text:
1997 in rail transport

January events

 * 1 January- The Missouri Pacific Railway is merged (officially) into the Union Pacific Railroad 15 years after being purchased by the company in 1982.
 * 5 January – Further British train operating companies begin operation of their passenger service franchises as part of the privatisation of British Rail: Anglia Railways (GB Railways); Great Eastern (FirstGroup); Virgin CrossCountry (Virgin Rail Group) and WAGN (Prism Rail).
 * 6 January – Full freight and passenger service is restored through the Channel Tunnel, just short of two months after a devastating fire.
 * 19 January – British train operating company Merseyrail Electrics (MTL) begins operation of its passenger service franchise in England as part of the privatisation of British Rail.

March events

 * 2 March – Further British train operating companies begin operation of their passenger service franchises in England as part of the privatisation of British Rail: Central Trains and North London Railways (both National Express); North Western Trains (Great Western Holdings); Regional Railways North East (MTL) and Thameslink (Govia).
 * 3 March – Union Pacific Railroad reopens the former Western Pacific Railroad Feather River Canyon line in California after repairs are made from flooding that occurred in January.
 * 8 March – Service on the JR Tōzai Line, from Kyobashi of Osaka to Amagasaki, starts in Japan.
 * 9 March – British train operating company Virgin Trains West Coast (Virgin Rail Group) begins operation the InterCity West Coast franchise as part of the privatisation of British Rail.
 * 22 March
 * Japan's Akita Shinkansen begins operating over the Morioka-Akita section using Tazawako Line and Ōu Main Line tracks.
 * Also in Japan, the Hokuhoku Line begins service on a new line connecting Saigata Station and Muikamachi Station in Akita and Niigata prefectures. With the line's opening, the Hakutaka limited express becomes the fastest conventional limited express service in the country at speeds of 160 km/h using 681 series and 683 series trainsets.
 * 31 March – Train operating company ScotRail (National Express) begins operation of the ScotRail franchise in Scotland as part of the privatisation of British Rail, the last company to be privatised.

April events

 * 25 April – Construction begins on Phase II of Manchester Metrolink in England.
 * 27 April – Tsing Ma Bridge in Hong Kong, China is officially opened. The lower deck of this suspension bridge carries rail lines as part of MTR's Tung Chung line and Airport Express. The bridge has a main span of 1,377 metres (4,518 ft), the largest of any bridge carrying rail traffic.

May events

 * 10 May
 * Amtrak ceases operations of the Chicago-Los Angeles Desert Wind passenger train.
 * Bay Area Rapid Transit opens a branch line to Dublin and Pleasanton, California.
 * 11 May – The New York and Atlantic Railway takes over operations of the Long Island Rail Road's freight services.
 * 23 May – GO Transit in Toronto begins operation as a three-year experiment running single-deck diesel multiple units on a single rail line along Lake Ontario's shoreline.
 * May – Kansas City Southern acquires the Gateway Western Railway and begins operating it as a subsidiary railroad.

June events

 * 28 June – Guangzhou Metro Line 1 begins partial operation.

August events

 * 27 August – Union Pacific Railroad (UP) and the United States Federal Railroad Administration (FRA) form a team composed of UP managers, union employees and FRA representatives to review safety policies and procedures across the UP system.
 * 29 August – Opening of the third phase of the Osaka Rapid Electric Tramway Line No. 7 (高速電気軌道第7号線) (Nagahori Tsurumi-ryokuchi Line) between Taisho and Shinsaibashi and the fourth phase of the same line between Tsurumi-Ryokuchi and Kadoma-Minami.

September events

 * 3 September
 * Union Pacific Railroad and the United States Federal Railroad Administration introduce the Safety Assurance Compliance Process.
 * Dufferin Manor, one of the Manor series sleeping cars owned by VIA Rail, is wrecked in a derailment near Biggar, Saskatchewan.
 * 19 September – In the Southall rail crash, the 10:32 Great Western Trains Intercity passenger train from Swansea to London Paddington, operating with a defective Automatic Warning System indicator passes a red signal (SPAD) and collides with a freight train leaving its depot, shortly before 13:20 local time.
 * 20 September – RaiLink Southern Ontario begins operations on the former Canadian National Railway Hagersville subdivision between Nanticoke and Brantford.

October events

 * 1 October – Nagano Shinkansen, between Takasaki and Nagano route open, with Tokyo-Nagano direct bullet train to start.
 * October – Helper locomotives end their operations with Asama train over Usui Pass with 66,7‰ (the Devi's Climb) uphill gradient, Japan. This service is replaced by dedicated high-speed line.
 * 13 October – First section of the restored Welsh Highland Railway (60 cm (2 ft) gauge) officially opened over 5 km (3 mi) of abandoned standard gauge trackbed between Caernarfon and Dinas, Gwynedd, North Wales.
 * 23 October – A coal train in Beresfield, New South Wales, Australia passes a red signal (SPAD) and collides with the rear of a second coal train on the same track in the Beresfield rail disaster; due to the accident, a random factor has been added to the vigilance control signals' intervals.

November events

 * 1 November – Australian National is privatised with TasRail operations and infrastructure sold to Australian Transport Network, South Australian branch lines sold to Australian Southern Railroad (a subsidiary of Genesee & Wyoming), and passenger services to Great Southern Rail.
 * 11 November – The extension of Minsk Metro's Avtozavodskaya Line connecting Traktornyi Zavod to Avtozavodskaya opens.
 * 22 November – British freight company Railfreight Distribution is acquired by English Welsh & Scottish as part of the privatisation of British Rail.

December events

 * December – Illinois RailNet is formed.
 * 10 December – Inauguration of the 2nd and last part of the Belgian High Speed Line 1 (HSL 1 – Antoing<>Lembeek) by King Albert II.
 * 14 December – Belgian High Speed Line 1 (HSL 1) put into service, reducing the travel time Brussels<>Paris to 1h25 and Brussels<>London to 2h36.
 * 19 December – The Toei Oedo Line is opened from Nerima to Shinjuku in Tokyo, Japan.

North America

 * 1997 E. H. Harriman Awards

 * Awards presented by Railway Age magazine
 * 1997 Railroader of the Year: Paul M. Tellier (CN)
 * 1997 Regional Railroad of the Year: Red River Valley and Western Railroad
 * 1997 Short Line Railroad of the Year: Livonia, Avon and Lakeville Railroad

title: 1997 in rail transport


text:
Talk:Object Linking and Embedding

object linking
Questions about the concepts, about how embedding works, from someone who hopes for an answer in not terribly technical language - 1. Say I embed a video from the Google Video site on my school's Dance History page and then view it from my home computer - whose bandwidth is in use? 2. If I view a video on the Google site, whose bandwidth is used? Both mine and Google's, or just Google's or just mine? 3. Does linking to a video and embedding a video mean the same thing in terms of bandwidth? Thanks -
 * If the video is stored on the Google Video site, than obviously the bandwidth of the Google Video site is used when it is viewed. Of course a small amount of bandwidth is used to transmit the HTML page that contains the embedded Google Video, or the link to the Google Video website, but this is not normally significant. However, see Slashdot effect. Shinobu 10:19, 2 July 2007 (UTC)

i'd like to know the difference between java and OLE

 * What's the difference between a can opener and a sperm whale? You are talking about fundamentally different things, listing the difference would be meaningless. Read the Wikipedia articles for Java programming language and Object linking and embedding and you will be enlightened. Nixdorf 13:49, 2004 Dec 21 (UTC)

Virtual table

 * The VTBL concepts pioneered in OLE 1.0 later evolved to become an architecture for software components known as the component object model (COM), and later DCOM.

The virtual table concept is an inevitable part of object-oriented languages, so ... because C++ is older than OLE I doubt that virtual tables pioneered at OLE. A usage of virtual tables for interfacing components could be first in OLE, or perhaps just Microsoft's first use may be in OLE. But I do not know for sure. Unless someone with better knowledge refomulates the sentence, I will remove it after week. --Alvin-cs ✉ 21:51, 13 November 2005 (UTC)
 * @The virtual table concept is an inevitable part of object-oriented languages: not necessarily, it is perfectly possibly to conceive of an OO language that uses some other mechanism to figure out where the executable code associated with an object is stored. That said, you are right that C++ has had vtables since 1985 and that therefore the use of vtables in COM can be hardly considered pioneering. Shinobu 10:12, 2 July 2007 (UTC)

 * vtables are not a mandatory part of an OO language. They are an efficient form of dispatching in OO languages in which the number of methods/messages an object may support are fixed at compile time. Languages that are extensible have to support different dispatch mechanisms. It just so happens, however, that because vtables are in C++ -and can be hacked into raw C- that COM depends on them. COM was designed to support C as well as C++, with lots of macros to make it possible. What COM does have is a model for delegation to other components, with the QueryInterface design letting you ask for different interfaces, all of which can share the same Controlling Unknown, so that when you ask one delegate for another interface, it knows how to refer stuff back up. —Preceding unsigned comment added by SteveLoughran (talk • contribs) 14:39, 3 October 2007 (UTC)

Microsoft renamed the OLE 2.0 technology to ActiveX
Thats wrong guys :). ActiveX is a small and lightweight subset of OLE 2 for GUI controls implementation in web browsers. MSDN still uses both terms, f.e. "An ActiveX control is implemented as an in-process server (typically a small object) that can be used in any OLE container." http://msdn.microsoft.com/library/default.asp?url=/library/en-us/vccore98/html/_core_activex_controls.asp

or "A Microsoft ActiveX control is essentially a simple OLE object that supports the IUnknown interface." http://msdn.microsoft.com/workshop/components/activex/activex_node_entry.asp

 * You're right ActiveX referred to controls--but not specifically for implementation in web browsers. ActiveX controls were just OLE based custom controls for use in development in Visual Basic, Visual C++, etc. The implementation in web pages came later, though its where the term became known

Windows System Registry / Registration Database
OLE2 / COM / DCOM and device driver software make heavy use of the binary dot DAT files known as the MS Windows system registration database. The database or registry consists of about 5 trees (Windows internal data structures). Microsoft terms these trees as Hives. The root names of these Hives are as follows: HKEY_CLASSES_ROOT, HKEY_CURRNT_USER, HKEY_LOCAL_MACHINE, HKEY_USERS, and HKEY_CURRENT_CONFIG. The H stands for Hive. These hive root keys have aliases HKCR, HKCU, HKLM, HKU ?, and HKCC. It is possible to load or connect remotely to other hives. Microsoft Windows Win32 has an application programming interface (API) named the Registry-API. The registry can store number values, true/false values, strings, and binary data. For more recent versions of Windows, certain parts of the registry are "protected" from Registry editor tool access and normal Registry-API calls by plain user programs. This is a form of security, and copy protection.

For OLE2 / COM / DCOM all of the objects, file classes, and so on, have handlers, and interfaces, and various other entries in this registry / database. Each of these items is identified using a Globally Unique Identifier or GUID. Using Microsoft development tools such as Visual Studio and Visual C++, software targeted to use with OLE2 / COM / DCOM that uses drag-and-drop, in-place activation (OLE2 object hosting), etc, has its interfaces, objects, and so on automatically have GUIDs generated for them and registered in the software developer's Windows registry. There is a command line tool "GUIDGEN" (or similar) that can generate GUID hexadecimal strings on demand for the user for use in such software development.

When OLE2 / COM / DCOM software is distributed to other users, either the installation software or the running program itself can register all of this information in the Windows registry of the user's system. These modifications can have the new software take over handling of all sorts of file and mime types not necessarily authorized or intended by the user. If no backup of the registry is made, the settings have to be reset either by uninstalling the new software, re-installing the previous software, importing some sub-key registry file settings from a known "properly working" computer (running the same Windows version and application software), or by manually tinkering with the registry settings using the Registry Editor and consulting reliable information on the internet about the settings that require changing.

Manually changing the registry can be disastrous when entries for device driver software, or file system access methods get corrupted. Usually Windows will save the last working copy of registry files during shutdown, and write the newest working configuration to the latest version files. In addition Windows Backup can save a copy of the registry files to a standard backup folder on the system. A "Windows Recovery" diskette (made by Windows Backup) can help boot the system by making use of this Windows Backup folder of registry files. Registry setting changes (new software settings and installations) that were made after the backup was performed are then lost and must be redone / reinstalled. This situation can result in system files / drivers not matching the information from an old copy of the registry. A reinstallation of sets of CD service packs may be required to insure your system has the majority of its driver files in correct correspondence. Web "Windows Update" changes may subsequently also have to be reapplied. This is why it is useful to backup the registry on a timely basis. Oldspammer 11:52, 23 September 2006 (UTC)
 * @The H stands for Hive: Wrong. The H stands for handle. The HKEY_* constants can be passed to any function that accepts a HKEY: a handle to a registry key. I stopped reading your post after that; did it have a point that you can concisely state, say in one or two sentences? Shinobu 10:08, 2 July 2007 (UTC)
 * https://www.google.com/search?newwindow=1&q=registry+hives+microsoft What does it say? What web site is it that talks about this stuff? Are we learning yet? Oldspammer (talk) 00:37, 21 January 2020 (UTC)

OCX
The OCX redirect violates the rule requiring editors to mention the redirect in the document, "preferably in the first couple of paragraphs". I followed OCX here and there is no explanation of why I arrived at the OLE article. -76.4.49.201 19:47, 15 January 2007 (UTC)
 * The lead of the article is very poor in general. For starters, it describes COM, not OLE, and as you mention, it doesn't say why some OCX related things redirect here. Shinobu 10:02, 2 July 2007 (UTC)

Note to self and others
I've read somewhere that at the very least an OLE object or control will have to implement IOleObject, IOleInPlaceObject and IViewObject. Don't know if it's true, but it is a reminder that we're a little hazy on the techinical details. The article needs more work in that department. Shinobu 01:49, 9 July 2007 (UTC)

Have added section "Techincal details". If it's a bit daunting, then all I can say is: "Indeed." Shinobu 17:21, 9 July 2007 (UTC)

 * depends what you mean by OLE object. There's the things you have to impl to embed inside word, the things to be an OCX and the stuff for an ActiveX control; that being the least of all. As the rules change, so do the requirements. —Preceding unsigned comment added by SteveLoughran (talk • contribs) 14:40, 3 October 2007 (UTC)
 * IOleObject is optional, only required when need to communicate to the control's consumer in ways other than events. . Skyfiler (talk) 18:01, 7 February 2016 (UTC)

Fair use rationale for Image:Custom controls.png
Image:Custom controls.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 21:38, 29 October 2007 (UTC)

Semantic differences in L vs E
The second part of the Overview section is misleading for a couple of reasons:

 * The concept of “embedding” is also central to much use of multimedia in Web pages, which tend to embed video, animation (including Flash animations), and audio files within the hypertext markup language (such as HTML or XHTML) or other structural markup language used (such as XML or SGML) — possibly, but not necessarily, using a different embedding mechanism than OLE.

Web pages almost always use a different mechanism for including images and media. Stating "possibly, but not necessarily" is not logically wrong, but it isn’t exactly right. Also, this confuses the two concepts. The term Embed, when used in conjunction with webpages and media, is almost exactly what is meant by the term Link in OLE.

Microsoft states the differences clearly:
 * “When a link to an object is inserted in a compound document, the source data, or link source, continues to reside wherever it was initially created, usually in another document. The compound document contains only a reference, or link, to the actual data stored at the link source, along with information about how to present that data to the user.

 * “An embedded object is physically stored in the compound document, along with all the information needed to manage the object. In other words, the embedded object is actually a part of the compound document in which it resides.”

The Overview section should be reworded or expanded to clarify any confusion. --dvdrtrgn (talk) 23:46, 9 December 2009 (UTC)

Platform support
I'm pretty sure OLE 1.0 was available as an extension for Mac OS, but Mac support was dropped for 2.0 onwards. Is that true? If so, is it worth adding to the article? — 83.244.247.185 (talk) 12:40, 10 March 2010 (UTC)

Criticism
The criticism section is unclear. It says "reality was not so optimistic" about OpenDoc and links to the OpenDoc page which is rather long and detailed, but how this constitutes criticism of OLE remains vague. (Perhaps the whole section needs a rewrite.) 190.32.81.199 (talk) 02:50, 2 June 2011 (UTC)

Level of support
The truth is, practically all Windows applications that are able to deal with graphics, including essentially all office programs (even WordPad!), support embedding OLE objects, and most of them also support being embedded as OLE objects.

However, the above sentence is completely non-encyclopedic! But I'm sure most people would agree anecdotally that this is true, and I really think the article ought to mention something like this. At the moment, reading it could give the impression that it is a piece of highly technical and niche software, and this just isn't true.

If someone could find a good source or two and some better wording, I think this would be a very useful contribution to the article. If OLE support is still necessary to be Windows Logo certified, then mentioning this would along with a count of applications that are certified might be a good way to do it. Quietbritishjim (talk) 16:10, 15 August 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Object Linking and Embedding. 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/20110724111954/http://www.keyongtech.com/2560234-ole-object-bitmap-representation to http://www.keyongtech.com/2560234-ole-object-bitmap-representation

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 07:15, 29 August 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Object Linking and Embedding. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100204134005/http://www.linux.com/archive/feed/46599 to http://www.linux.com/archive/feed/46599
 * Added tag to http://www.linux.com/archive/feed/58330

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 15:14, 6 December 2017 (UTC)

Viruses - China etc.
Let us add the "RTF malware" via monikers

https://www.volexity.com/blog/2018/06/07/patchwork-apt-group-targets-us-think-tanks/

https://www.zscaler.com/blogs/research/cve-2017-8570-and-cve-2018-0802-exploits-being-used-spread-lokibot Zezen (talk) 19:51, 26 December 2018 (UTC)

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

title: Talk:Object Linking and Embedding


text:
Wireless Multimedia Extensions

Wireless Multimedia Extensions (WME), also known as Wi-Fi Multimedia (WMM), is a Wi-Fi Alliance interoperability certification, based on the IEEE 802.11e standard. It provides basic Quality of service (QoS) features to IEEE 802.11 networks. WMM prioritizes traffic according to four Access Categories (AC): voice (AC_VO), video (AC_VI), best effort (AC_BE), and background (AC_BK). However, it does not provide guaranteed throughput. It is suitable for well-defined applications that require QoS, such as Voice over IP (VoIP) on Wi-Fi phones (VoWLAN).

WMM replaces the Wi-Fi DCF distributed coordination function for CSMA/CA wireless frame transmission with Enhanced Distributed Coordination Function (EDCF). EDCF, according to version 1.1 of the WMM specifications by the Wi-Fi Alliance, defines Access Categories labels AC_VO, AC_VI, AC_BE, and AC_BK for the Enhanced Distributed Channel Access (EDCA) parameters that are used by a WMM-enabled station to control how long it sets its Transmission Opportunity (TXOP), according to the information transmitted by the access point to the station. It is implemented for wireless QoS between RF media.

Power Save Certification
The Wi-Fi Alliance has added Power Save Certification to the WMM specification. Power Save uses mechanisms from 802.11e and legacy 802.11 to save power (for battery powered equipment) and fine-tune power consumption. The certification provides an indication that the certified product is targeted for power critical applications like smart phones and portable power devices (i.e. those that require battery or recharging such as smart phones.)

The underlying concept of WMM PowerSave is that the station (STA) triggers the release of buffered data from the access point (AP) by sending an uplink data frame. Upon receipt of such a data (trigger) frame the AP releases previously buffered data stored in each of its queues. Queues may be configured to be trigger-enabled, (i.e. a receipt of a data frame corresponding to the queue acts as trigger), and delivery enabled, (i.e. data stored at those queues will be released upon receipt of a frame). Queues refer to the four ACs defined for WMM.

title: Wireless Multimedia Extensions


text:
Kia Opirus

The Kia Opirus is an executive car/full-size sedan, manufactured by Kia Motors and marketed over a single generation for model years 2003–2012 globally and 2004-2009 in North America. Having debuted internationally at the 2003 Geneva Motor Show, the four-door, five-passenger, front-engine, front-drive sedan was launched to the North American market at the New York International Auto Show and in San Diego, bearing the Amanti nameplate — and prioritizing luxury content and comfort over dynamic performance and agility.

Intended to give Kia upward access to global premium markets, the Opirus represented a departure for the brand in both styling and market positioning. Developed over 22 months at a cost US$167 million (€143 million), 18% of the overall development cost went to R&D investment and 41% to development of production technologies.

As Kia's first premium vehicle, the Opirus replaced the Mazda 929-derived Enterprise in the South Korean domestic market. The Opirus was also the first Kia vehicle sharing a platform with sister company Hyundai, using a variation of the third generation Hyundai Grandeur/XG Y4 platform. For the Opirus, the platform was lengthened 1.9 inches, overall length increased 4.1 inches and height increased 2.6 inches. As Kia's largest sedan, the Opirus was marketed in a single trim level, sharing components with the Grandeur/XG, and a range of engines including its 3.5 L V6 engine (North America). All models were manufactured in Kia's Hwaseong Plant near Incheon.

A 2007 facelift, introduced at the 2006 Paris Auto Show, included upgraded specifications, a curb weight reduction of 250 pounds, revised suspension and a 3.8 L V6 engine (North America) with a 32-percent increase in power over its predecessor. Styling revisions included a shorter and wider grill, revised hood, headlamps, front and rear bumper fascias, alloy wheels, trunk deck lid, tail lamps, dual exhaust outlets and rear quarter panels. The interior featured a revised instrument panel design.

The name Opirus referred to the ancient city of Ophir, noted for its wealth — and was selected via an online survey from the choices of Opirus, Regent and Conzern. In 2004, the New York Times described the name Amanti as an untranslatable latinate construction, intended to connote luxury.

Design and equipment
The Opirus' styling — described variously as conservative, neo-classic, restrained, unoriginal and derivative — drew cues from disparate sources, notably the Mercedes-Benz E-class, Lincoln Town Car, Jaguar S-Type, Lexus GS, Chrysler 300C, and Lancia Thesis.

In the Korean Domestic Market, interior features included available heated and reclining rear seats, high-intensity-discharge headlights, navigation system, electro-luminescent gauges, ignition immobilizer, reverse parking sensors and electronically adjustable suspension settings.

In North America, the sedan was marketed to value-sensitive 40-to-60-year-old professionals with standard equipment at introduction including manually tilting leather-wrapped, four-spoke steering wheel with faux woodgrain inserts and remote audio and cruise controls; faux wood grain dash, console and door accents (lighter prior to the 2007 facelift, darker thereafter); power locks and windows; CD player with six speakers; electronic driver- and passenger-adjustable climate control; front, curtain and side airbags; dual zone automatic climate control; keyless entry; herring bone cloth interior; glove-box only key; elongated LED turn-signals; rain-sensing windshield wipers; analog clock; foot-operated parking brake (releasable by a dash-mounted pull-handle); power moonroof; 16" alloy wheels; full-size spare on an alloy wheel; and an eight-way powered driver's bucket seat and four-way passenger bucket seat with door-mounted adjustment controls using a "mock-seat" ergonomic design. The interior received heavy acoustic insulation, and later models included heated rear seats, and electro-luminescent instrument lighting. European models include two ISOFIX anchorage points.

Options included leather interior, 270-watt Infinity stereo with subwoofer and six-disc changer, dashboard LCD screen, trip computer with 4" LCD screen, heated seats, Adjustable pedals, auto-dimming rearview mirror, and pearl coat paint. Safety equipment included eight airbags, and obstruction-sensing, anti-pinch power windows.

The Opirus offered a passenger volume of 105.6 cubic feet and a 15.5 cubic foot cargo volume — the trunk equipped with a gas strut-assisted lid and luggage restraining net.

In North America, J.D. Power and Associates recognized the Amanti as the "Most Appealing Premium Midsize Car" in its 2005 Automotive Performance, Execution and Layout Study.

Drivetrain
The Opirus was marketed globally with the 3.5L Sigma and the 3.8L Lambda engines. The North American Amanti featured the 3.5 liter engine producing 200 bhp at 5500 rpm and 220 lb.-ft. of torque at 3500 rpm. Shifting was by a 5-speed automatic transmission, shifting either in fully automatic or manual sequential modes — the latter controlled via an H-shaped shift gate. Steering was an electronically power assisted rack and pinion system with an overall ratio of 15.24:1 and a turning radius of 5.7 meters.

Suspension featured coil springs, anti-roll bars (26 mm front, 16 mm rear), gas-pressurized shocks, a front independent, double A-arm (wishbone) design with unequal-length control arms and rear multi-link rear geometry. Suspension included an ECS (electronically controlled suspension) system with automatic and sport mode, selectable via a switch adjacent to the transmission shift gate and the sport mode providing stiffer shock absorber settings.

Brakes included 11.9/11.2-inch front/rear discs with four channel, four sensors ABS (anti-lock brakes), BAS (emergency brake assist), EBD (electronic brake force distribution), TCS (traction control system), and ESP (electronic stability program).

The Opirus is the first Kia to integrate an Electronic Stability Program (ESP), developed with Continental Teves of Germany.

title: Kia Opirus


text:
Talk:Playwright

Addition
I added a sentence at the end of the first paragraph under contemporary playwrights about theater critics and reviews. I think it is important to know how critical reviews affect the decision of the public to go see a play. —Preceding unsigned comment added by 194.80.240.66 (talk) 17:28, 3 November 2008 (UTC)

Cleaned up
I cleaned up the language in the section regarding playwrights vs. directors, but I'm not sure I agree with what is actually said there. I rather think that the director is very important in modern theatre, and that it tends to be the directors vision that gives a play its, well, theatricality. Does any agree? whatever

http://www.sky.com/skynews/article/0,,30100-13268868,00.html

Classic example of misuse, typical of Sky News

Remark
Hey folks

I have a remark. in this article "drama" is opposed to "comedy or farce". I have the opinion this is not quite right. You have two big categories in drama: "tragedy" (eg Antigone, Oedipus, etc) and "comedy". This distinction was already made by Aristotle. Greetings. Gero.

Gero is right. But who the fuck is Aristotle? Don't laugh bitch, I'm serious. Puneet Agarwal.chase

Removed item
I removed the following as there is no separation between "drama" and "comedy". Drama is the literary form of theatre and therefore encompasses comedy.

"The term dramatist is sometimes synonymous with playwright, yet is reserved for an author of dramas as opposed to comedies or farces." *Exeunt* Ganymead | Dialogue? 15:40, 2 December 2005 (UTC)

Moving
Perhaps this article would be better as Playwriting? There is a good deal of information that could be included under that topic rather than simply under the term for a playwriting practitioner. *Exeunt* Ganymead | Dialogue? 15:51, 2 December 2005 (UTC)

After thinking about it, I withdraw the pervious statement. Really playwriting and playwright belong under Play. Anyone care to differ? *Exeunt* Ganymead | Dialogue? 15:23, 22 December 2005 (UTC)

Discussion from User talk:Bishonen
I started this discssion since there was no response from my earlier comment. *Exeunt* Ganymead | Dialogue? 17:06, 4 January 2006 (UTC)

Ok, since this place is such a hopping joint perhaps you, Bish, or someone else may have something to say on this. I've been considering merging playwright into play. To me it makes sense to make this move as there isn't anything in playwright (besides the etymology of the term playwright) that wouldn't be repeated in play or perhaps under another topic like History of theatre. I left a note about this on the talk page of playwright but I haven't recieved a response. Anyone have a sage opinion on this? Thanks! *Exeunt* Ganymead | Dialogue? 15:21, 4 January 2006 (UTC)
 * I would favor leaving them separate, because there is content that should be on playwright that isn't. When someone does have the long view necessary to add that information, the two would need to be split again.  What I'm thinking of is, in fact, what I cannot do, quite.  I can see what needs to be said, but, if I said it, it would be fuzzy.  Some things that need to be said: playwright as priest (Greece, where tragedy and satyr are both part of religious ceremonies and where the subject matter was the equivalent of what for us would be a Bible movie, as these were their holy texts; then to the fearful medieval passion play, where the playwright is anonymous as an act of devotion and humility; playwright as irresponsible intruder upon holy work in the reactions to the emergence of the professional playwright in England in the Elizabethan era); playwright as profession (emergence from actors needing scripts in the Elizabethan era, when playwrights were expected to be directors; development of the "dramatic poet" and Dryden's idea of a playwright who is an epic poet; producer playwright in the 18th c. (see Augustan drama and spectacle), where the producer writes or hires whatever trash will put butts in the seats; playwright as professional reformer at the end of the 19th c. and the muckraking/naturalist/realist playwrights who see themselves as priests again, but this time as saviours of their nations and prophets denouncing hypocrisy; playwright as commercial profession in the 20th c., where the playwright is provocative as needed to get a payday); playwright as a specialized profession (divorced from the "poet" and the novelist and the screenwriter); playwriting as co-opted by film.  Again: I can offer this outline and suggest that each Roman numeral in it needs subheads, but I can't do it and be responsible.  Geogre 16:26, 4 January 2006 (UTC)
 * Oh, damn, and Roman playwrights, who follow Menander and other late Hellenistic writers, who might represent the first non-priestly/non-religious play writing, as they allow themselves to endlessly reproduce the Greek tragedies and to move a bit away from religious celebration in their own plays. Geogre 16:28, 4 January 2006 (UTC)
 * Dam the damn: By "late Hellenistic writers" I don't just mean Menander, but all those playwrights who took their cue from Theophrastus and developed "character" comedies. Some of those comedies are kind of dramatic (but they still couldn't be too dramatic, because Tragedy was still holy-only), but it sets the place for the Roman authors to write without the Olympiad and festival of Dionysus.  Geogre 16:37, 4 January 2006 (UTC)
 * I am in awe of your knowledge! Wow! I'll copy this discussion to playwright for further reference. *Exeunt* Ganymead | Dialogue? 17:06, 4 January 2006 (UTC)

Nothing since January?
Unbelievable. There's so much to be done, especially in the area of merging. Would you believe the following? Well-Made Play and Well-made play! The subject of theatre is so wide ranging; writing, acting, directing, producing, and the related lighting, costumes, sets, props, and the same in each of the performing industries; theatre, film, and TV (and radio belongs somewhere) that I truly believe that there should be just a few groupings, and then an entire list of "also see" and "external links" sections common to, and duplicated in, all of the groupings. Sure, each page can have some introductory and organizational material, but the detail and original thoughts are already in the "see also"s and "external links". Let's not look for much original thinking in the descriptive introductions, they all seem to be wearing the "needs references etc." stubs and will continue to do so. I also question the quality of many creative contributions which mostly need to be edited. On the other hand, the dryness of the traditional approach of an encyclopaedia does not lend itself well to these subjects. Science, mathematics, yes, but not the arts, which do better in the informal article form. Just my opinion, but others jump in, please. JohnClarknew 03:37, 17 November 2006 (UTC)

Playwrighting or Playwriting?
I know the former should be progressive, but the latter is 18 times more popular on google. I don't know if this is because people are that stupid and spell it wrong, or the verb is no longer based on the correct "playwright" - as that applies to a person, not an activity. Thoughts on correct verb? JesseRafe 01:47, 1 June 2007 (UTC)
 * "Wright" is a noun, not a verb. Your cannot "wright" something. Playwriting is correct. Liontamarin 16:31, 10 August 2007 (UTC)
 * But a playwright is a person who has wrought (verb) words into a dramatic form, just as a wheelwright has wrought wheels out of wood and iron.--80.169.172.95 11:56, 21 August 2007 (UTC)
 * Quite right. Playwright is still the current and correct form for both the person and the activity. Google isn't a reliable guide in these things, as has often been demonstrated in many of the talk pages on here, thanks mainly to English-speakers' boundless capacity for selective illiteracy. The use of 'playwrite' was part of an ideological campaign quite a few years ago - I don't have the details to hand but if people really feel that strongly about it we could examine the history. There are other perfectly good reasons for preferring to remain with playwright (laid out by playwrights far better at this than me, I just paraphrase them); mainly, the recognition that drama is not a literary art form, but one created in living, breathing, kicking and screaming time and space. Drama is something that is wrought in many dimensions in the playwright's imagination, not something that is captured by the linguistic flow of words on a page. When a playwright writes, the words only point to a process being wrought elsewhere - the playwright always anticipates realization on a stage; the written word isn't a terminus. The analogy is with the composer writing notes on a page rather than with what a novelist does. Our culture has long since reversed the Romantics' over-valuation of the written dramatic word (with the lowbrow stage never being able to living up to the lofty heights of the word); now we recognize, thanks to all the great modernist theatre practitioners, that it is the word that is a paltry thing in comparison with the semiotic density of the stage. Knowing this in your marrow is what distinguishes the playwright from the mere writer. DionysosProteus 13:27, 21 August 2007 (UTC)

Homophone coincidental?
The article reads "The homophone with write is in this case entirely coincidental." Is this true? The words 'write' and 'wrought' are similar in meaning. I'm not a linguist, but I wouldn't be surprised if the two words shared an origin, in which case the homophone would not be 'entirely coincidental.' Can anyone speak to this? 74.70.104.105 (talk) 17:31, 18 May 2010 (UTC)

Playwright vs Playwrite
Numerous other sources and dictionaries indicate that "playwrite" is in fact simply a common incorrect spelling of the word "playwright". I would therefore advise removing the second paragraph of the page introduction. — Preceding unsigned comment added by 24.130.145.71 (talk) 05:04, 10 October 2011 (UTC)

Incorrect sentence
Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and so were regarded as the province of poets. Why this description? What is called 'the province of poets' is art as a whole, and there poets (those who make art for its own sake) are traditionally contrasted with craftsmen (those who try to make art for other sakes). Since art cannot be suited for any other sakes than itself and the truth of existence, the first are regarded as more noble, truthful and self-consistent. This distinction is natural, it does not belong to any particular time. - 89.110.4.172 (talk) 23:52, 6 December 2013 (UTC)

Global perspective
The two last sections of this article are not at all bad, but they need a more global perspective, or maybe the headlines should be changed to reflect that they're only addressing conditions in the US. Garrrick (talk) 21:54, 2 March 2014 (UTC)

"Play formats" section
I found the beginning of the "Play formats" section confusing, especially as to Episodic vs Classical being referred to as former and latter. I attempted a rewrite of it. Comments would be appreciated.

Full-length play: Generally, two or three acts with an act break (intermission or interval) that marks some kind of structure [Unclear. Do you mean scene change?] or time shift. Usually [acts] are divided into scenes defined by shifts in time and place. This type of structure is called episodic. Episodic plays often contain scene changes and require careful attention to transitions, [so as to] maintain flow and continuity. Classical structure entails a more causal relationship between units [What do you mean by unit?] and is often defined by the unity of time, place, and/or action. [Needs to be clearer]]

Point of Attack refers to the point in the underlying story where the play begins.[Do you mean: What has happened before the curtain goes up?] Episodic plays involve an Early Point of Attack where the story is revealed through the action of the play.[Too vague] Classical structure is often marked by a Late Point of Attack. Late point of attack plays are generally reactions to an event that has already occurred, or to an outcome that is imminent. [The difference isn't clear to me]

Short play: A more popular format recently, the short play [does not have] an intermission and generally runs for over an hour, but less than an hour-and-a-half.

CBHA (talk) 00:03, 11 August 2014 (UTC)

 * I have made some suggestions, within brackets, and minor changes. Hope I haven't been too ruthless? Do you plan to add citations? Rwood128 (talk) 12:16, 11 August 2014 (UTC)

 * Thank you. I appreciate the comments and will study them when I have more time.  My intent was to try to clarify the wording.  I have no plan to add citations, (and no great sources to turn to for them.)  CBHA (talk) 01:58, 12 August 2014 (UTC)

I've made some revisions but don't fully understand the term 'point of attack'. Hope you can find time to improve the wording. Rwood128 (talk) 12:53, 12 August 2014 (UTC)

 * I've just looked at a couple online definitions of 'point of attack' and they are no better than the one here! I'm going to delete the section on point of attack, on the grounds that it is incoherent and erroneous.Rwood128 (talk) 13:15, 12 August 2014 (UTC)

 * Thanks, I think that is a good decision -- the issues around "point of attack" make it a distraction here, especially so since the article is "Playwright". Much of my suggested edit was to try to sort out the point of attack discussion.  CBHA (talk) 16:11, 12 August 2014 (UTC)

Thanks for the support. I was a little nervous about doing this. Rwood128 (talk) 16:18, 12 August 2014 (UTC)

A well made play: A glass of water?
How does this reveal secret information? Which plays use this device? Rwood128 (talk) 13:55, 11 August 2014 (UTC)

 * Just one play (so far as I know).
 * http://www.abebooks.com/Camille-Plays-Peculiar-Position-Glass-Water/892622688/bd
 * CBHA (talk) 05:43, 13 August 2014 (UTC)

How is the glass of water used as a plot device? Unless it is a common plot device I don't think my deletion should be reverted, but edit as appropriate. Rwood128 (talk) 13:47, 13 August 2014 (UTC)

 * I don't think your edit should be reverted. I was just providing an answer to your second question above.  CBHA (talk) 21:49, 13 August 2014 (UTC)

I'll restore it but I wondered how the glass of water was used in the play, as your source doesn't explain? Really a better source is needed. I checked Eugene Scribe but that was no help.Rwood128 (talk) 22:22, 13 August 2014 (UTC)

I'm trying to find the script to read. CBHA (talk) 17:30, 14 August 2014 (UTC)

 * I found something online yesterday that indicated that this was a significant plot device and amended things, citing the play. A handkerchief is used somewhere in a similar way. Rwood128 (talk) 20:11, 14 August 2014 (UTC)

Sentence in the Aristotle's Poetics section
"The Poetics, while very brief and highly condensed, is still studied today.

I just made a minor and, I think, uncontroversial change to this sentence. While reflecting on the sentence I wondered:

Is it accurate to say the Poetics is highly condensed? "Condensed" means made denser and suggests that Aristotle wrote a longer work and then tightened it into this one. Was this the case? I think saying it is a brief work might suffice, without a need to say it is condensed.

Also the sentence as it stands suggests the work is studied today despite its brevity, as though the brevity was an obstacle.

How about "The Poetics is a brief work which is still studied today." ? CBHA (talk) 16:32, 5 August 2015 (UTC)

Needs cleanup in Neo-Classical theory
Quoting from the article:

"This meant that the playwright had to construct the play so that its "virtual" time would not exceed 24 hours, that it would be restricted to a single setting, and that there would b no subplots. Other terms, such as verisimilitude and decorum, circumscribed the subject matter significantly. For example, verisimilitude limits of the unities. Decorum fitted proper protocols for behavior and language on stage. In France, contained too many events and actions, thus, violating the 24-hour restriction of the unity of time."

This part seems to have several grammatical and spelling errors, and is hard to read. I didn't try to correct it because I'm not sure what the text is trying to say, but it needs cleanup. --109.189.167.133 (talk) 16:38, 27 May 2016 (UTC)

Wiki Education assignment: Theatre and Technology
— Assignment last updated by Pandastmina (talk) 15:39, 14 February 2024 (UTC)

title: Talk:Playwright


text:
BER

BER may refer to:

Biology and medicine

 * Basal electrical rhythm, spontaneous rhythmic slow action potentials that some smooth muscles of the GI tract display
 * Base excision repair, a DNA repair pathway
 * Benign early repolarization, a heart arrhythmia
 * Blossom end rot, a plant disorder

Computing

 * Basic Encoding Rules, a set of rules for encoding data
 * Bit error rate, the ratio between the number of incorrect bits transmitted to the total

Places

 * Bermuda (IOC and UNDP code), a British overseas territory
 * Bohai Economic Rim, the economic region surrounding Tianjin, China

Transport

 * Air Berlin (ICAO code: BER), a defunct German airline
 * Berlin Brandenburg Airport (IATA code: BER), Germany

Other uses

 * Beyond economic repair, a rating of a damaged item
 * Block Exemption Regulation, published by the European Commission regarding European Union competition law
 * Building the Education Revolution, a 2010 Australian government economic stimulus programme
 * Building Energy Rating, a rating label for the energy performance of a building in Ireland
 * Chemische Berichte (Ber), a 1868–1945 German chemistry journal
 * B.E.R., a band best known for their single "The Night Begins to Shine"

title: BER


text:
Talk:Kia Opirus

from VfD:

Promotional article with little value Jschwa1 12:22, 21 Dec 2004 (UTC)
 * Maybe someone might want to turn this into a proper car article? As it stands (with a mere link) delete, but I think the title merits an article. The article is proper now. Keep and kudos to Norman. 129.177.61.124 08:29, 22 Dec 2004 (UTC)
 * Keep. I turned it into a proper stub and I am now working on it. [[User:Norm|Norman Rogers\talk]] 15:35, 21 Dec 2004 (UTC)
 * Keep now with Norm's edits. [[User:GRider|GRider\talk]] 16:50, 21 Dec 2004 (UTC)
 * Keep. Good save. Andrewa 17:34, 21 Dec 2004 (UTC)
 * Couldn't agree more. Keep, delist article and shoot a Barnstar over to Norm.  The original was nothing more than a weblink.  Signed by the poster, yet! - Lucky 6.9 19:45, 21 Dec 2004 (UTC)
 * Delete This information should be in a car almanac, not an encyclopedia. Tomato 23:00, 21 Dec 2004 (UTC)
 * Comment: Respectfully disagree.  I helped bring three articles about individual cars into featured article status:  Ford Mustang, VW Type 2 and Mercedes-Benz 450SEL 6.9.  I've added lots of info to Chevrolet Corvette, Chevrolet Camaro, Chevrolet Nova, Mercedes-Benz 300SL, Mercedes-Benz 600, Ford Escort, Ford Escort ZX2 and the Mercedes-Benz main article.  An article about an entry-level luxury car from Korea (unusual in and of itself) could prove interesting.  Heck, this car might even prove to be historic at a future date as a result. - Lucky 6.9 23:41, 21 Dec 2004 (UTC)
 * Keep. As notable as any other car model --LeeHunter 01:53, 22 Dec 2004 (UTC)
 * Keep, what's the difference between this and any other model of car? [[User:Premeditated Chaos| P M  C ]] 02:45, 22 Dec 2004 (UTC)
 * Weak delete, I don't think random car models are notable.  --fvw *  03:14, 2004 Dec 22 (UTC)
 * Keep. I don't see why we cannot have information about cars in an encyclopedia, especially from well-known brand like KIA. -[[User:Ld|Ld | talk]] 05:44, 22 Dec 2004 (UTC)
 * Duh, keep. —[[en:RaD Man|RaD Man (talk)]] 08:21, 22 Dec 2004 (UTC)
 * Keep. Wouldn't it be awesome if Lucky 6.9 helped bring this one to featured status. It would be Wikipedia's ultimate Horatio Alger story: from VfD to Featured. --Szyslak 08:29, 22 Dec 2004 (UTC)
 * Keep. All car models are notable in their own way. Well done norm. Gazwim 09:42, 22 Dec 2004 (UTC)
 * Post rather excellent expansion, clear keep. Dan100 09:55, Dec 22, 2004 (UTC)

end moved discussion

Article name change
I moved Kia Amanti to Kia Opirus, because the car is only known as Amanti in North America, and it's called Opirus everywhere else in the world. --Pc13 23:59, 2005 Jun 21 (UTC)

 * No prob. I imagine the same could be true of all the Kia and Hyundai articles.  --SFoskett 15:16, Jun 22, 2005 (UTC)

Photographs
A photo of this Kia should be added to the page.

Armani?
I was wondering if Kia Motor USA chose the name Amanti because of its similarity to Armani? And therefore people will think Armani when they hear the word?Davez621 08:16, 17 July 2006 (UTC)

obvious mercedes rip off
why arent they sued --KpoT (talk) 05:03, 29 November 2008 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Kia Opirus. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090404134823/http://www.avtotor.ru/kia/ to http://www.avtotor.ru/kia/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 01:00, 10 December 2017 (UTC)

Verifiability of the Engine Chart
There are currently no citations in the engine chart. Parts of it that are not substantiated in references cited in the remainder of of the article will be removed unless they receive inline citations for bona fide, specific sourcing. 842U (talk) 17:17, 3 December 2020 (UTC)

 * thanks for your (unsigned) comment on my Talk Page. That said, it is a core tenet of Wikipedia, editors have a responsibility to provide VERIFIABILITY; "Even if you are sure something is true, it must be verifiable before you can add it." "Any material that needs a source but does not have one may be removed."

So, per Wikipedia guidelines, if you want the information to stay in the article, it is incumbent upon you to provide relevant bonafide sources with inline citations, or the information will be removed. This message appears also on the Kia Opirus talk page.842U (talk) 17:17, 3 December 2020 (UTC)

 * You talking about verifiability and citations/sources is quite ironic, aren't you the one who added that the Opirus is a "rear drive" vehicle not ONCE but TWICE a few days ago? Did you provide a source for that edit as well? No you didn't, so apply the rules to you as well. Alawadhi3000 (talk) 17:44, 3 December 2020 (UTC)

 * The article as it stands doesn't have a reference to rear-wheel drive, so we can move on from that. On the other hand,  the single reference that you attached to the engine chart does not align with or substantiate the numbers in the chart.  The hp and torque figures don't agree, etc.  It's close, but the reference doesn't support the chart.  If you want the reference/chart to stand, perhaps update the chart so it agrees with reference. Thanks 842U (talk) 19:03, 3 December 2020 (UTC)

 * LOL, the chart will stand regardless of your opinions. And where does the table doesn't match the source? Alawadhi3000 (talk) 19:12, 3 December 2020 (UTC)

 * As I said before, the single reference you added contains different names for the engines, horsepower and torque ratings for engines than those cited in the article's chart. So the references doesn't verify the information in the article.  I'm fine with removing the chart from the article, and doing this is a perfectly acceptable.  Or if you're interested in keeping it, perhaps you can find references that support the chart -- or revise the chart to reflect what's really in the reference.

 * Either way, I'd like to ask you to please refrain from further dismissing my opinions (as above), insulting me by calling my previous edits crap or junk]; calling me ignorant ; expressing overt annoyance  — or demonstrating ownership behavior by telling me what will and will not stand in the article (as above: "the chart will stand regardless of your opinions"). All of this is discouraging and disruptive. I have a lot of enthusiasm for improving this article and I know you do to.  Please assume good faith, and I will do the same.842U (talk) 16:03, 6 December 2020 (UTC)

 * 1) These aren't engine names, its model names, read the top of the table (!) These are used all over Hyundai/Kia/Genesis pages as well as other manufacturer pages since trim names vary by market and cannot be used.
 * 2) Your ignorance on that car is a fact and is clearly evident, you removed parts of the article which are correct (like engines ...etc), adding incorrect info (like RWD ...etc) and by being unaware about that different markets have different specs, names ...etc.
 * 3) Why should I assume that you have good faith when you removed correct info from the article without warning, an enthusiastic editor with good faith will research unreferenced facts and add the reference to them himself or at the very least put a citation needed tag so that any other editor can do that. Your refusal to say what exactly is wrong with the table is a prime example of your unwillingness to improve the article.
 * 4) I'm displaying ownership behavior?? Aren't you the one who first wrote about "what will and will not stand" by telling me "If you want the reference/chart to stand, perhaps update the chart so it agrees with reference" and AGAIN "I'm fine with removing the chart from the article, and doing this is a perfectly acceptable"? Again, the table will stay as its correct, and if you see anything is wrong with it I'm all ears, you can say exactly whats wrong (i.e prove it), show your "enthusiasm for improving this article".
 * Alawadhi3000 (talk) 13:00, 7 December 2020 (UTC)
 * Alawadhi3000 (talk) 13:00, 7 December 2020 (UTC)

title: Talk:Kia Opirus


text:
User talk:Shnoba

Hi! welcome to Wikipedia!

Hope you enjoy contributing to Wikipedia. Be bold in editing pages. Here are some links that you might find useful:

 * Try the Tutorial. If you have less time, try How to edit a page.
 * To sign your posts (for eg. on talk pages) use 	 ~  (four tildes). This will insert your name and timestamp. To insert just your name, type (3 tildes).
 * You can experiment in the Sandbox.
 * For help, see Where to ask a question.
 * Some other pages that will help you know more about Wikipedia: Manual of Style and Five pillars, Neutral point of view, Civility, What Wikipedia is not
 * You can contribute in many ways: write a great article, fight vandalism, upload pictures, perform maintainance tasks, contribute to existing projects...

I hope you stick around and keep contributing to Wikipedia. Drop us a note at New user log.

-- utcursch | talk

title: User talk:Shnoba


text:
User talk:Ruz~enwiki

Hi! welcome to Wikipedia!

Hope you enjoy contributing to Wikipedia. Be bold in editing pages. Here are some links that you might find useful:

 * Try the Tutorial. If you have less time, try How to edit a page.
 * To sign your posts (for eg. on talk pages) use 	 ~  (four tildes). This will insert your name and timestamp. To insert just your name, type (3 tildes).
 * You can experiment in the Sandbox.
 * For help, see Where to ask a question.
 * Some other pages that will help you know more about Wikipedia: Manual of Style and Five pillars, Neutral point of view, Civility, What Wikipedia is not
 * You can contribute in many ways: write a great article, fight vandalism, upload pictures, perform maintainance tasks, contribute to existing projects...

I hope you stick around and keep contributing to Wikipedia. Drop us a note at New user log.

-- utcursch | talk

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ruz. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ruz~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:30, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 18:21, 22 April 2015 (UTC)

title: User talk:Ruz~enwiki


text:
Wikipedia:Articles for deletion/Vinod Ponmanadiyil

Vinod Ponmanadiyil
Vanity page -- Ferkelparade π 12:26, 21 Dec 2004 (UTC)
 * Delete Cdc 17:13, 21 Dec 2004 (UTC)
 * Delete Tomato 23:14, 21 Dec 2004 (UTC)
 * Delete or should they register an account before this VfD ends, move to user page.  --fvw *  03:15, 2004 Dec 22 (UTC)
 * Delete or userfy. Alphax (talk) 04:14, Dec 22, 2004 (UTC)
 * Delete. Agree with fvw. utcursch 10:56, Dec 28, 2004 (UTC)


text:
Wikipedia:Articles for deletion/Quentin Jammer

Quentin Jammer
Vanity page -- Ferkelparade π 12:26, 21 Dec 2004 (UTC)
 * Retracting my Vfd nomination since he's in fact notable enough for an article -- Ferkelparade π 14:01, 21 Dec 2004 (UTC)

dont delete it, its a legitimate page


text:
Toby Anstis

Toby Anstis (born 14 December 1970) is an English radio and television presenter. He is a presenter on Heart and spin-off station Heart Dance.

Early life
Originally from Northampton, Anstis was educated at Desborough School, an all-boys school in Maidenhead, Berkshire. He graduated in psychology and business studies from the University of Surrey Roehampton.

Toby was adopted along with his twin sister as a child; his biological father was Italian and his biological mother, Gina, was English. He only met his birth parents as an adult and has commented that he was 'lucky' to have good adoptive parents.

Career
Anstis began his career on BBC1's Broom Cupboard. He was the show's last presenter and also spent three years on CBBC. He worked on the music show The O-Zone on BBC1 and BBC2, co-hosted Children in Need for two years running, presented cricket films for Grandstand, and hosted live outside broadcasts on National Lottery Live for the BBC.

Anstis also presented the first series of Trust Me I'm A Holiday rep on Channel 5, has won three episodes of Pointless on BBC1, hosted TV Scrabble, and guested on TV shows such as Ant & Dec's Saturday Night Take Away, Celebrity Egg Heads, and This Morning, as well as guest-starring in Mongrels on BBC2, and co-hosting a Celebrity Through the Keyhole with Keith Lemon and appearing in the spin-off show Lemon La Vida Loca.

In 2020, during the COVID-19 crisis, Anstis joined the supergroup The Celebs with Frank Bruno and X Factor winner Sam Bailey to raise money for both Alzheimer's Society and Action for Children. They recorded a new rendition of Merry Christmas Everyone by Shakin' Stevens and it was released digitally on 11 December 2020 on independent record label Saga Entertainment.

TV

 * TV Scrabble (2001–2002) – Presenter
 * I'm Famous and Frightened! (2004) – Guest
 * Children in Need – Co-presenter
 * Trust Me – I'm a Holiday Rep – Presenter
 * The Mint – Guest
 * I'm a Celebrity...Get Me Out of Here! (2006) – Participant
 * Big Brother's Big Mouth (2006) – Pundit
 * Ready Steady Cook (2009)
 * The Alan Titchmarsh Show (2009)
 * Mongrels (TV series) (2010)
 * Eggheads (2011)
 * Loose Women – Loose Man
 * Pointless Celebrities (2012,2016,2019) – Winning Contestant
 * Celebrity Come Dine with Me: Christmas Special – Contestant
 * Who's Doing the Dishes? (2015) – Celebrity chef
 * Hacker's Birthday Bash: 30 Years of Children's BBC (2015) – Himself
 * A Place in the Sun (2017) - Himself
 * Merry Christmas Everyone (2020) - Himself
 * Richard Osman's House of Games (2022) - Himself

title: Toby Anstis


text: Category:British colonial police officers


text:
Category:British police officers

Officers in British police forces and services.

title: Category:British police officers


text:
User talk:Amit kohli

hay amit kohli here

i am sffring by scolosis.

title: User talk:Amit kohli


text:
National Institute of Dramatic Art

The National Institute of Dramatic Art (NIDA) is an Australian educational institution for the performing arts based in Sydney, New South Wales. Founded in 1958, many of Australia's leading actors and directors trained at NIDA, including Cate Blanchett, Sarah Snook, Mel Gibson, Judy Davis and Baz Luhrmann.

NIDA's main campus is based in the Sydney suburb of Kensington, located adjacent to the University of New South Wales (UNSW), and is made up of a range of rehearsal and performance venues. Its performance venues include the Parade Theatre (also the name of an earlier venue in NIDA's history); the Space; the Studio Theatre; and the Playhouse, while the Rodney Seaborn Library forms part of its library and the Reg Grundy Studio is a training and production facility for film and television.

NIDA offers bachelor's, master's and vocational degrees in subjects including acting, writing, directing, scenic construction, technical theatre, voice, costume, props, production design and cultural leadership.

History
NIDA was founded in 1958 as the first professional theatre training school in Australia. The idea of a national theatre training school was initiated by the Australian Elizabethan Theatre Trust (AETT) in 1954. With the support of the Vice-Chancellor (later Sir) Philip Baxter, NIDA was established in the grounds of the University of New South Wales. Robert Quentin, later Professor of Drama at UNSW, was appointed the inaugural Director.

Teaching began in 1959 and in 1960, the first 23 students graduated with a Diploma in Acting. After 1961 it offered both acting and production streams, and in the early 1970s design, technical production and directing streams were introduced.

NIDA ran the Old Tote Theatre Company until 1969, whose productions were initially funded by the AETT and subsequently by the Australia Council for the Arts and the New South Wales Government. In 1967 the Old Tote moved its administration to separate premises, to a building which still exists on the UNSW campus, then known as the Parade Theatre, and on 7 May 1969 gave its first performance at that venue, a production of Tom Stoppard's Rosencrantz and Guildenstern Are Dead.

The present campus was first opened in 1987.

In 1991 NIDA expanded into the study of theatrical crafts – costume, properties, scenery and staging – and over the 2000s developed post-graduate courses in voice, movement studies, production management and playwriting.

Additional buildings opened in 2001, which were awarded the 2002 Sir John Sulman Medal for public architecture.

Governance and funding
NIDA receives funding from the Australian Government through the Department of Communications and the Arts, and is a member of the "Australian Roundtable for Arts Training Excellence" (ARTS8), an initiative between the national performing arts training organisations and the federal government that provides training for emerging artists.

Admission
Entry to NIDA's Bachelor of Fine Arts, Master of Fine Arts and Vocational courses is highly competitive with an admission rate of around 12% and even lower for some courses; with more than 1,500 applicants from around the country competing for an annual offering of approximately 185 places across the six undergraduate, five post-graduate and four vocational diploma disciplines.

NIDA's Bachelor of Fine Arts in Acting is particularly competitive, with approximately 1,000 applicants per year attempting to secure one of 24 spots in the program.

Campus
NIDA is located on Anzac Parade in the Sydney suburb of Kensington, across the road from the University of New South Wales.

Theatres
NIDA campus has six professional performance venues, in addition to studios and rehearsal rooms. The largest of these, the Parade Theatre, has three-tiered seating which accommodates up to 707 people. Other venues include the Playhouse, the Space, and the Studio Theatre.

Library and archives
The Rodney Seaborn Library, named in honour of arts philanthropist Rodney Seaborn (1912–2008), is a specialist library for NIDA students, graduates and staff and is also open to the general public by appointment.

The NIDA Archives collects, organises and preserves archival records created by or relating to NIDA.

Other facilities
The NIDA campus includes rehearsal rooms, multi-media and computer-aided design (CAD) studios, a sound stage, a lighting studio, production workshops, audio-visual facilities, and the Reg Grundy Studio film and television training and production facility.

Ranking
In 2018, NIDA was ranked as the 10th best drama school in the world by The Hollywood Reporter It is consistently ranked as the top school in Australia, or in the top five, by many sources. In 2021, it was reported as the 16th best drama school in the world by the same source, making it the only Australian drama school to make the list.

Alumni
The National Institute of Dramatic Art (NIDA) is Australia's leading centre for education and training in the performing arts. A complete list of NIDA alumni can be found on the NIDA website.

Many of NIDA's prominent alumni were featured in a photo essay in The Sydney Morning Herald in celebration of the school's 60th anniversary in 2019.

Graduates from the National Institute of Dramatic Art include:

Acting

 * Murray Bartlett
 * Cate Blanchett AC
 * Grant Bowler
 * Tom Burlinson
 * Nathin Butler
 * Rob Collins
 * Timothy Conigrave
 * Ryan Corr
 * Peter Dahlsen
 * Essie Davis
 * Judy Davis
 * Andrea Demetriades
 * Eamon Farren
 * Lewis Fitz-Gerald
 * Colin Friels
 * Mel Gibson
 * Harry Greenwood
 * Remy Hii
 * Matthew Le Nevez
 * Glenda Linscott
 * Baz Luhrmann
 * Jessica Marais
 * Ingrid Mason
 * Catherine McClements
 * Garry McDonald AO
 * Andrew McFarlane
 * Jacqueline McKenzie
 * Heather Mitchell
 * Michelle Vergara Moore
 * Toby Leonard Moore
 * Robyn Nevin AM
 * Matthew Newton
 * Bojana Novakovic
 * Zindzi Okenyo
 * Miranda Otto
 * Edmund Pegge
 * Susie Porter
 * Philip Quast
 * Richard Roxburgh
 * Alex Russell
 * Toby Schmitz
 * Shari Sebbens
 * Hugh Sheridan
 * Sarah Snook
 * Rosalind Speirs
 * Yael Stone
 * Miranda Tapsell
 * Anna Torv
 * Hugo Weaving
 * John Wood
 * Sam Worthington
 * Meyne Wyatt
 * Gareth Yuen

Design

 * Alice Babidge
 * Kym Barrett
 * Theodore Benton
 * Adrian Britnell
 * Fiona Crombie, 2019 Academy Award nominee for The Favourite
 * Peter England
 * Dale Ferguson
 * Dane Laffrey
 * Catherine Martin
 * Ralph Myers, Former Artistic Director Belvoir St Theatre
 * Jacob Nash, Head of Design for Bangarra Dance Theatre
 * Deborah Riley, Emmy Award-winning production designer of Game of Thrones
 * Gypsy Taylor
 * Daniel Tobin
 * Gabriela Tylesova
 * Michael Wilkinson, 2014 Academy Award Nominee for American Hustle

Directing

 * Jessica Arthur
 * Paul Curran
 * Gale Edwards
 * Sarah Giles
 * Jennifer Kent
 * Lee Lewis
 * Greg McLean
 * Jonathan Messer
 * Tommy Murphy
 * Moffatt Oxenbould
 * Marion Potts
 * Kip Williams, artistic director of Sydney Theatre Company

Production

 * Kuo Pao Kun
 * Garry McQuinn, co-founder of RGM Productions
 * Sally Riley, Head of Scripted Production for the Australian Broadcasting Company
 * Jim Sharman, Director of The Rocky Horror Picture Show

Scenic construction

 * Boaz Shemesh, Head of Set Construction for Sydney Theatre Company

Writing

 * Jackie McKimmie
 * Alana Valentine

Awards
NIDA alumni have won close to 1,000 awards including 8 Academy Awards, 8 Golden Globes, 9 Emmys, 48 Logies, 18 BAFTAs, 5 Oliviers, 3 Tonys and more.
 * Academy Awards
 * Catherine Martin (Design, 1988): 2014 Winner Best Achievement in Costume Design The Great Gatsby; 2014 Winner Best Production Design, The Great Gatsby; 2002 Winner Best Art Direction-Set Decoration, Moulin Rouge!; 2002 winner Best Costume Design, Moulin Rouge!
 * Cate Blanchett (Acting, 1992): 2014 Winner Best Performance by an Actress in a Leading Role, Blue Jasmine; 2005 Winner Best Performance by an Actress in a Supporting Role, The Aviator
 * Mel Gibson (Acting, 1977): 1996 Winner Best Picture, Braveheart; 1996 Winner Best Director, Braveheart

 * BAFTA Awards
 * Catherine Martin (Design, 1988): 2014 Winner Best Costume Design, The Great Gatsby; 2014 Best Production Design, The Great Gatsby; 1998 Winner Best Production Design, Romeo + Juliet; 1993 Winner Best Costume Design, Strictly Ballroom; 1993 Winner Best Production Design, Strictly Ballroom
 * Cate Blanchett (Acting, 1992): 2018 Winner, Stanley Kubrick Britannia Award for Excellence in Film; 2014 Winner, Best Leading Actress, Blue Jasmine; 2005 Winner, Best Performance by an Actress in a Supporting Role, The Aviator; 1999 Winner, Best Performance by an Actress in a Leading Role, Elizabeth
 * Baz Luhrmann (Acting, 1985): 1998 Winner Best Direction, Romeo + Juliet; 1998 Winner Best Adapted Screenplay, Romeo + Juliet
 * Judy Davis (Acting, 1977): 1981 Winner Best Actress, My Brilliant Career; 1981 Winner Most Outstanding Newcomer to Leading Film Roles, My Brilliant Career
 * Deborah Riley (Design, 1996): 2018 Winner Production Design, Game of Thrones
 * Fiona Crombie (Design, 1998): 2019 Winner Best Production Design, The Favourite
 * Craig Pearce (Acting, 1984): 1998 Winner Best Adapted Screenplay for Romeo + Juliet
 * Angus Strathie (Design, 1988): 1993 Winner Best Costume Design, Strictly Ballroom

 * Golden Globe Awards
 * Sarah Snook (Acting, 2008): 2024 Winner Best Actress in a Television Series – Drama, Succession; 2022 Winner Best Supporting Actress – Series, Miniseries or Television Film, Succession
 * Cate Blanchett (Acting, 1992): 2023 Winner Best Performance by an Actress in a Motion Picture - Drama, TÀR; 2014 Winner Best Performance by an Actress in a Motion Picture – Drama, Blue Jasmine; 2008 Winner Best Performance by an Actress in a Supporting Role in a Motion Picture, I’m Not There; 1999 Winner Best Performance by an Actress in a Motion Picture – Drama, Elizabeth
 * Judy Davis (Acting, 1977): 2002 Winner Best Performance by an Actress in a Miniseries or a Motion Picture Made for Television, Life with Judy Garland: Me and My Shadows; 1992 Winner Best Performance by an Actress in A Mini-series or Motion Picture for TV, One Against the Wind '
 * Mel Gibson (Acting, 1977): 1996 Winner Best Director – Motion Picture, Braveheart

 * Primetime Emmy Awards
 * Sarah Snook (Acting, 2008): 2023 Winner Outstanding Lead Actress in a Drama Series, Succession for episode ‘Tailgate Party’
 * Murray Bartlett (Acting, 1991): 2021 Winner Outstanding Supporting Actor in a Limited or Anthology Series or Movie, The White Lotus
 * Deborah Riley (Design, 1996): 2018 Winner Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More), Game of Thrones for episode ‘Dragonstone’; 2016 Winner Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More), Game of Thrones for episodes 'Blood of My Blood’, ‘The Broken Man’ and ‘No One’; 2015 Winner Outstanding Production Design for a Narrative Period or Fantasy Program (One Hour or More), Game of Thrones For episodes: ‘High Sparrow’, ‘Unbowed’, ‘Unbent’, ‘Unbroken’ and ‘Hardhome’; 2014 Winner Outstanding Art Direction for a Contemporary or Fantasy Series (Single-Camera), Game of Thrones for episodes ‘The Laws of God and Men’ and ‘The Mountain and the Viper’
 * Judy Davis (Acting, 1977): 2007 Winner Outstanding Supporting Actress in a Miniseries or Movie, The Starter Wife; 2001 Winner Outstanding Lead Actress in a Miniseries or a Movie, Life with Judy Garland: Me and My Shadows; 2001 Winner Outstanding Makeup – Miniseries, Movie, Special, Life with Judy Garland: Me and My Shadows; 1995 Winner Outstanding Supporting Actress in a Miniseries or a Special, Serving in Silence: The Margarethe Cammermeyer Story

Learning by doing
Industry engagement and collaborative student learning are core part of NIDA courses. NIDA utilises a conservatoire model, where students learn by practical application through in-house productions and working with professional companies on short-term placements. In addition to classwork, students will work on multiple practical projects during their time at NIDA, ranging from full theatrical productions to short films. Depending on the program, students may also undertake interstate and international trips as part of the learning process.

Short courses
NIDA delivers hundreds of short courses every year across Australia and internationally through NIDA Open and NIDA Corporate.

NIDA Open
NIDA Open is Australia's largest non-profit, performing arts short course program. In 2018, more than 15,000 students attended NIDA Open courses in Sydney, Melbourne, Brisbane, Adelaide, Perth, Canberra, Darwin and other locations. NIDA Open offers courses for children and young people from preschool through Grade 12, as well as adult courses, in acting, comedy, costumes, props, make-up, design, directing, filmmaking, musical theatre, physical theatre and movement, presenting, technical theatre, stage management, voice and writing.

NIDA Corporate
NIDA Corporate offers training in professional communication, presentation and leadership for individuals and businesses in the public and private sectors. Tutors include voice specialists, movement and body language practitioners, film and theatre directors, actors and television presenters. In 2018, more than 9,000 participants attended NIDA Corporate training.

Controversy
In 2012, former NIDA board member and Liberal senator Chris Puplick, who had served on the board for three years, wrote an essay titled "Changing Times at NIDA" which was published in the October issue of the publication Platform Papers. In the essay, Puplick criticized the teaching standards of the school and its director and chief executive, Lynne Williams, stating that she has had no significant experience in theatre to head the school and that her style was "Thatcherite". Soon after Puplick's statements were reported, chairman of NIDA's board, Malcolm Long, and Lynne Williams replied back to the comments, with Long stating that Williams had the complete support of the board and described Puplick as "an apparently disaffected former board member." Williams had defended herself stating her management style was not "Thatcherite". Long also mentioned that amongst Williams' supporters were Cate Blanchett and Ralph Myers. Supporting Puplick were actor, director and a graduate of the school Jeremy Sims, who had launched the essay, and Kevin Jackson, who had taught acting at the school for 27 years.

In June 2020, a letter from over 100 alumni, students and former staff was signed and sent to NIDA's chief executive Liz Hughes accusing the school for failing to support Indigenous, Black and other students of colors. The letter which was sent to Hughes via email accused the school of "systemic and institutionalised racism" and where students had felt that they were there simply to fulfill diversity quotas.

title: National Institute of Dramatic Art


text:
WME

WME may refer to:
 * Windows Media Encoder
 * Wireless Multimedia Extensions
 * Wintermute Engine, a graphical adventure game engine by Dead:Code software
 * William Morris Endeavor, a talent agency conglomerate
 * Web-based Mathematics Education
 * Working Memory Element in the Rete algorithm
 * The IATA code for Mount Keith Airport in Western Australia
 * Waze Map Editor
 * National Rail station code for Woodmansterne railway station in London

title: WME


text:
Swissair Flight 330

Swissair Flight 330 (SR330/SWR330) was a regularly scheduled flight from Zurich Airport in Kloten, Switzerland, to Hong Kong with a planned stopover in Tel Aviv, Israel. A bomb planted by two members of the PLO exploded soon after takeoff, causing the plane to crash, killing all 47 passengers and crew.

History
On 21 February 1970 HB-ICD a Convair CV-990 Coronado jet named "Baselland" was flying on the route with 38 passengers and nine crew members. A bomb detonated in the aft cargo compartment of the aircraft about nine minutes after take-off, during the ascent on a southerly course at approximately 12:15 UTC in the area of Lucerne north of the St. Gotthard Pass. The crew tried to turn the plane around and attempt an emergency landing at Zürich but had difficulty seeing the instruments due to smoke in the cockpit. The aircraft deviated more and more to the west and crashed a short time later in a wooded area at Würenlingen near Zürich, Switzerland, due to loss of electrical power. All aboard the aircraft were killed.

A Government air inspector was flown to the scene in a helicopter. He was followed shortly afterward by a team of 50 investigators. The police said that a woman handed in a 9-mm. pistol found at the scene of the crash immediately after the disaster. Some of the wreckage, including pieces of cloth, was strung out on the tops and branches of trees.

Sabotage was immediately suspected. A possible motive was revenge against Switzerland for three Palestinians who had been sentenced to 12 years imprisonment by a Swiss court. Swiss news agencies said a splinter group of the Palestinian Liberation Organization (PLO) had claimed responsibility, although other media reports said the group denied involvement. The Swiss investigating judge, Robert Akeret, personally handed his 165-page report to the federal attorney-general, Hans Walder. According to this report, the bombing was committed by two members of the PLO.

A barometric-triggered bomb had been used. On the same day, another bomb exploded aboard an Austrian Airlines Vienna-bound Caravelle after takeoff from Frankfurt. The Caravelle landed safely.

Air traffic control transcript
(Start of conversation with Zurich ATC. Note: conversation of the recording begins following the initial explosion.) Swissair 330: Ah, 330 we have trouble with the cabin compression, we have to return to Zurich.

Zurich ATC: Roger, what is your actual level?

Swissair 330: 140, request reverse course.

Zurich ATC: Roger then make a, right turn Swissair 330.

Swissair 330: Zurich from Swissair 330, we suspect an explosion in the aft compartment of the aircraft, everything is ok at the moment, but we request descent clearance immediately and firefighting equipment on the ground...for landing.

Zurich ATC: Swissair 330 say again please?

Swissair 330: We also request the police, err.....to investigate the incident.

Swissair 330: Zurich Swissair 330 we have fire on board....request an immediate landing.

Swissair 330: This is an emergency Zurich from 330.

Swissair 330: 338(0), we have an electric problem ur...(Unintelligible)

Zurich ATC: (unintelligible)

(Both ATC and pilot keyed microphones at the same time creating a small heterodyne.)

(Muffled voice from Swissair crew indicates either issues with the radio or the pilots speaking through their oxygen masks.)

Zurich ATC: Swissair 330, Swissair 330. I cannot read you anymore, I cannot read you anymore, Please continue your heading uh 330.(sound of microphone squeal).

Zurich ATC: Swissair 330 you're... fully off track now.

Swissair 330: Uh 330, can you give me my position now?

Zurich ATC: You are passing Baden (loud squeal) and stop your turn now.

Swissair 330: Impossible.

Zurich ATC: Roger 330, what is your heading you’re going through now?

Swissair 330: Declaring an emergency! We have fire and smoke on board, I can't see anything!

Swissair 330: 330 is crashing, (pause) goodbye everybody, goodbye everybody! (last transmission from aircraft)

Zurich ATC: Swissair 330, heading 080 please.

Zurich ATC: Swissair 330, please open your window please, Swissair 330 open your window please.

Zurich ATC: 330, I cannot read you anymore.

(End of recording). A segment of the recording is publicly available on sites such as YouTube.

Postal history
As noted in Kibble (The Arab Israeli Conflict: No Service, Returned & Captured Mail, 2014) - On 21 February 1970 Swissair Flight 330 left Zürich, Switzerland, bound for Tel Aviv, Israel. A bomb exploded in the rear cargo compartment nine minutes after take-off. The crew attempted to turn the plane around and undertake an emergency landing at Zürich, but it crashed a short time later in a wooded area at Würenlingen, near Zürich. A bomb with an altimeter trigger was placed in a package mailed to an Israeli address by Palestinian extremists. All 47 persons on board (38 passengers and 9 crew) were killed. A small amount of mail was recovered from the crash and is highly prized by collectors of crash mail.

A black instructional marking in French was applied to any mail that survived the crash, which translated reads:

"Correspondence is from 'Coronado' that fell at Würenlingen. Zürich 58 Post Office"

The Coronado bombing saw a change in mailing practices across the globe. In particular, mail sent or routed to Israel through the UK, Italy, and the USA was required to be sent by surface mail in the immediate future. Airmail to Israel was no longer permitted.

A report from the Jewish Telegraphic Agency titled Airmail from Europe Fails to Arrive in Israel Despite Assurances It Would from 25 February 1970 states the following:

"No airmail from Europe arrived in Israel today despite assurances from several airlines that deliveries would continue. At least a dozen international carriers suspended mail and cargo services to Israel following last Saturday's fatal crash of a Swissair jet. The airlines said the measure was temporary, and several announced yesterday that they were rescinding the ban. But planes of the West German Lufthansa, the British BEA, and Swissair landed at Lydda Airport today minus their mail bags. The captain of the Swissair flight refused to take outgoing mail but agreed when informed by postal authorities that he was acting contrary to his company's instructions. Israel made strong representations to the International Postal Union yesterday against any delays in foreign mail deliveries."

Investigation
NZZ journalist Marcel Gyr found out the possible reason, why none of the suspected terrorists were convicted. The result of the extensive research is that in 1970 Switzerland and the PLO entered into a secret deal, arranged by the then SP Federal Councillor Pierre Graber, which ensured, among other things, that the two main suspects in the attack were not arrested, but above all that the Palestinians guaranteed that they would not carry out any more attacks on Swiss targets in the future. In return, Switzerland granted the internationally isolated PLO permission to set up an office at the UN headquarters in Geneva.

title: Swissair Flight 330


text: File:Michal Kazimierz Radziwill (1625-1680).jpg


text:
User talk:Sylphie

Hi Sylphie, welcome to Wikipedia!

Here are a few helpful links to start you off: Avoiding common mistakes, How to edit a page, How to write a great article, Naming conventions, Manual of Style, Policies and guidelines, Help, Merging pages.

If you need help or are curious about something, feel free to ask on my talk page or the village pump. You can sign your name and a date stamp on comments using four tildes ( ~ ). If you have any further questions, feel free to ask, and I hope you enjoy being a Wikipedian!

Andre ( talk )A| 12:36, Dec 21, 2004 (UTC)

 * Hi Andre.
 * Though most of what I do may be to interwikify the articles to ja.wp articles and my English is poor, I hope my contributions will help all users in this wiki. Thank you. Sylphie 14:41, 2004 Dec 21 (UTC)

Japanese Wikipedia 100,000th article
Thank you for your prompt reply! Warofdreams 13:47, 11 Feb 2005 (UTC)

 * Hi. You're welcome. Cheers. :) Sylphie 14:41, 2005 Feb 11 (UTC)

Why does it matter to add the interwiki even if there is no article in Japanese? It's still useful.DYLAN LENNON 05:44, 31 January 2006 (UTC)

 * No, create interwiki links only to articles which exist. Sylphie 05:59, 31 January 2006 (UTC)

削除依頼
ja:Wikipedia:削除依頼/ユダヤ人の一覧などの件を見ていますと、「archiveテーブルも破損したため復帰が不可能」な情報を、どのように復帰するというのか、復帰が不可能な情報は全て削除の対象となるのか、2年半も前に「ユダヤ人」の項目にあった情報と現在の全く異なる情報が同一のものと見てよいのか本当に疑問なのですが. 幾度も改訂がされてありますし、2年半前の 2004年1月16日 (金) 15:41 U.S.S.Momotaro (ユダヤ人から分離) と、 現在の版 とは似ても似つかない別物だと思います.

これを私からの意見として掲載してください（「存続」Strong Keep で）. また、一覧なので、著作権の問題とは一線を画すと思うのですが.

削除依頼に出した本人であるあなたの発言を見ると、結局「お前のやってきたことなど意味のないことだ、お前など価値のない人間だ」、とおっしゃりたいんでしょう.

削除に賛成している人名などを見ると、反ユダヤ主義者の溜まり場となりかねないと思ったので、コメントさせていただきました.

また、ここに最新版がありますので、更新してみてください. --Sheynhertzגעשׁ״ך 05:07, 12 August 2006 (UTC)

あまりにもひどい妄想ですね. おそらくja:ノート:ユダヤ人の一覧における経緯をご覧になっていないのでしょうが.
 * GFDLが求める「履歴の保存」がなされていない以上、GFDLに反している状態から逃れることはできません.
 * 「全く異な」っていないのです. たとえば、ヤヌシュ・コルチャックの説明文は完全一致しています.
 * User talk:Sheynhertz-Unbayg/Contribution List/memo/Sandbox8/pastはja:ユダヤ人の一覧の全文コピーということでよろしいのでしょうか. となれば、履歴はどこに保存されているのですか?
 * ja.wpで長期banされたあなたにja.wpにおいて意見を述べる権利はありませんし、同様に意見を掲載するよう要求する権利もありません.
 * 説明文がある以上、項目が記されたのみの一覧とは性質が異なります.
 * >削除依頼に出した本人であるあなたの発言を見ると、結局「お前のやってきたことなど意味のないことだ、お前など価値のない人間だ」、とおっしゃりたいんでしょう.
 * 相変わらず「反ユダヤ主義者」と決めつける態度にはあきれております、とだけ述べておきます.
 * 以降はメーリングリストでどうぞ. ja.wpにおける削除依頼はen.wpで扱う話題ではありません. Sylphie 21:15, 12 August 2006 (UTC)

 * かつて「ユダヤ人」にあった多くの人名部分は、恐らく私自身が書いたものでしょう.
 * 復帰の見込みなどない、ということでしょうか.
 * Ypacaraíが削除依頼のページのみに発言をしていることに違和感を持たないことに不思議です.
 * どこを見てこう言っておられたのでしょう. 私は削除依頼なんかに滅多に関わりません. あの削除に賛成を表明したのは、非Sysopが加わるとSysopだけより幾分自然に見えるだろうと思ってやったまでです(笑).
 * あの一覧はArpeggio (User talk:1523) 氏が貼り付けてくださったものです. 履歴など辿れば解かることです.
 * メーリングリストの使い方がわからないので何ヶ月も前からあなたに質問をしているのですが. 全く答えが帰ってきません.
 * あのメーリングリストで質問するのは初心者ばかりなので、手練れのウィキペディアンであり、既に悪名を得ているあなたは使わない方がいいです. --Ypacaraí 01:12, 9 September 2006 (UTC)
 * 「履歴の保存」ですが、どこからどこまでを言うのでしょうか. あなたのやろうとしていることは、必要な情報の破壊、赤リンクの破壊行為です.

 * 4番の発言を見ますと、結局「お前など価値のない人間だ、最低の人間だ、お前の努力など無意味・無価値だ. お前など死ね」ということですよね. פִּקּוּחַ נֶפֶשׁ דּוּחֶת שַׁבָּת に違反しております. あなたのような Wiki 利用者の態度にはあきれております. -Sheynhertzגעשׁ״ך 05:13, 13 August 2006 (UTC)

 * 追記ですが、ja:talk:ユダヤ人 のコメントアウトされている部分に履歴は残っていたと思います. -Sheynhertzגעשׁ״ך 07:29, 13 August 2006 (UTC)

 * 履歴情報の提供、ありがとうございます. 削除依頼は取り下げの方向で進めて行きたいと思います しかし、著作権を侵害した版の特定が不可能であるため、削除依頼は継続します. ちなみに、第三者がどう賛否を付けるかは、他のページにおける発言の有無に関係なくその第三者の自由ではないでしょうか. 特に履歴の情報がノートページの過去版でしかもコメントアウトされた、ソースを表示しなければわからないような場所にある場合には、存続の意見を付けるのは難しいと思われます. もちろん的の外れた意見であれば話は別にはなるでしょう.
 * メーリングリストの使い方はja:Wikipedia:メーリングリストを見ればわかるかと思います.
 * 残念なことに、あなたは私に限らず、さまざまな方に対して「あなたは私に死んでほしいと思っている」という趣旨の発言をされているようですね. Batamtig氏に人骨の写真を見せつつ述べた言葉は覚えてますよね. また、RFCが出されたときにMo-Al氏に何と述べたか、ご存知ですよね. あなたの対話の姿勢にはきわめて重大な問題があります.
 * 私としては、あなたがこのような姿勢を改めて、すべての方々に対して紳士的で協力的な態度をもって接しようとするのであれば、あなたと対話する用意はあります. ja.wpのコミュニティも（おそらく）そうでしょう.
 * なお、対話はメーリングリストにて. en.wpはen.wpです. Sylphie 08:22, 13 August 2006 (UTC) Edited. Sylphie 12:08, 15 August 2006 (UTC)

どういうことでしょうか. 詳細にお願いします.

あのページには、ラビでもユダヤ人でもなく、イスラム教徒でもないのに、イスラム教の反ユダヤ主義とその歴史を無視し、ユダヤ教と直接関係のないことを口走る明確な反ユダヤ主義者の書込みが多いので、見たくもないのですが（このアラブ＝イスラエル紛争自体が反ユダヤ主義なのですが、誰もその真実を言いませんね. ユダヤ教はユダヤ人の水や空気、体・精神の一部です. まあ置いときましょう）

ユダヤ人の一覧ができるまでの履歴は全て辿ることができます.

 * ja:ユダヤ人 のログ
 * 1) 13:20 2003年4月22日 . . Setu (歴史など.  有名なユダヤ人、有名なユダヤ人の家系などを「ja:ユダヤ民族」からこちらに移動. )
 * 2) User:211.128.71.202 は私の編集でした
 * 3) 2004年1月16日 (金) 15:41 U.S.S.Momotaro (ユダヤ人から分離)
 * 4) 再びユダヤ人 のログ
 * 5) 00:31 2004年1月17, ja:User:U.S.S.Momotaro (有名なユダヤ人、有名なユダヤ人の家系、ユダヤ人の姓名をja:ユダヤ人一覧に移動
 * ja:Wikipedia:削除依頼/ユダヤ人 （破損したということでしょうか）
 * ja:talk:ユダヤ人 2004年3月28日 (日) 14:36 Sampo (ノート | 投稿記録) (旧履歴の復元)
 * 1) よって これ がユダヤ人の一覧の初稿ということになります.

 * Gombe, Setu, 一回目の移動後は Sutou, User:218.226.241.30, Kk, Johncapistrano, 211.128.71.202 (私), Arufu 氏などが執筆者です.
 * --Sheynhertzגעשׁ״ך 14:04, 15 August 2006 (UTC)

 * ですから、2004年3月の削除の原因となった、他者の著作権を侵害した版の判別ができないから履歴の継承も不可能になっているのです. あとはja.wpのコミュニティによるコンセンサスで削除するか否かが決定するでしょう.
 * GFDL上の問題を抱えている記事の削除依頼を反ユダヤ主義だと述べるあなたの発言は到底ギャグ以外の何物にも見えません. これらの発言は9月以降のブロック延長依頼の際の参考にさせていただきます.
 * 以降はメーリングリストでどうぞ. ここはen.wpです.  Sylphie 00:21, 16 August 2006 (UTC)

 * 誰も「正しい」削除依頼が反ユダヤ主義だなどと述べていません. まじめに考えているのですか?
 * >9月以降のブロック延長依頼の...
 * 結局、お前はくずだ、本来価値のない人間だ、この世に必要のない人間だ、何をやっても、お前の努力は全て無駄だ、生きる資格のない人間だ、ということをあなた（達?）は仰りたいんですよね. 私がいくら努力しても、それは徒労であり、無駄だということですよね、それ以外の何ものでもありません. 私が何をやっても肯定的な反応は全くなく、否定的反応、ああしろ、こうしろという指示ばかりでした. 特にあなたが.

 * >2004年3月の削除の原因となった..
 * ですから、私の考えと大きく異なります. 2004年3月の削除の原因は、当時使い方が良くわからなかった 私自身 の投稿によるものでしょう. 削除の原因は一覧ではなく、文章の部分に外部サイトの文を取り込んだことが原因だと記憶しております. --Sheynhertzגעשׁ״ך 00:40, 16 August 2006 (UTC)
 * >すべての方々に対して紳士的で協力的な態度をもって..
 * まずあなたが行ってください. 一回でもそのような態度がありましたか?

 * --Sheynhertzגעשׁ״ך 00:40, 16 August 2006 (UTC)

 * This is English Wikipedia, not Japanese Wikipedia. I demand to continue this discussion at ja.wp mailing list. No more here, please. Sylphie 00:55, 16 August 2006 (UTC)
 * 私は、削除依頼が反ユダヤ主義だと言ったり、著作権違反もないのに著作権違反だのと訳のわからないことを言い出したあなたに回答を求めているのですが. 大丈夫ですか? --Sheynhertzגעשׁ״ך 07:39, 16 August 2006 (UTC)

 * あなたは4日前、このページで以下のように発言したはずですよね、もう覚えていないのでしょうか.
 * >削除に賛成している人名などを見ると、反ユダヤ主義者の溜まり場となりかねないと思ったので、コメントさせていただきました.
 * 私は削除依頼を行った以上、削除に「賛成」なのです. 削除に反対しながら依頼を出す人はいません. となると、私の行為、「削除依頼を提出すること」は反ユダヤ主義ということですよね、あなたの発言が真であれば.
 * >著作権違反もないのに著作権違反だのと訳のわからないことを言い出した
 * 記事「ユダヤ人」が削除されたのは著作権侵害が原因であることはそのノートページの過去の版を見れば明白です. そして、
 * >User:211.128.71.202 は私の編集でした(14:04, 15 August 2006 (UTC))
 * >2004年3月の削除の原因は、当時使い方が良くわからなかった 私自身 の投稿によるものでしょう. (00:40, 16 August 2006 (UTC))
 * と述べておきながら「著作権違反もない」と言い出すのですか. 身勝手ですね. 矛盾もいいところです.

 * Now, it's too late to get out here. THIS IS NOT JAPANESE WIKIPEDIA. USE MAILING LIST, NOW, PLEASE. Continue this discussion there. If you come to the mailing list, I will continue this discussion. If you continue to discuss this ja.wp issue in my en.wp talk page, however, I WILL IGNORE YOU. That is because this very here is not Japanese Wikipedia. Sylphie 08:55, 16 August 2006 (UTC)

 * >削除に賛成している人名などを見ると、反ユダヤ主義者の溜まり場となりかねないと思ったので、コメントさせていただきました.
 * 賛成する人物がということです. だれもあなたとは言っていません. 上のほうを読み返してください.
 * >User:211.128.71.202 は私の編集でした(14:04, 15 August 2006 (UTC))
 * >2004年3月の削除の原因は、当時使い方が良くわからなかった 私自身 の投稿によるものでしょう. (00:40, 16 August 2006 (UTC))
 * 私自身が、一覧でなく本文中に外部サイトをコピペしたため、削除依頼になったことをはっきりと記憶しています. よく読まなかったのでしょうか.

 * あなたの反応が矛盾していますが. まともに会話もできない管理者は不適格です.
 * 履歴も明白である「ja:ユダヤ人の一覧」ちゃんが、何の罪があってが殺されなければならないのでしょうか. --Sheynhertzגעשׁ״ך 11:42, 16 August 2006 (UTC)
 * とうとう削除しましたね. 私かArpeggioさんのページへ全て移動させようかと思っていたのですが. 「お前の努力など無駄で、お前は邪魔者だ」「お前に研究者としての価値はない、生きる価値も見込みもない」ということですね. そうでないというのなら今すぐに答えろ!! --Sheynhertzגעשׁ״ך 14:04, 16 August 2006 (UTC)

 * 追伸：不当な削除に抗議し、すぐにページを復帰させることを依頼する. --Sheynhertzגעשׁ״ך 14:06, 16 August 2006 (UTC)

Requests for comment/Sheynhertz-Unbayg
If you have anything to add to this RfC, please comment. We'd like to know how to make S-U a more useful contributor. Thank you, Kusma (討論) 12:07, 16 August 2006 (UTC)
 * 全く関係ありませんので、Kusma さんはお気になさらないでください. 日本語版でのことです. --Sheynhertzגעשׁ״ך 12:26, 16 August 2006 (UTC)

 * Hi, Kusma. It is done by User:Aphaia to add the most of what I would like to say, in "Outside view 5." The discussion above, done in Japanese, is about an "Article for deletion" issue in Japanese Wikipedia. Since I have thought that it is not appropriate to discuss about ja.wp issues in en.wp, and we, ja.wp, have a mailing list to talk among users, even blocked ones, I told him not to continue the discussion here, and to use the mailing list. However, he continued this discussion here.
 * I'm not sure that it is appropriate to bring this ja.wp issue into English Wikipedia's RFC page. I would like to want some advice. Thank you for your help. Sylphie 12:49, 16 August 2006 (UTC)

 * What happens on a foreign Wikipedia is usually not very relevant to the English one, although it can help in understanding what an editor does and why. I just wanted to get as much insight and as many views on Sheynhertz-Unbayg's behaviour as possible. If Aphaia's summary already contains all the relevant information, there will be no need for you to participate in the RfC. Thank you for your time, Kusma (討論) 12:55, 16 August 2006 (UTC)

REVIVE!
不当な削除に強く抗議し、ja:ユダヤ人の一覧の復帰を強く依頼します. 詳細は上に書いたとおりです.

 * 1) 「履歴」は引き継がれており、特定も可能
 * 2) 削除情報のあるアーカイブが破損した場合、そこから派生したものはすべて削除の対象となりうるのか
 * 3) 重複していない全ての編集、数百数十回の編集は無意味だったのか
 * 4) 不当な削除は、著作権に違反している

 * 削除依頼なども、結局私の努力のことなど何も考えていないからできたのでしょう.

 * --Sheynhertzגעשׁ״ך 16:55, 26 August 2006 (UTC)

 * My talk page is not a request page. AND I HAVE SAID, A LOT OF TIME, "THIS IS NOT JAPANESE WIKIPEDIA." Your request is completely void. Sylphie 00:05, 27 August 2006 (UTC)
 * とうとう私のページにまで侵入し、私の努力も粉砕しようとしましたね. お前のような管理者はすぐにやめろ. --Sheynhertzגעשׁ״ך 09:47, 27 August 2006 (UTC)

 * Keep your temper. You violate WP:CIVIL again. Sylphie 09:51, 27 August 2006 (UTC)
 * すでにあのページは何回も私の編集が加わっていますので、私のページを編集したり、削除依頼に出すなど、活動を邪魔する破壊行為に当たります. --Sheynhertzגעשׁ״ך 09:59, 27 August 2006 (UTC)

 * Why do you continue talking about the ja.wp issue? I HAVE SAID THAT THIS IS NOT JA.WP A LOT OF TIME. Use ja.wp's mailing list and never continue the discussion here. Sylphie 10:03, 27 August 2006 (UTC)

Re: About unblocking for allowing username change
Whoops, I didn't think to check for that. Unfortunately, the autoblock ID you gave me doesn't seem to exist. I also can't find any autoblocks under the original blocking admin. =\ I would suggest that they try to force a reload to clear their browser's cache (control or shift + reload, in most browsers). I'll also relay this message to them. Thanks for bringing this to my attention. Luna Santin 08:45, 20 October 2006 (UTC)
 * Huh. Disabled it, thanks a bunch. Maybe the Japanese characters broke the autoblock finder. x.x Sorry about that. Luna Santin 09:02, 20 October 2006 (UTC)

title: User talk:Sylphie