ikkoku is not even on the chart for anime.

 * Rumiko Takahashi is a great series creator and Maison Ikkoku is a very mature work, but the problem with Maison Ikkoku is it was in print the same time as Urusei (1978-87 for Urusei, 1980-87 for Maison). Urusei has six theatrical releases. Lum is one of the most recognizable characters in all Japanese pop culture. There is nothing revolutionary about any of the versions of Maison Ikkoku in manga, anime, TV drama, or theatrical release. The numbers do not support it. Maison Ikkoku was not the first of its kind in genre, it did not inspire other series on its own (Kimagure Orange Road and Touch were out the same time) and being released on Big Spirits rather than Shonen Sunday hurt numbers. Print syndication in Japan matters for readership, popularity, merchandising, transition to anime and (higher status in Japan) live action TV drama or theatrical release. If it was released before Urusei Yatsura then Maison Ikkoku would be genre-defining, but Takahashi did not get the idea for Maison Ikkoku until 1980 and in her first concept it wasn't even a love story, but a human drama.

 * Maison Ikkoku did not have tremendous impact on Japanese popular culture. It is a small, beautiful classic and a good memory for many Japanese, but this is not the work without which love comedy genre in Japan would never have existed. It is not that sort of work. I haven't looked at this article in a long time, and I will probably overhaul it, but this is not a priority for me; maybe someone else. This series is not a pivotal, revolutionary work in manga, anime, or J-drama. Jun Kayama 04:16, 6 January 2012 (UTC)

Sayako Kurogi history/Episode guide
I added more detail to the entry on Sayako Kurogi. I felt that not enough was said about her seeing as how she is pretty important to the story in that she inadvertantly sets Yusaku on the path to his future career in child care. Feel free to edit my sentence structure on the new entry, as I know that my writing can get a little garbled.

Also, I began an episode guide as someone else suggested. So far I have up the first season, titles and original air dates. I will continue to put up the remaining seasons over the next few days. I was unsure about how exactly to format it, so I used the bullet system that every other entry on the Maison Ikkoku page seems to be using...

Billgoode 06:04, 1 September 2006 (UTC)

 * Added season 2 guide

 * Billgoode 19:22, 1 September 2006 (UTC)

 * Completed episode guide

 * Billgoode 02:19, 3 September 2006 (UTC)

Review(s)
ANN Jason Thomson --KrebMarkt (talk) 05:56, 9 September 2010 (UTC)

EX --Gabriel Yuji (talk) 15:47, 6 July 2014 (UTC)

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Police car

A police car (also called a police cruiser, police interceptor, black and white, patrol car, area car, cop car, prowl car, squad car, radio car, or radio motor patrol) is a ground vehicle used by police and law enforcement for transportation during patrols and responses to calls for service. A type of emergency vehicle, police cars are used by police officers to patrol a beat, quickly reach incident scenes, and transport and temporarily detain suspects, all while establishing a police presence and providing visible crime deterrence.

Police cars are traditionally sedans, though SUVs, crossovers, station wagons, hatchbacks, pickup trucks, utes, vans, trucks, off-road vehicles, and even performance cars have seen use in both standard patrol roles and specialized applications. Most police cars are existing vehicle models sold on the civilian market that may or may not be modified variants of their original models (such as the Ford Crown Victoria Police Interceptor being a variant of the Ford Crown Victoria); the few purpose-built examples include the canceled Carbon Motors E7 and the Lenco BearCat armored vehicle.

Police cars usually contain communication devices, issued weaponry, and a variety of equipment, with emergency lights, a siren, and livery markings to distinguish them as such.

History
The first police car was an electric wagon used by the Akron Police Department in Akron, Ohio, in 1899. The first operator of the police patrol wagon was Officer Louis Mueller, Sr. It could reach 16 mph and travel 30 mi before its battery needed to be recharged. The car was built by city mechanical engineer Frank Loomis. The US$2,400 vehicle was equipped with electric lights, gongs, and a stretcher. The car's first assignment was to pick up a drunken man at the junction of Main and Exchange streets.

Ford introduced the flathead V8 in the 1932 Ford as the first mass-marketed V8 car; this low-priced, mass-marketed V8 car became popular with police in the United States, establishing strong brand loyalty that continued into the 21st century. Starting in the 1940s, major American automakers, namely the Big Three, began to manufacture specialized police cars. Over time, these became their own dedicated police fleet offerings, such as the Ford Police Interceptor and Chevrolet 9C1.

In the United Kingdom, Captain Athelstan Popkess, Chief Constable of the Nottingham City Police from 1930 to 1959, transformed British police from their Victorian era foot patrol beat model to the modern car-based reactive response model, through his development of the "Mechanized Division", which used two-way radio communication between police command and police cars. Under Popkess, the Nottingham City Police began to use police cars as an asset that police tactics centered around, such as overlaying police car patrol sectors over foot patrol beats and using police cars to pick up foot patrol officers while responding to crimes.

Increased car ownership in the post-World War II economic expansion led to police cars becoming significantly more common in most developed countries, as police jurisdictions expanded farther out into residential and suburban areas, car-oriented urban planning and highways dominated cities, vehicular crimes and police evasion in cars increased, and more equipment was issued to police officers, to the point that vehicles became practically necessary for modern law enforcement.

Types
Various types of police car exist. Depending on the organization of the law enforcement agency, the class of vehicle used as a police car, and the environmental factors of the agency's jurisdiction, many of the types below may or may not exist in certain fleets, or their capabilities may be merged to create all-rounded units with shared vehicles as opposed to specialized units with separate vehicles.

Patrol car
A patrol car is a police car used for standard patrol. Used to replace traditional foot patrols, the patrol car's primary function is to provide transportation for regular police duties, such as responding to calls, enforcing laws, or simply establishing a more visible police presence while on patrol. Driving a patrol car allows officers to reach their destinations more quickly and to cover more ground compared to other methods. Patrol cars are typically designed to be identifiable as police cars to the public and thus almost always have proper markings, roof-mounted emergency lights, and sirens.

Response car
A response car, also known as a pursuit car, area car, rapid response unit, or fast response car, is a police car used to ensure quick responses to emergencies compared to patrol cars. It is likely to be of a higher specification, capable of higher speeds, and often fitted with unique markings and increased-visibility emergency lights. These cars are generally only used to respond to emergency incidents and may carry specialized equipment not used in regular patrol cars, such as long arms.

Traffic car
A traffic car, also known as a highway patrol car, traffic enforcement unit, speed enforcement unit, or road policing unit, is a police car tasked with enforcing traffic laws and conducting traffic stops, typically on major roadways such as highways. They are often relatively high-performance vehicles compared to patrol cars, as they must be capable of catching up to fast-moving vehicles. They may have specific markings or special emergency lights to either improve or hinder visibility. Alternatively, some traffic cars may use the same models as patrol cars, and may barely differ from them aside from markings, radar speed guns, and traffic-oriented equipment.

Unmarked car
An unmarked car is a police car that lacks markings and easily-visible or roof-mounted emergency lights. They are generally used for varying purposes, ranging from standard patrol and traffic enforcement to sting operations and detective work. They have the advantage of not being immediately recognizable, and are considered a valuable tool in catching criminals in the commission of a crime or by surprise. The resemblance an unmarked police car has to a civilian vehicle varies based on their application: they may use the same models as marked patrol cars, and may be virtually identical to them aside from the lack of roof-mounted emergency lights, with pushbars and spotlights clearly visible; alternatively, they may use common civilian vehicle models that blend in with traffic, with emergency lights embedded in the grille or capable of being hidden and revealed, such as Japanese unmarked cars having retractable beacons built into the car's roof.

Unmarked cars typically use regular civilian license plates, occasionally even in jurisdictions where emergency vehicles and government vehicles use unique license plates, though some agencies or jurisdictions may be able to use the unique plates anyway; for example, American federal law enforcement agencies may use either government plates or regular license plates.

The term "undercover car" is often used to describe unmarked cars. However, this usage is erroneous: unmarked cars are police cars that lack markings but have police equipment, emergency lights, and sirens, while undercover cars lack these entirely and are essentially civilian vehicles used by law enforcement in undercover operations to avoid detection.

The close resemblance of unmarked cars to civilian cars has created concerns of police impersonation. Some police officers advise motorists that they do not have to pull over in a secluded location and instead can wait until they reach somewhere safer. In the UK, officers must be wearing uniforms in order to make traffic stops. Motorists can also ask for the officer's badge and identification or call an emergency number or a police non-emergency number to confirm if the police unit is genuine.

Ghost car
A ghost car, also known as a stealth car or semi-marked car, is a police car that combines elements of both an unmarked car and a marked patrol car, featuring markings that are either similar colors to the vehicle's body paint, or are reflective graphics that are difficult to see unless illuminated by lights or viewed at certain angles. Ghost cars are often used for traffic enforcement, though they may also be used in lieu of unmarked cars in jurisdictions where they are prohibited or have their enforcement capabilities limited, such as being unable to conduct traffic stops. In these instances, the markings on ghost cars may be sufficient to legally count as marked police cars, despite the markings being difficult to see.

Utility vehicle
A utility vehicle is a police car used for utility or support purposes as opposed to regular police duties. Utility vehicles are usually all-wheel drive vehicles with cargo space such as SUVs, pickup trucks, vans, utes, or off-road vehicles. They are often used to transport or tow assets such as trailers, equipment, or other vehicles such as police boats; they are alternatively used for or are capable of off-roading, especially in fleets where most other vehicles cannot do so. They can also be used for animal control, if that is the responsibility of police within that jurisdiction. Some utility vehicles can be used for transporting teams of officers and occasionally have facilities to securely detain and transport a small number of suspects, provided there is enough seating space.

Police dog vehicle
A police dog vehicle, also known as a K-9 vehicle or a police dog unit, is a police car modified to transport police dogs. The models used for these vehicles range from the same as patrol cars to dedicated SUVs, pickup trucks, or vans. To provide sufficient space for the police dog, there is usually a cage in the trunk or rear seats with enough space for the dog, though some agencies may put the cage in the front passenger seat, or may lack a cage entirely and simply have the dog in the rear compartment. There may or may not be space to transport detainees or additional officers. Police dog vehicles almost always have markings noting they have a police dog on board, typically just the agency's standard markings with the added notice.

Decoy car
A decoy car is a police car used to establish a police presence, typically to deter traffic violations or speeding, without a police officer actually being present. They may be older models retired from use, civilian cars modified to resemble police cars, or demonstration vehicles. In some instances, a "decoy car" may not be a vehicle at all, but rather a life-sized cutout or sign depicting a police car. Use of decoy cars is intended to ensure crime deterrence without having to commit manpower, allowing the officer that would otherwise be there to be freed up for other assignments.

In the United Kingdom, decoy liveried police cars and vans may be parked on filling station forecourts to deter motorists dispensing fuel then making off without payment, also known as "bilking".

The use of decoy cars is entirely up to the agency, though in 2005, the Virginia General Assembly considered a bill that would make decoy cars a legal requirement for police. The bill stated in part: "Whenever any law-enforcement vehicle is permanently taken out of service... such vehicle shall be placed at a conspicuous location within a highway median in order to deter violations of motor vehicle laws at that location. Such vehicles shall... be rotated from one location to another as needed to maintain their deterrent effect."

Surveillance car
A surveillance car is a police car used for surveillance purposes. Usually SUVs, vans, or trucks, surveillance cars can be marked, unmarked, undercover, or disguised, and may be crewed or remotely monitored. They are used to gather evidence of criminal offenses or provide better vantage points at events or high-traffic areas. The surveillance method used varies, and may include CCTV, hidden cameras, wiretapping devices, or even aerial platforms. Some surveillance cars may also be used as bait cars, deployed to catch car thieves.

Armored vehicle
A police armored vehicle, also known as a SWAT vehicle, tactical vehicle, or rescue vehicle, is an armored vehicle used in a police capacity. They are typically four-wheeled armored vehicles with similar configurations to military light utility vehicles, infantry mobility vehicles, internal security vehicles, MRAPs, or similar armored personnel carriers, that lack mounted and installed weaponry. As their name suggests, they are typically used to transport police tactical units such as SWAT teams, though they may also be used in riot control or to establish police presence at events.

Mobile command center
A mobile command center, also known as an emergency operations center, mobile command post, or mobile police station, is a truck used to provide a central command center at the scene of an incident, or to establish a visible police presence or temporary police station at an event.

Bomb disposal vehicle
A bomb disposal vehicle is a vehicle used by bomb disposal squads to transport equipment and bomb disposal robots, or to store bombs for later disposal. They are often vans or trucks, typically with at least one bomb containment chamber installed in the rear of the vehicle, and ramps to allow bomb disposal robots to access the vehicle. Bomb disposal vehicles are generally not explosive-resistant and are only used for transporting explosives for disposal, not actively disposing of them.

Armed vehicle
An armed police vehicle is a police vehicle that has lethal weaponry installed on it. These are often technicals or light utility vehicles with machine gun turrets, and may or may not lack emergency lights and sirens. Armed police vehicles are very rare and are usually only used in wartime, in regions with very high violent crime rates, or where combat with organized crime or insurgencies is common to the point that armed police vehicles are necessary; for example, the Iraqi Police received technicals during the Iraq War, and the National Police of Ukraine used armed vehicles during the 2022 Russian invasion of Ukraine, including the STREIT Group Spartan and a modified BMW 6 Series with a mounted machine gun.

These should not be confused with police vehicles that have turrets but do not have guns, which are often just police armored vehicles or, if less-lethal munitions are used, riot control vehicles.

Riot control vehicle
A riot control vehicle, also known as a riot suppression vehicle or simply a riot vehicle, is an armored or reinforced police vehicle used for riot control. A wide array of vehicles, from armored SUVs and vans to dedicated trucks and armored personnel carriers, are used by law enforcement to suppress or intimidate riots, protests, and public order crimes; hold and reinforce a police barricade to keep the scene contained; or simply transport officers and equipment at the scene in a manner safer than what could be achieved with a standard police car.

Common modifications include tear gas launchers, shields, and caged windows. Some riot control vehicles also include less-lethal weaponry and devices, such as water cannons and long-range acoustic devices.

Community engagement, liaison, and demonstration vehicles
A community engagement vehicle, also known as a liaison vehicle, demonstration vehicle, or parade car, is a police car used for display and community policing purposes, but not for patrol duties. These are often performance cars, modified cars, classic police cars, or vehicles seized from convicted criminals and converted to police cars that are used to represent the agency in parades, promote a specific program (such as the D.A.R.E. program), or help build connections between law enforcement and those that the vehicle appeals to.

Some cars can be visibly marked but not fitted with audio or visual warning devices. These are often used by community liaison officers, administrative staff, or high-ranking officers for transport to meetings, engagements, and community events.

Some vehicles are produced by automotive manufacturers with police markings to showcase them to police departments; these are usually concepts, prototypes, or reveals of their police fleet offerings. Emergency vehicle equipment manufacturers such as Federal Signal, Whelen, and Code 3 also use unofficial police cars to demonstrate their emergency vehicle equipment.

Equipment
Police cars are usually passenger car models which are upgraded to the specifications required by the purchasing police service. Several vehicle manufacturers provide a "police package" option, which is built to police specifications from the factory. Agencies may add to these modifications by adding their own equipment and making their own modifications after purchasing a vehicle.

Mechanical modifications
Modifications a police car might undergo include adjustments for higher durability, speed, high-mileage driving, and long periods of idling at a higher temperature. This is usually accomplished through installing heavy duty suspension, brakes, calibrated speedometer, tires, alternator, transmission, and cooling systems. The car's stock engine may be modified or replaced by a more powerful engine from another vehicle from the manufacturer. The car's electrical system may also be upgraded to accommodate for the additional electronic police equipment.

Warning systems
Police vehicles are often fitted with audible and visual warning systems to alert other motorists of their approach or position on the road. In many countries, use of the audible and visual warnings affords the officer a degree of exemption from road traffic laws (such as the right to exceed speed limits, or to treat red stop lights as a yield sign) and may also suggest a duty on other motorists to yield for the police car and allow it to pass.

Warning systems on a police vehicle can be of two types: passive or active.

Passive visual warnings
Passive visual warnings are the livery markings on the vehicle. Police vehicle markings usually make use of bright colors or strong contrast with the base color of the vehicle. Some police cars have retroreflective markings that reflect light for better visibility at night, though others may only have painted on or non-reflective markings. Examples of markings and designs used in police liveries include black and white, Battenburg markings, Sillitoe tartan, and "jam sandwich" markings.

Police vehicle markings include, at the very least, the word "police" (or a similar applicable phrase if the agency does not use that term, such as "sheriff", "gendarmerie", "state trooper", "public safety" etc.) and the agency's name or jurisdiction (such as "national police" or "Chicago Police"). Also common are the agency's seal, the jurisdiction's seal, and a unit number. Text is usually in the national language or local language, though other languages may be used where appropriate, such as in ethnic enclaves or areas with large numbers of tourists.

Unmarked vehicles generally lack passive visual warnings, while ghost cars have markings that are visible only at certain angles, such as from the rear or sides, making them appear unmarked when viewed from the front.

Another unofficial passive visual warning of police vehicles can simply be the vehicle's silhouette if its use as a police car is common, such as that of the Ford Crown Victoria in North America, or the presence of emergency vehicle equipment on the vehicle, such as a pushbar or a roof-mounted lightbar.

Active visual warnings
Active visual warnings are the emergency lights on the vehicle. These lights are used while responding to attract the attention of other road users and coerce them into yielding for the police car to pass. The colors used by police car lights depend on the jurisdiction, though they are commonly blue and red. Several types of flashing lights are used, such as rotating beacons, halogen lamps, or LED strobes. Some agencies use arrow sticks to direct traffic, or message display boards to provide short messages or instructions to motorists. The headlights and tail lights of some vehicles can be made to flash, or small strobe lights can be fitted in the vehicle lights.

Audible warnings
Audible warnings are the sirens on the vehicle. These sirens alert road users to the presence of an emergency vehicle before they can be seen, to warn of their approach. The first audible warnings were mechanical bells, mounted to either the front or roof of the car. A later development was the rotating air siren, which makes noise when air moves past it. Most modern police vehicles use electronic sirens, which can produce a range of different noises. Different models and manufacturers have distinct siren noises; one siren model, the Rumbler, emits a low frequency sound that can be felt through vibrations, allowing those who would not otherwise hear the siren or see the emergency vehicle to still know it is approaching.

Different siren noises may be used depending on traffic conditions and the context. For example, on a clear road, "wail" (a long up-and-down unbroken tone) is often used, whereas in heavy slow traffic or at intersections, "yelp" (essentially a sped-up wail) may be preferred. Other noises are used in certain countries and jurisdictions, such as "phaser" (a series of brief sped-up beeps) and "hi-lo" (a two-tone up-down sound). Some vehicles may also be fitted with electronic airhorns.

Police-specific equipment
A wide range of equipment is carried in police cars, used to make police work easier or safer. The installation of this equipment in a police car partially transforms it into a desk. Police officers use their car to fill out different forms, print documents, type on a computer or a console, and examine different screens, all while driving. Ergonomics in layout and installation of these items in the police car plays an important role in the comfort and safety of the police officers at work and preventing injuries such as back pain and musculoskeletal disorders.

Communication devices
Police radio systems are generally standard equipment in police cars, used to communicate between the officers assigned to the car and the dispatcher. Mobile data terminals are also common as alternative ways to communicate with the dispatcher or receive important information, and are typically a tablet or a dashboard-mounted laptop installed in the car.

Suspect transport enclosure
Suspect transport enclosures are typically located at the rear of the vehicle, taking up the rear seats or rear compartment. The seats are sometimes modified to be a hard metal or plastic bench. Separating the transport enclosure is often a partition, a barrier between the front and rear compartments typically made of metal with a window made of reinforced glass, clear plastic, or metal mesh or bars. Some police cars do not have partitions; in these instances, another officer may have to sit in the rear to secure the detainee, or a dedicated transport vehicle may be called.

Weapon storage
Weapons may be stored in the trunk or front compartment of the vehicle. In countries where police officers are already armed with handguns, long guns such as rifles or shotguns may be kept on a gun rack in the front or in the trunk, alongside ammunition. In countries where police are not armed or do not keep their guns on them, handguns may be kept in the car instead; for example, Norwegian Police Service officers are issued handguns, but they keep them in a locked compartment in their car that requires high-ranking authorization to access. Less-lethal weaponry and riot gear may also be stored in the trunk.

Rescue equipment
Rescue equipment such as first aid kits, dressing, fire extinguishers, defibrillators, and naloxone kits are often kept in police cars to provide first aid and rescue when necessary.

Scene equipment
Tools such as barricade tape, traffic cones, traffic barricades, and road flares are often kept in police cars to secure scenes for further investigation.

Recording equipment
Recording equipment such as dashcams and interior cameras are installed in some police cars to make audio and video recordings of incidents, police interactions, and evidence.

Detectors
Detector devices such as radar speed guns, automatic number-plate recognition, and LoJack are used in some police cars, typically in traffic enforcement, to detect speeding violations, read multiple plates for flags (such as warrants or lack of insurance) without having to manually check, and track stolen cars, respectively.

Pushbar
Pushbars, also known as bullbars, rambars, or nudge bars, are fitted to the chassis of a police car to augment the front bumper. They allow the car to push disabled vehicles out of a roadway, breach small and light objects, and conduct PIT maneuvers with less damage to the front of the vehicle. Pushbar designs vary; some are small and only protect the grille, while others have extensions that shield as far as the headlights. Some pushbars also have emergency lights installed on them, providing additional visual warnings.

Spotlights
Spotlights are small searchlights typically installed on the A-pillar of a police car. They are used to provide light in darkened areas or where necessary, such as down alleyways or into a suspect's car during a nighttime traffic stop. These spotlights can be aimed and activated by the officers inside the vehicle. Usually, one or two are installed on the car, though more may occasionally be installed on the roof, grille, bumper, or pushbar.

Run lock
Run locks allow the vehicle's engine to be left running without the keys being in the ignition. This allows adequate power to be supplied to the vehicle's equipment at the scene of an incident without battery drain. The vehicle can only be driven after inserting the keys; if the keys are not inserted, the engine will switch off if the handbrake is disengaged or the footbrake is activated.

Ballistic protection
Some police cars can be optionally upgraded with bullet-resistant armor in the car doors. The armor is typically made from ceramic ballistic plates and aramid baffles. A 2016 news report said that Ford sells 5 to 10 percent of their American police vehicles with ballistic protection in the doors. In 2017, New York City Mayor Bill de Blasio announced that all NYPD patrol cars would have bullet-resistant door panels and bullet-resistant window inserts installed.

Use by country

 * Police vehicles in Armenia
 * Police vehicles in Australia
 * Police vehicles in Austria
 * Police vehicles in Belgium
 * Police vehicles in China
 * Police vehicles in the Czech Republic
 * Police vehicles in Denmark
 * Police vehicles in France
 * Police vehicles in Germany
 * Police vehicles in Greece
 * Police vehicles in Hong Kong
 * Police vehicles in Hungary
 * Police vehicles in Iceland
 * Police vehicles in India
 * Police vehicles in Indonesia
 * Police vehicles in Italy
 * Police vehicles in Japan
 * Police vehicles in Malaysia
 * Police vehicles in the Netherlands
 * Police vehicles in New Zealand
 * Police vehicles in The Philippines
 * Police vehicles in Poland
 * Police vehicles in Romania
 * Police vehicles in Russia
 * Police vehicles in South Africa
 * Police vehicles in Sweden
 * Police vehicles in Taiwan
 * Police vehicles in Turkey
 * Police vehicles in Ukraine
 * Police vehicles in the United Kingdom
 * Police vehicles in the United States and Canada
 * Police vehicles in Vietnam
 * Police vehicles in South Korea

General

 * Battenburg markings
 * Emergency vehicle
 * Police transportation
 * Mounted police
 * Use of UAVs in law enforcement

Other types of emergency vehicles

 * Ambulance
 * D.A.R.E. car
 * Fire chief's vehicle
 * Fire motorcycle
 * Fire truck
 * Jam sandwich (police car)
 * Military police vehicle
 * Panda car (British police forces)
 * Police aircraft
 * Police bicycle
 * Police bus
 * Police motorcycle
 * Police van
 * Police watercraft
 * SWAT vehicle

title: Police car


text:
User talk:Luigi22

didn't know you were here to.....
look.... its my best pal SF.... well.... it's Palixia.... just thought I'd give you a Wiki-Hi.....--  IAMTH  EEGG  MAN  Δ dar  k s  ide Happy New Years, only unless your Arab or Buddhist or Chinese!

Holaaa
Hola, dónde puedo encontrar la userbox del partido comunista de China? esta realmente irónica, y eso me gusta ok contáctame cuando puedas...KatKiller 05:54, 13 February 2007 (UTC)

WikiProject Cuba
— Navy  Blue  formerly iDosh 20:56, 2 August 2008 (UTC)

Are you interested in Cuba Wikiproject?
Hi there! I am looking to revive the Cuba WikiProject over at WP:CUB! I am contacting you because you are on the member list, but I want to see who is willing to still work on this. If you are interested, please let me know! I would love to see this project as successful as possible. Feel free to contact me with any questions - please ping me so I don't miss it! Have a great day, Snowycats (talk) 23:08, 11 June 2019 (UTC)

Join the Months of African Cinema Global Contest!
Ýou can opt-out of this annual reminder from The Afrocine Project by removing your username from this list

The Months of African Cinema Contest Continues in November!
You can opt-out of this annual reminder from The Afrocine Project by removing your username from this list

Welcome to the Months of African Cinema Global Contest!
Ýou can opt-out of this annual reminder from The Afrocine Project by removing your username from this list

The Months of African Cinema Contest Continues in November!
You can opt-out of this annual reminder from The Afrocine Project by removing your username from this list

title: User talk:Luigi22


text:
User talk:Jkl sem

Adding chat forum links (a special exception)
I hope nobody minds me adding 7 or 8 references to *more static* topics on www.drugs-forum.co.uk (e.g. stickied experience report threads, detailed harm reduction info, etc). In my opinion this website is a tremendous reference and source of subjective personal experiences -- in fact, I do believe Erowid is both outclassed and obsolete. I am not a moderator or op there and have no desire whatsoever to promote the site, I just feel it's one of the best sources out there for subjective commentary on recreational substances. It's so good that I'm all for bending the guideline on links to chat forums -- static experience reports and such are NOT chit-chat. Expect me to gradually add more references to this website, as the staff there intends on gradually marginalizing the forums in favor of essays and static information. Comments welcome, even if you think I'm an evil spammer now :). jkl_sem 14:19, 8 April 2007 (UTC)

Redirect Notice
Hi, saw your stub writeup at Medical Marijuana. Just to let you know, there is already a long, detailed article at Medical marijuana, so I changed your article into a redirect. Article titles are case-sensitive except for the first letter which is always capitalized, so please check that you are using proper capitalization (using Google if necessary) before creating new articles. This is an easy mistake to make when you're not used to it so don't worry about it too much but it's always a good idea to do a bit of research before creating new entries. NTK 06:43, 19 Dec 2004 (UTC)

Thanks NTK, I'll get the hang of this. Had to make a first stab at it... Oh well :-). jkl_sem 06:44, 19 Dec 2004 (UTC)

Copyright notices
Heya, please note copyright notices go on image pages, not in the main article. --fvw *  08:49, 2004 Dec 20 (UTC)
 * Also, the GFDL is incompatible with restrictions like "for non-commercial use only", so you can either license the image under the GFDL, or you can put on a more restricted license. We try to avoid non-free pictures though, so unless they're unique pictures chances are they'll be removed or replaced.

 * On an unrelated note: Welcome!  --fvw *  08:52, 2004 Dec 20 (UTC)

 * Thanks for the welcome & feedback. To address your points:

 * 1 - Thanks, I'll remove the copyright notice on the Haystack Rock page (strike that... noticed you already did...)
 * Yeah, they weren't kidding around with that "edited mercilessly" warning at the bottom of the page *grins*.

 * 2 - I licensed under the GFDL, and then added my own "requests" beneath. Consider the GFDL to be formal, and my typing underneath to be a request to the viewer. IMO, 'non-commercial use only' is fairly free, altho not strictly keeping with the GFDL. I've seen user statements "all over the map" on people's picture pages, including no indication at all of where the picture came from (i.e. blank).
 * Ah ok, you might want to make it clear that the "for non-profit only" part is only a request, not a part of the license, if nothing else then to avoid people like me pointing out that that clause and the GFDL are contradictory.
 * 3 - All the pictures I added are completely unique (i.e. I took them myself, if that's what you mean by unique?). jkl_sem 18:25, 20 Dec 2004 (UTC)
 * I meant more along the lines of "cannot be created by others", like images of the kennedy assassination and the like. But it's not like people go around deleting non-free images when they're useful to an article without replacing them, so no worries.

 * Oh by the way: You can make pretty numbered lists without having to remember at which number you were by prefixing each item with a hash mark (#), like so:

 * One
 * Two
 * 1) Three
 * The same goes for unnumbered lists, with a star (*)

 * Like
 * This
 * you
 * see?
 * Keep up the good work!  --fvw *  19:23, 2004 Dec 20 (UTC)

 * Ah ok, you might want to make it clear that the "for non-profit only" part is only a request, not a part of the license, if nothing else then to avoid people like me pointing out that that clause and the GFDL are contradictory.

 * OK, I'll change the descriptions later on today. Basically, what I intended is that I'll piss, moan, whine and complain if the images are used commercially, but I can't/won't sue because under the GFDL people can legally do that (which makes the images completely free, except for my potential loud griping, grin...).  Anyways... thnks jkl_sem 19:34, 20 Dec 2004 (UTC)

Benzedrex
I accidentally messed up the whole layout on Propylhexedrine. Do you know how to rever it? If so, can you revert it to the edit you made? Thanks. Although I am no chemist, Ive noticed that the chemical structure is exactly the same as meth except the hexagon is missing the little lines in it (supposedly its cyclohexyl instead of phenyl. All.ya.little.triksters 19:25, 20 June 2007 (UTC)

Nevermind, I already reverted it by learning how to revert things.All.ya.little.triksters 19:33, 20 June 2007 (UTC)

 * Glad to hear that worked out... I have to admit to *not* being in my right mind during that last Propylhexedrine edit (too much alcohol - rare, but it happens). If someone feels it's too different to be called xxx-amphetamine, it's all good by me.  I won't mess with it again any time soon. jkl_sem 22:31, 20 June 2007 (UTC)

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Pharmacology Collaboration of the Week
Aspirin has been selected as this week's Pharmacology Collaboration of the Week! Please help us bring this article up to featured standards during the week. The goal is to nominate this at WP:FAC on September 10, 2007.

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 * Aspirin has just completed its two week run as the first Collaboration of the Week! Many thanks to those editors that contributed; the article got a lot of good work accomplished, and in particular, much work was done in fixing up the history section. It's still not quite "done" yet (is a wikipedia article really ever done?), but after two weeks I think it's more important to push onwards with the development of the new collaboration of the week program. I will be fixing up Aspirin in the next few days and possibly nominating it for either GA or FA status.

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 * There was an interesting article on ZDNet last week about Hewlett Packard licensing its patented microneedle technology used in common inkjet printers to be used in transdermal patches to deliver a time-controlled release of drugs to patients. This information could be added to articles such as route of administration or drug delivery.

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WikiProject Pharmacology Update
Here are a few updates in the realm of WikiProject Pharmacology:

 * The Pharmacology Collaboration of the Week has been changed to Collaboration of the Month, based on current participation levels. It is also more likely that articles collaborated on for one month are more likely to achieve featured quality than articles worked on for only a week or two.

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 * Anabolic steroid is the wikiproject's newest Featured Article, having been promoted on October 8, 2007.

 * Theobromine was delisted as a Good Article. The Peer review and GA reassessment discussions provide suggestions on improvement. Muscle relaxant was recently reviewed for Good Article status, but not promoted. Please see the full review full review here for details.

Dr. Cash 22:12, 31 October 2007 (UTC)

'Bold text'

Bold text
== Nondualism ==

Hi there. I think a mention of solipsism is really great for the nondualism page. Quite an important distinction for that article. But can you find a third-party citation for that point? I'd like to avoid any original research there, it's sort of a magnet article for that. also, could you try rewriting it from a third party perspective? The "I" language adds to a sense that it's original research and not neutral commentary. Ironic for a page on nondualism I know, but key for an encyclopedia article about it. thanks! - Owlmonkey (talk) 18:07, 10 January 2008 (UTC)

File:Empro1.jpg
I was wondering if you would mind terribly changing the tag on File:Empro1.jpg to simply GFDL? It's almost the same thing except that the current tag does not allow for later versions of GFDL, meaning that while Wikipedia moves forward, this image is staying behind. This doesn't cause a problem right now, but if WP changes to Creative Commons (as it may within the next year) this image might become incompatible. Obviously this is up to you, and again it doesn't cause a problem right now, this is just a request. Thanks! ~  JohnnyMrNinja  01:27, 24 February 2009 (UTC)
 * Wow, you've been busy... If you do actually read this, and care, would you mind taking a look through Category:GFDL_1.2_images and changing any that are yours? Thanks some more! ~  JohnnyMrNinja  02:23, 24 February 2009 (UTC)
 * Hey, you're back! I moved most of your images to Commons (see this link). Hope you don't mind. As far as the last image, I'm just not sure about how copyright works with things like that. I'll request some expert opinions. ▫  Johnny Mr Nin ja  12:12, 11 March 2009 (UTC)

Possibly unfree File:Empro1.jpg
An image that you uploaded or altered, File:Empro1.jpg, has been listed at Possibly unfree images because its copyright status is unclear or disputed. If the image's copyright status cannot be verified, it may be deleted. You may find more information on the image description page. You are welcome to add comments to its entry at if you are interested in it not being deleted. Thank you. ~  JohnnyMrNinja  08:52, 27 February 2009 (UTC) --~  JohnnyMrNinja  08:52, 27 February 2009 (UTC)

deletion request notification
Three of your pictures are nominated for deletion on Commons: commons:Commons:Deletion requests/Haystack rock. --Eusebius (talk) 11:51, 22 March 2009 (UTC)

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title: User talk:Jkl sem


text:
Pembina (Manitoba provincial electoral district)

Pembina was a provincial electoral division in the Canadian province of Manitoba.

1878-1879
The original riding of Pembina was created in 1878, in what was then the southwestern corner of the province. It was eliminated in 1879. The riding's sole Member of the Legislative Assembly was John Stevenson, who was elected in opposition to John Norquay's government, but supported Norquay's short-lived anglophone ministry in 1879.

1958-2011
The most recent Pembina constituency was created by redistribution in 1956, and existed from the 1958 provincial election until the 2011 election.

Pembina was located in the southern part of the province. It was bordered to the north by Carman, to the east by Emerson, to the west by Turtle Mountain, and to the south by the American state of North Dakota.

The main communities in the riding were Morden and Winkler.

Pembina's population in 1996 was 20,177. In 1999, the average family income was $44,624, and the unemployment rate was 5.00%. Manufacturing accounts for 17% of the riding's industry, followed by agriculture at 16%. A quarter of the riding's population has less than a Grade Nine education. Twenty-four per cent of the riding's residents listed German as their ethnic origin, followed by Mennonites at 9% and Dutch at 8%.

The riding was only held by the Progressive Conservative Party, and was considered extremely safe for that party. The last MLA, Peter George Dyck, was re-elected with over 75% of the vote in 2003, despite his party losing other seats across the province.

Following the 2008 electoral redistribution, Pembina was dissolved into Emerson and the newly created ridings of Midland and Morden-Winkler for the 2011 election.


text:
User:Rich Lem

There are currently articles on Wikipedia!

Brief Bio
My name is Richard Lemarchand, and I'm a video game designer from Newent in the U.K. I've lived in California since 1995.

I teach in the USC Games program, and my appointment is in the Interactive Media & Games Division of the School of Cinematic Arts at the University of Southern California.

Between 2004 and 2012 I worked for Naughty Dog, creators of the Uncharted and Jak and Daxter game series. Naughty Dog is an extraordinary place of hard work, great results and wonderful people. I've previously worked for MicroProse and Crystal Dynamics. You can see a list of the games I've worked on at Mobygames.

I think Wikipedia represents something tremendously important in human history, and I'm proud to have been using it for long enough that it's now one of my primary sources of factual information on the 'net.

I wrote most of the article about Toshio Iwai - please check it out!

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title: User:Rich Lem


text: User talk:130.235.184.253

title: User talk:130.235.184.253


text:
Vladimir Jovanović (politician)

Vladimir Jovanović (Владимир Јовановић; 28 September 1833 – 3 March 1922) was a Serbian political theorist, economist, politician, philosopher, political and literary writer and activist for the unification of all Serbian lands in the Balkans.

Biography
Jovanović was educated at the Universities of Vienna, Berlin in agricultural and economic sciences, and Belgrade, where he stayed at the home of his father's relatives, the brothers Dimitrije and Matija Matić. Abroad, he attended the lectures of Karl Heinrich Rau's son Ludwig at Hohenhaven Agricultural Academy and Wilhelm Georg Friedrich Roscher in Vienna. In Belgrade, the Matić house was much more than just a place to stay. It was an educational experience for Jovanović in its own right. In Serbia, Matić was а Professor of Economics at Belgrade's Grandes écoles, Minister of Finance, President of the Serbian Scientific Society and a corresponding member of the Serbian Royal Academy.

In 1863 he went to Britain in order to raise sympathies in Britain for the efforts of Serbia to liberate herself from the Ottoman Empire. On that occasion, he published an essay "The Serbian Nation and the Eastern Question". In his travels, through Europe, he met leading political revolutionaries. On the eve of the 1866 war against Austria, Mazzini said to Vladimir Jovanović that Italy should not rely on France in her struggle against the Habsburgs, but on the South Slavs under Vienna's yoke. Revolutions were to have started simultaneously in Venice and in the Balkan provinces of Austria; the Magyar revolution which was to follow have brought about the end of the Habsburgs.

He was a liberal thinker propagating emancipation, individual liberty, and education. Jovanović was influenced by John Stuart Mill and the British parliamentary system. Vladimir Jovanović was one of several major founding members of the Družina mladeži srpske (Association of Serbian Youth, including Svetozar Miletić, Svetozar Marković, Jevrem Grujić, Milovan Janković, Jovan Ilić, etc. The Youth was among the first organizations to raise the Serbian consciousness in all Serbian lands, then occupied by foreigners, European and Ottoman alike.

His major work is the Political Dictionary (1870–1873). His son was Slobodan Jovanović, the leading Serbian interwar historian and jurist.

Political career
Jovanović's life and political career are inseparable from the history of Serb liberalism. His first important public appearance was at the National Assembly in 1858, when it overthrew the autocratic power of Karađorđević. This was the first time that the liberals had acted as an independent political group. They demanded the restriction of the prince's power, the establishment of governmental rule, and the codification of human rights both in the civil and economic spheres. Jovanović was also deeply involved when the liberals first wavered and gave up much of their original program and principles, accepting the autocracy of the Obrenović princes, who were restored to power at the request of the National Assembly. The liberals were convinced that the most effective way of achieving their ultimate goals of liberating the Serb territories from Ottoman and Habsburg oppression and establishing an independent state was to have a prestigious dynasty and a strong, centralized power in the principality.

Vladimir Jovanović drafted a Political Dictionary which was basically an encyclopedic summary of liberal ideas. The Dictionary was first published in Novi Sad, then under Austro-Hungarian rule, and written to popularize liberal ideas. It was considered the most ambitious and thorough liberal undertaking of the time, becoming "the Bible" for a new generation of liberal thinkers who started their career in the mid-1860s. The most typical characteristics of the so-called Omladina generation were that most of them had had a good foreign education (usually in Western Europe and Russia) and were all agreed on the need for the Serbs, who were scattered in four different states, to unite. Jovanović's book provided them with the guidelines they needed to accomplish the task.

Unification, development, and Balkan hegemony: these were the most decisive elements of this philosophy. To justify these national aspirations, Jovanović resorted to Western type of liberalism, but wanted to adopt only those elements which were appropriate to their particular situation. Although his liberalism changed significantly over time, his philosophy had always been centered around the concept of nation. The effect of historical developments on his views may be demonstrated by the titles of his writings from different periods of time: The Base of the Power and Greatness of the Serbs was published in 1870 in Novi Sad, interpreting Serb history from a liberal point of view. The treatise, The Struggle for Life in Society between Nations was published under the aegis of the Serb Scientific Society in Belgrade in 1885, when Jovanović was already a recognized politician and an established political writer.

Works

 * In English: Serbian Nation and The Eastern Question, London: Bell and Daldy, 1863
 * In Serbian:Politički rečnik (Political Dictionary), Novi Sad & Belgrade, vol. I–IV, 1870–1873.
 * Za slobodu i narod (For Freedom and the Nation), Novi Sad 1868.
 * Uspomene (Memoirs), ed. by V. Krestić, BIGZ, Belgrade 1988.

Selected articles:
 * Savez sila, in Zastava (No. 2, 4 January 1867)
 * Naš narodni položaj, in Zastava (No. 90, 28 January 1867)
 * Osnovi snage i veličine srbske, in Mlada Srbadija (No. 1–3, 1870)
 * Les Serbes et la mission de la Serbie dans l'Europe d'orient (Paris: Librairie Internationale, 1870)
 * Društvena i međunarodna borba za opstanak, in Glasnik Srpskog učenog Društva (Vol. 60, 1885)

title: Vladimir Jovanović (politician)