text:
Wikipedia talk:Administrators' noticeboard

Useful protip that should be mentioned somewhere
While searching through the archives of this talk page, I discovered, by accident, that AN and AN/I archives actually have automatically created talk pages on them (example), and those talk pages contain a table with an index of all the discussions on the archive page, with indicators of length (bytes) for each section (including sub-sections). From a glance you can see how long or short a thread is, as well as if there are additional sub-topics within it, and you can read all the thread names much more quickly and easily than through the table of contents on the archive page.

How is this incredibly useful feature not mentioned anywhere on the banner or on info pages?!? — AP 499D25  (talk)  14:30, 27 June 2024 (UTC)

 * Feel free to add it if you find a good spot for it. – Novem Linguae (talk) 16:18, 27 June 2024 (UTC)

Edit notice
The edit notice currently reads:

I think it would be more accurate to reword it:

The current wording gives the misleading impression of the purpose of this board (the title has a related issue; I believe it would be better titled WP:Administration noticeboard, but that's a different discussion). BilledMammal (talk) 07:13, 3 July 2024 (UTC)

 * Every noticeboard deals with administration in some way. AN does wind up serving as a "catch all" noticeboard sometimes, but that's not really the intention. ⇌ Jake Wartenberg 14:09, 3 July 2024 (UTC)
 * The current message (and title) fits my understanding of this page better: it's a noticeboard for administrators. If it wasn't, we'd need one, because admins do a lot of work that are not relevant or interesting to other editors (though of course they are always welcome to follow and participate in discussions). – Joe (talk) 14:35, 3 July 2024 (UTC)

Tupac page
Tupac Page can now be edited by everyone; it wasn't like that before. Previously, only administrators and users with permission could edit it (like me). This rule needs to be reinstated, or it will be edited every day Pier1999 (talk) 13:20, 13 July 2024 (UTC)
 * That's kind of the point. Is it being vandalized? If so, ask at WP:RFPP, this isn't the right place.  Acroterion   (talk)   13:31, 13 July 2024 (UTC)
 * It was also vandalized by a guy who keeps editing without consent. An administrator told him to stop editing, but he continues. You can go to the talk page to understand everything. I will tag you there. Pier1999 (talk) 13:45, 13 July 2024 (UTC)
 * I think you might be part of the problem.  Acroterion   (talk)   13:49, 13 July 2024 (UTC)
 * We have already clarified everything with the administrator. The page was non-editable for a few days, and he told me to follow the rules. Everything is fine, but then this guy returned to the page and edited everything again without any reason. Pier1999 (talk) 13:53, 13 July 2024 (UTC)
 * The administrator told both me and the other guy who can edit the page that if he returned to start an edit war, we should turn to you. Pier1999 (talk) 13:55, 13 July 2024 (UTC)
 * He told HumansRightsIsCool to refer to this section of Wikipedia if he returned to edit again. I am writing to this section because the situation has become unbearable. This user continues to edit without consent even, also even after the administrator told him not to do it. I can't tag the other user, but he and I, after advice from the admin, are following the rules. Instead, that user is back to vandalizing. Pier1999 (talk) 14:02, 13 July 2024 (UTC)
 * Swatjester explained a lot more than that to you. I don't have time to take action on this, but there are significant editor conduct problems, that do not involve vandalism, and you're part of that problem.  Acroterion   (talk)   14:18, 13 July 2024 (UTC)
 * Okay, but as far as getting the protected page back, is that a quick thing? I wrote in that section of Wikipedia Pier1999 (talk) 14:23, 13 July 2024 (UTC)
 * Not usually no, and in any case you should not expect an administrator to 'pick a side' by protecting the version you prefer. This is a content dispute, not a case of vandalism. MrOllie (talk) 14:30, 13 July 2024 (UTC)
 * It is not the version I prefer, the administrator has already written that the sources used on the page are fine and he wrote to the other user not to edit those parts of the page anymore because if not he might be blocked from editing. That's not the part I prefer, everyone on the page agreed that the sources are fine, including the administrator. Pier1999 (talk) 14:34, 13 July 2024 (UTC)
 * I report what the administrator wrote: Pier1999 (talk) 14:36, 13 July 2024 (UTC)
 * Whole lot of issues here.
 * @ActionHeroesAreReal: -- do not continue to vandalize the article by making undiscussed removals of sourced content without consensus. Your claims of "original research" are inappropriate given the reliable sourcing of the content you're removing. Do not edit war further on this article.
 * @Pier1999: --your academic credentials are irrelevant here. Wikipedia is an encyclopedia that anyone can edit, and they need no titles, qualifications, or expertise to do so. Your behavior above is a gross display of ownership over an article -- you do not have any authority to tell someone that they may not edit a page without your consent, nor are you entitled to use your personal credentials as a bludgeon in an argument. Additionally, your spamming of several comments in a row is aggressive and unhelpful. Knock it off Pier1999 (talk) 14:36, 13 July 2024 (UTC)
 * Administrators don't adjudicate content. Take it to WP:DR, and stop using the article to argue about it.  Acroterion   (talk)   14:37, 13 July 2024 (UTC)
 * And he wrote to both of them to follow the rules when the page would be editable again. In fact, I am no longer holding that behavior, while the user continues to edit those parts of the page without meaning to. Pier1999 (talk) 14:38, 13 July 2024 (UTC)
 * The administrator and all the editors of the page have already made it clear that the page is fine, there is no longer a dispute, it is vandalism. I, following the administrator's suggestions, have finished acting that way. While the user continues to edit that part that the administrator said not to edit. This is the fact, the administrator told us that if this happened, we should address this section of Wikipedia Pier1999 (talk) 14:41, 13 July 2024 (UTC)
 * Administrators acting as administrators do not get to decide questions of content. Administrators are also editors, and so can edit articles and take positions on the content of articles, but cannot use their admin tools to control content. Administrators can, however, take action to deal with problem behavior, such as vandalism, edit-warring, etc (but note that problem behaviours are described in various policies and guidelines, and may not be what you think they are). You need to work out differences about content with other editors. preferably on the article talk page. Do not expect admins to help you prevail in a content dispute. Donald Albury 16:15, 13 July 2024 (UTC)
 * @Swatjester wrote:"do not continue to vandalize the article by making undiscussed removals of sourced content without consensus. Your claims of "original research" are inappropriate given the reliable sourcing of the content you're removing. Do not edit war further on this article." He wrote this to that guy who always edits the page. Pier1999 (talk) 16:39, 13 July 2024 (UTC)

Should talk pages of header subpages be redirected here?
I found it surprising that redirects to Wikipedia talk:Administrators' noticeboard, but  and  don't.

Should these talk pages of header subpages for AN and ANI be redirected to WT:AN? There are no talk page archives there, which makes creating these redirects easier. The older discussions could there be archived to archive pages here. The latest one is Archive 17, but time-wise more appropriate earlier archives could be found. —andrybak (talk) 19:19, 17 July 2024 (UTC)


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List of Canadian courts of appeal

List of final courts of appeal in Canada. For details on the court system, see Canadian court system.

Canada
Supreme Court of Canada

Federal courts
Federal Court of Appeal

Court Martial Appeal Court of Canada

Alberta
Alberta Court of Appeal

British Columbia
Court of Appeal for British Columbia

Manitoba
Manitoba Court of Appeal

New Brunswick
Court of Appeal of New Brunswick

Newfoundland and Labrador
Court of Appeal of Newfoundland and Labrador

Northwest Territories
Court of Appeal for the Northwest Territories

Nova Scotia
Nova Scotia Court of Appeal

Nunavut
Court of Appeal of Nunavut

Ontario
Court of Appeal for Ontario

Prince Edward Island
Court of Appeal of Prince Edward Island

Quebec
Cour d'appel du Québec

Saskatchewan
Court of Appeal for Saskatchewan

Yukon
Court of Appeal of Yukon

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

title: List of Canadian courts of appeal


text:
Edu (footballer, born 1978)

Eduardo César Daud Gaspar (born 16 May 1978), known as Edu, is a Brazilian former professional footballer who is the sporting director of Premier League club Arsenal. As a player, he was an attacking and central midfielder, and played for Corinthians in Brazil, Arsenal in England, and Valencia in Spain across a twelve-year career.

Edu played for the Brazil national team from 2004 to 2005, making fifteen appearances.

Early career
Edu started his career in Série A with Corinthians. While with Corinthians, Edu won the 1998 and 1999 Brasileiro championships, and the 2000 FIFA Club World Championship.

Arsenal
After initially planning to join Arsenal in 2000, his transfer was put on hold after it was realised that he was in possession of a fake Portuguese passport. Months later, after qualifying for a European Union (EU) passport (aided by Italian lineage on his father's side), he signed for Arsenal on 16 January 2001 for £6 million. He had a turbulent time early on as his sister was killed in a car accident.

His Arsenal debut came in 2001 in a goalless draw tarnished by an injury after 15 minutes against Leicester City. He had replaced Freddie Ljungberg at half time only to be replaced by Dennis Bergkamp minutes later. It was an unfortunate start and he only managed to play in four more matches for the club during that season, one of which was a 0–3 defeat at home to Middlesbrough in which he contributed an own goal. His first goal for the club came against Grimsby in the League Cup on 27 November 2001. He went on to make a substitute appearance in the 2002 FA Cup Final as Arsenal emerged victorious. He also contributed 14 league appearances, and a goal against Aston Villa, as Arsenal won the 2001–02 Premier League, with Edu becoming the first Brazilian to win the Premier League.

In 2002–03 Edu made 18 appearances in the Premier League and featured heavily as Arsenal got to the FA Cup final for the third year running. Edu scored in Arsenal's fifth round win against Manchester United at Old Trafford, however injury issues in the latter part of the season meant he was left out of the squad for the final.

2003–04 season in midfield for Arsenal was seen as his finest season so far in football, he was part of the team which went 49 games unbeaten, (the whole 2003–04 Premier League season without defeat). He appeared in 30 League games and scored 2 goals, both against Chelsea, he scored the fourth of Arsenal's 5 in a 5–1 historic win against Inter Milan in the UEFA Champions League in November 2003, he made a career high 48 appearances and 7 goals for Arsenal in all competitions. Edu was on the pitch as Arsenal clinched the 2003–04 Premier League title at White Hart Lane on 25 April 2004. During the season, he made his 100th appearance for Arsenal.

Edu enjoyed mixed fortunes in the 2004–05 season. He missed the start of the season because he was away with Brazil at the Copa América. This was followed by speculation over his future at the club as he was in the last year of his contract with Arsenal. Talks with Valencia of Spain in January 2005 failed as the Mestalla outfit were not able to pay the fee Arsenal demanded.

Edu only scored two goals for Arsenal in 2004–05, both coming in May – one was a fine chip in the 2–0 away win at West Bromwich Albion, and the other a penalty kick in a 7–0 win over Everton. He did however come on as an extra time substitute as Arsenal won the 2005 FA Cup Final.

Valencia
In May 2005, it was confirmed that he would leave Arsenal in the summer on a Bosman ruling free transfer. Valencia, Juventus, Inter Milan, and Barcelona were hot favourites to secure the signature of Edu, and on 30 May, Valencia announced it had signed him to a five-year deal. Shortly after signing, Edu suffered a pre-season injury that ruled him out of first-team action until 4 April 2006, when he made his debut in the 5–3 victory over Cádiz. On 3 July 2009, the Brazilian midfielder left Valencia through contractual termination.

Corinthians
After being released in Spain, Edu signed a contract with his former club Corinthians on 6 August 2009, which was to last until 31 December 2011. After playing four matches during the 2010 season, his contract was terminated by mutual consent, and Edu announced his retirement from professional football.

International career
Edu initially considered playing for the England national team upon gaining a British passport as he did not think he would be picked for Brazil. He finally got a call-up to the Brazil national team in 2004 and made his debut on 28 April 2004 in a friendly match against Hungary. He played for them in the 2004 Copa América and 2005 FIFA Confederations Cup, which were both won by Brazil. In the final of the Copa América 2004 he scored one of the penalties in the shootout as Brazil defeated Argentina.

Post-playing career
On 17 March 2011, Corinthians announced that Edu would take over from William Machado as the club's director of football. He also assisted Carlos Queiroz's Iranian national team during the 2014 FIFA World Cup. From 2016 to 2019, he was the general coordinator of the Brazil national team.

On 9 July 2019, it was announced that Edu had become Arsenal's first-ever technical director. The club's director of football, Raul Sanllehi said: "We're very excited that Edu is joining the team. He has great experience and technical football knowledge and most importantly is a true Arsenal man. He understands the club and what we stand for to our millions of fans around the world." On 18 November 2022, Edu was appointed as Arsenal's first-ever sporting director.

Media
Edu was involved in the Amazon Original sports docuseries All or Nothing: Arsenal, which documented the club by spending time with the coaching staff and players behind the scenes both on and off the field throughout their 2021–22 season. He was also involved in All or Nothing: Brazil National Team.

Honours
Corinthians
 * Campeonato Brasileiro Série A: 1998, 1999
 * FIFA Club World Championship: 2000

Arsenal
 * Premier League: 2001–02, 2003–04
 * FA Cup: 2001–02, 2004–05
 * FA Community Shield: 2002

Valencia
 * Copa del Rey: 2007–08

Brazil
 * Copa América: 2004
 * FIFA Confederations Cup: 2005

Individual
 * Premier League Player of the Month: February 2004

title: Edu (footballer, born 1978)


text:
Sensurround

Sensurround is the brand name for a process developed by Cerwin-Vega in conjunction with Universal Studios to enhance the audio experience during film screenings, specifically for the 1974 film Earthquake. The process was intended for subsequent use and was adopted for four more films, Midway (1976), Rollercoaster (1977), the theatrical version of Saga of a Star World (1978), the Battlestar Galactica pilot, as well as the compilation film Mission Galactica: The Cylon Attack (1979). Sensurround worked by adding extended-range bass for sound effects. The low-frequency sounds were more felt than heard, providing a vivid complement to onscreen depictions of earth tremors, bomber formations, and amusement park rides. The overall trend toward "multiplex" cinema structures presented challenges that made Sensurround impractical as a permanent feature of cinema.

Sensurround helped bring wider recognition to established loudspeaker manufacturer Cerwin-Vega, and aided in establishing a strong reputation for new audio amplifier company BGW Systems. The increased awareness of extended low-frequency sound reproduction that Sensurround brought to film audiences was a factor in the increase in subwoofer sales and in the rise in the number of subwoofer designs in the late 1970s and 1980s.

Original design
Sensurround involved the installation of large, low frequency, horn-loaded speakers which contained specially designed 18-inch Cerwin-Vega Model 189 ES drivers in custom black wood cabinets. Three horn configurations were available, Model-C (Corner), Model-W (Folded Bass Bin) and Model-M (Modular). The Model-C and -M horns required stacking in groups of four, increasing effective horn mouth size to achieve the low frequency target. They came with special extenders used to widen the mouths of the horns and take advantage of the theater walls to further increase low frequency extension. The Model-M horn had a dedicated "Mouth-Extender" available when it was used in the front of the theater. While installation was customized and varied in each theater, the Sensurround horns were typically placed beneath the screen in front and in the back corners of the theater. Often, rows or sections of seats would have to be removed to make room for the large Sensurround horns. In large theaters, up to 20 individual horns might be used along with custom-built bat wings and mouth extenders.

The original Sensurround design used for Earthquake employed a pseudorandom noise generator, designed by D. Broadus "Don" Keele, Jr., to create the low-frequency rumble, using recordings of the 1971 Sylmar earthquake as a reference. Two low frequency control tones were printed on the film's mono optical or magnetic track; from the projector, the tones entered a control box in the projection booth, which fed low frequency pseudorandom noise to 1,600 watt BGW 750 audio amplifiers driving the speakers. The control box generated a pseudorandom noise signal with energy between 17 and 120 Hz. The control track method was employed because there was no way to accurately record bass lower than 40 Hz on an optical or magnetic film soundtrack at the time. When receiving the noise signal, the amplifier and subwoofers responded with sound pressures ranging from 100 dB to 120 dB. The resulting rumble could be felt by audience members as well as heard.

For the film Earthquake, Sensurround was activated during the quake scenes to augment the conventional soundtrack. In addition, portions of the main soundtrack were redirected to the Sensurround horns to create a partial surround sound effect. The control tones recorded on the film's optical or magnetic track triggered the rumble or surround sound effects as well as controlling their volume and the overall blend of the main soundtrack and low frequency noise effects. Two tones of 25 Hz and 35 Hz were used: these two tones allowed different effects to be activated when desired: the rumble could be turned on or off in the Sensurround horns, the main soundtrack could be sent to the Sensurround horns, the level of both the rumble and the soundtrack coming from the horns could be varied by varying the level of the control tones and the theater's main audio system could be increased in level by up to 8 dB at select points to create a greater dynamic range (MCA called this the "Step-Gain" function.)

For the original version of Sensurround, prints were available in the following formats:

 * 35mm 4-Track Magnetic with Optical Track (magoptical): This type of Sensurround print was not usable as a mono optical print. Unlike standard magoptical prints, in which the optical track was a mono version of the magnetic stereo tracks, the optical track on magnetic Sensurround prints contained only the control tones. If played as a standard optical print, only the 25 Hz and 35 Hz control tones would be heard. To control the Sensurround System and its volume levels, control tones recorded on the optical track varied from −14 to −6 dB below 100% modulation and activation of the Sensurround System occurred at −16 dB. For program sounds applied to the Sensurround Horns, Track-2 (Center Front) was used, with its level and timing controlled by the 25 Hz control tone. For magnetic playback in mono, Track-2 (Center Front) could be used because Earthquake was mixed with mono dialogue, unlike most stereo films up to that time. For 4-Track equipped theaters that wanted to run Earthquake without Sensurround, the standard 12 kHz CinemaScope switching signal was recorded on Track-4 (surround).  Because no noise reduction system was used on magnetic prints at the time, and due to the lower technical performance of the surround channels magnetic track, this switching system was implemented by 20th Century Fox during CinemaScope's development to reduce the hiss and system noise heard from the surround speakers. For Earthquake run in the United States, the surround speakers were disconnected and the Sensurround system was relied upon to produce all the surround sound effects; Track-4 was not used nor even connected to the Sensurround Integrator.  In Europe, the surround track was used in the normal manner, being controlled by the Sensurround Integrator like the other magnetic channels.
 * 35mm Mono Optical: These were dual-purpose prints and could be used either with or without Sensurround. The optical track was a composite mix of the program and the control tones and were compatible with any optical playback system. All mono mixes of the Earthquake soundtrack contain the control tones. To control the Sensurround System and its volume levels, control tones recorded on the optical track varied from −28 dB to −20 dB below 100% modulation.  Activation of the Sensurround System occurred at −30 dB. For program sounds applied to the Sensurround Horns, the composite mono soundtrack was used, with its volume and timing regulated by the 25 Hz control tone.
 * 70mm 6-Track Magnetic Stereo: The Sensurround Control Tones were recorded on Tracks 2 and 4 and are 100 Hz instead of 25 Hz and 35 Hz. This was because the magnetic system could not reproduce the very low-frequency control tones reliably. The 100 Hz tone on Track-2 controls the program effects applied to the Sensurround Horns and the 100 Hz tone on Track-4 controls the rumble effect applied to the Sensurround horns.  Like the other systems, the level of the 100 Hz tones varies the levels applied to the Sensurround horns and when both control tones are present, the Step/Hi-Gain function is turned on to increase the dynamic range of the main program by 8 dB. Track-3 (Center Front) is applied to the Sensurround system for program sounds.  No other signal is recorded on Tracks 2 and 4.  70mm Sensurround prints were issued only outside of the US.  In addition, Earthquake was the only Sensurround film recorded in stereo or issued with 70mm prints.  All other Sensurround films were 35mm mono optical in the Sensurround Mod-II or Mod-III format.

Sensurround Mod-II
Even before Earthquake ended its theatrical run, MCA began a program to re-engineer the Sensurround system to enable the recording of the deep bass on a standard 35mm optical soundtrack, with no external rumble generator being required, as well as improve fidelity and the overall effect and to simplify the system. In addition, dbx Type-II noise reduction was incorporated to increase the dynamic range and reduce audible noise created by the optical process. MCA also changed the way the control tones were used, allowing the Sensurround horns in the front and back of the theater to be controlled independently. This allowed for more creative effects, such as a sound being panned from front to back of the theater. Re-engineering the system was important to MCA because there were times during dialogue sequences when the sound mixers wanted the Sensurround running but did not want the dialogue to shift to the back of the theater. Having separate control of the front and back groups of Sensurround horns allowed this. The drivers in the Sensurround horns were improved to extend their frequency response higher so they could reproduce the low notes in music, thus allowing sound mixers to incorporate music into the Sensurround system (this was used to good effect in Rollercoaster.) Advancements by RCA in optical soundtrack recording led MCA engineers to the realization that an optical track could reliably record and reproduce bass down to 10 Hz. As well, removal of the Academy equalization would allow the high frequency response to be extended upward by an additional octave. The addition of dbx Type-II noise reduction and its attendant increase in useful dynamic range created a high-fidelity sound from a conventional optical print. MCA called this re-engineering of the system "Sensurround Mod-II" and the market name of the system was changed from just "Sensurround" to the "Sensurround Special Effects System".

Unlike the original version of Sensurround, Mod-II (and later, Mod-III) were only for use with mono optical soundtracks. Due to the use of dbx Type-II noise reduction, MCA eliminated the standard Academy Filter traditionally used on optical prints, thus giving Sensurround an increased frequency response of 16 Hz to 16 kHz and a dynamic range of 86 dB, superior to 70mm magnetic prints of the time. It also allowed a mono optical track to have surround sound effects and MCA began to market the system to other studios and producers as a truly high-fidelity sound and special effects system. Dolby Stereo optical was just beginning to become known in the industry and MCA felt they had a viable competing format. While Warner Bros. and Paramount seriously considered adopting the system, in the end only Universal Studios ever released films using the process. Both Warner and Paramount later patented their own "special effects" systems to create Sensurround-type effects.

Sensurround Mod-III
Mod-III Sensurround was a further refinement of the system to allow more control over level, timbre and placement of effects. Instead of a simple wide-range rumble that could be felt and heard, Mod-III used more narrow band extended low frequency effects in the 16–25 Hz range, in addition to the higher frequency program sounds and surround-sound effect. Thus, scenes could have dialogue and other audio at standard levels, plus the effect of movement from the infrasonic rumble, creating sensations that had not been possible in earlier Sensurround films. Mod-III Sensurround was used in Battlestar Galactica in 1978.

By 1976, when Midway opened, there were over 800 theaters with Sensurround capability in the US. Worldwide, there were over 2000 Sensurround theaters. During the initial design of the system MCA figured it would be installed in a limited number of theaters across the US—perhaps 30 in all—and that smaller theaters, or theaters in small towns, would not want to bother with the installation or the loss of seating capacity necessitated by the large Sensurround horns. This was quickly disproved: Earthquake premiered with 17 Sensurround installations and by the end of its run over 400 theaters had shown the film in Sensurround. Midway opened with 300 Sensurround-equipped theaters. At first, MCA only rented Sensurround to theaters at a cost of $500 per week, but by the opening of Midway, theaters could purchase the systems outright and MCA had begun to ship the Model-M horns to theaters un-assembled. Theater owners also had the option of purchasing only the Cerwin-Vega drivers and horn cabinet blueprints, buying the wood and making the horn cabinets themselves. MCA made these changes due to the success of the system and because the shipping costs of the heavy Sensurround horns were becoming very expensive.

Throughout the history of the Sensurround program, RCA Technical Services performed the theater installations and maintenance. If repairs or replacements were required, the RCA technicians contacted MCA Systems to order needed parts. Because control tones were used to trigger the Sensurround horns, theaters could not generally use the system with their standard films unless a rewiring was done.

Awards
In 1974, Waldon O. Watson, Richard J. Stumpf, Robert J. Leonard and the Universal City Studios Sound Department received a special Scientific and Engineering Academy Award for "the development and engineering of the Sensurround System for motion picture presentation". The film Earthquake also won an Academy Award for Best Sound (Ronald Pierce, Melvin M. Metcalfe Sr.).

In 1976, MCA was granted for the Sensurround system.

Drawbacks
Sensurround speakers involved expense for theater owners. Rental for speakers cost $500 per week in 1974 and their installation involved the removal of some seats. The extra expense was commercially justifiable as long as it appeared to provide an advantage in drawing audiences.

Sensurround made Earthquake a popular "event" film in 1974 and one of the year's highest-grossing films. Sensurround presented practical challenges, though, in multiplex cinemas where separate theater spaces shared walls. Audiences for The Godfather Part II, which opened the same month (November 1974) as Earthquake, often complained to theater managers about the Sensurround effect when Earthquake was shown in an adjoining theater. The low-frequency vibrations rattled tiles and plaster, too, leading to damage in some venues; a safety net was installed at Mann's Chinese Theatre in Hollywood to catch errant pieces of plaster falling from the ceiling. When Earthquake was screened in Chicago, the head of the Chicago Building and Safety Department demanded that the system be turned down or removed to prevent damage to city theaters. In Germany, Sensurround movies could only be screened in single-screen houses. Subsequent Sensurround films, such as Midway, also tended to play in single-screen cinemas.

The success of Star Wars over Rollercoaster in the middle of 1977 demonstrated to theater operators the limits of Sensurround as a guarantor of audience draw. Battlestar Galactica: Saga of a Star World (1978) and Mission Galactica: The Cylon Attack (1979) marked the final bows of Sensurround, though Alien, a 20th Century Fox film, would see a limited release in 70mm Sensurround.

Competing processes
The success of Sensurround as an effect led rival studios to develop their own audio enhancements. 20th Century Fox released Damnation Alley (1977) in (and mixed Alien in Sensurround following Sound 360's failure), and Warner Brothers employed their Megasound process for Altered States (1980), Outland (1981), Wolfen (1981) and Superman II (1981).

Cultural references
The alternative pop/rock band They Might Be Giants released a song titled "Sensurround" that was incorporated in the soundtrack to Mighty Morphin Power Rangers: The Movie and (in a different, faster-paced recording) their EP S-E-X-X-Y. The song makes several references to the innovation, especially as used in Earthquake.

In the 1993 film Matinee, Mant!, Matinee's film-within-a-film, was filmed in "Rumble-Rama", an unsubtle nod to Sensurround.

The Sensurround process is parodied in the 1979 film Kentucky Fried Movie in a sketch in which the fictional film See You Next Wednesday is screened in "Feel-Around", whereby a uniformed usher touches the viewer in time with the action on the screen, including assaulting and kissing them.

title: Sensurround


text:
Perkins Observatory

Perkins Observatory is an astronomical observatory in Delaware, Ohio. It is owned and operated by Ohio Wesleyan University.

In 1931 it had the third largest telescope in the World; the 69 inch aperture Perkins telescope came online at this observatory. The mirror was the largest cast in the United States up to that time, and it was made by the United States National Bureau of Standards.

In the 1930s this observatory also started periodic document release called The Telescope, featuring results from the telescope but grew to include other astronomical information.

The University partnered with Ohio State University in 1935, to help run the big telescope and the agreement lasted for almost seven decades. In the 1960s the telescope was moved to Arizona, USA for better viewing conditions, and fitted with new larger mirror. Nevertheless, the Observatory continued to be a hub of astronomical activity in the region and for the University.

In the 21st century the Observatory supports various public and academic astronomical activities and is a source for information such as NEO flybys in the community.

Early history
The observatory is named for Hiram Perkins, a professor of mathematics and astronomy at the Ohio Wesleyan University in Delaware, Ohio from 1857 to 1907. A devoutly religious Methodist and a man of deep convictions, he was also known as an uncompromising and demanding instructor.Perkins' believed that “The public should have an opportunity to see with a great telescope the objects such an instrument reveals and by so doing ‘Learn to love God and serve Him more acceptably.’"

Perkins graduated from Ohio Wesleyan in 1857, just nine years after the university was founded. He was immediately offered a position on the faculty. Shortly thereafter he married Caroline Barkdull, a graduate from OWU's Women's College.

In 1861 Perkins temporarily left OWU when the American Civil War began. He intended to enlist in the Union Army, but was deemed physically unfit for service. (At 6’4” tall and 97 pounds, his students referred to him as “the human skeleton.”) Perkins then returned to his family hog farm and worked to help feed the troops. (Salt pork was a staple military food at the time.) Applying his mathematical skills to the science of pork production, by war's end he had amassed an impressive (for the time) fortune. After the war Perkins returned to his university teaching position and lived a very frugal life on his small salary. Meanwhile, his shrewd business investments caused his fortune to multiply considerably.

In 1896 Professor Perkins donated the funds necessary to build the first of two observatories to bear his name. It is located on West William Street in Delaware, Ohio right next to Hiram and Caroline's former residence. This original “Perkins Astronomical Observatory” later had its name changed to “the Student Observatory” when the second Perkins Observatory was built a quarter century later.

Perkins's marriage never produced children. His older sister never married. Therefore, toward the end of his life Perkins realized he had no living relatives to whom to leave his fortune. Retiring in 1907, Professor Perkins applied himself to the creation of “an astronomical observatory of importance.” It was his desire that this second observatory be a place where cutting-edge research could be conducted. It took 15 years to find an appropriate location and secure the necessary funding (Perkins himself provided about $250,000, the equivalent of roughly $3.8 million dollars in 2019, of the approximately $350,000 budget).

Construction began in 1923 with the frail 90-year-old professor as Guest of Honor at the groundbreaking ceremony. Within a year, however, both Hiram and Caroline Perkins had died. Neither saw the completion of the new observatory.

The building features a reproduction of Robert Le Lorrain's (the original article in 'Popular Astronomy' misidentified him as Robert de Lorain) "Apollo Watering the Horses of the Sun" over the front entrance and a frieze of antique marble panels around the building bears the names of seventeen astronomers:

The building and telescope mount were completed in less than two years. The work was done by the Warner and Swasey Company of Cleveland, Ohio. (Warner and Swasey also built other observatories and telescopes, including Yerkes Observatory near Chicago, Theodore Jacobsen Observatory in Seattle, Washington, McCormick Observatory in Charlottesville, Virginia, and (of course) the Warner and Swasey Observatory in Cleveland, Ohio.) The building included a lecture room, library, office space, walk-in vault, small bedroom for visiting astronomers, and spacious work rooms and metal fabrication shops.

However, Professor Perkins had stipulated that the telescope mirror be cast in the United States. At this time no U.S. companies had experience in casting such a large mirror, so the National Bureau of Standards agreed to take on the project. It can be argued that casting of this mirror launched the optical glass industry in the United States.

The first four attempts to cast the mirror were unsuccessful. The fifth attempt, using a different technique, created a 69 in blank (somewhat larger than originally intended). Three years of grinding and polishing followed. When installed in the telescope mount in 1931, it was the third largest mirror in the world. (Prior to installation of the 69 in mirror, the observatory used a 60 in mirror on loan from Harvard University.)

OSU era
Early on it became apparent that the Ohio Wesleyan University simply did not have the staff or expertise necessary to operate one of the world's most important observatories. In 1935 a cooperative agreement was reached with the Ohio State University in Columbus, Ohio to staff and operate Perkins Observatory. For the next 63 years, for most practical purposes, the observatory belonged to OSU.

The following three decades were Golden Years for Perkins Observatory. The remote skies were dark (if somewhat cloudy). Famous astronomers from around the world traveled to central Ohio to use the large telescope. Important meetings of professional and amateur astronomers were hosted on site. The library collection grew to include many rare volumes.

Astronomer Philip C. Keenan spent most of his professional life as an astronomer working at Perkins Observatory. (He was employed by the Ohio State University, not Ohio Wesleyan.) Using the 69 in telescope he spent almost 20 years taking spectrographic plates of vast areas of the night sky. In collaboration with William Wilson Morgan of Yerkes Observatory, Dr. Keenan helped to create the M-K System of Stellar Classification. (“M” is for Morgan and “K” is for Keenan.) This is the most common stellar classification system used by astronomers today.

In 1932 the Acting Director of the Observatory Nikolai T. Bobrovnikov began publication of a small in-house magazine known as “The Telescope.” At first this quarterly dealt primarily with research and current events related to Perkins Observatory, but in following issues it expanded its coverage of topics somewhat. In 1941 it merged with another small astronomy magazine known as “The Sky” to create “Sky & Telescope Magazine.”

Another stipulation in Hiram Perkins’ endowment was that observing sessions be open to the public at least once a month.

The radio telescope known as Big Ear was built on Perkins Observatory property and operated from 1963 to 1998. It was famous in part for its work on SETI and the WOW! Signal detected in 1977. This instrument was built and operated by the Ohio State University.

OSU had been given a 12.5 inch aperture refractor and observatory in 1895, the McMillin Observatory, however they gave the telescope away in the 1960s and razed the old observatory in 1976.

Perkins - the difficult years
Central Ohio is not, as it turns out, a particularly good location for an astronomical research telescope. The low elevation and generally cloudy weather conspired to frustrate most astronomers using the 69 in telescope. More troublesome, the cities of Columbus, Ohio to the south and Delaware, Ohio to the north were both growing. Light pollution therefore became increasingly problematic. So in 1961 the Perkins Telescope was moved to Lowell Observatory in Flagstaff, Arizona.

Lowell is the largest private observatory (non-university or government affiliated) in the world. Through the end of the 20th century, the Perkins Telescope was the observatory's largest instrument. Observing time on this instrument was shared between Lowell astronomers and the Ohio State University.

The 69 in telescope at Perkins was immediately replaced with a 32 in cassegrain reflector telescope. It was donated by Michael R. Schottland, an entrepreneur from Martinsville, Virginia. At that time it was the largest privately owned telescope in the United States. Currently it is one of the three largest telescopes in Ohio.

In 1964, three years after the Perkins Telescope arrived at Lowell Observatory, the 69 in mirror was replaced. A new 72 in mirror made of a more modern material was installed in the old mount. The old 69 in mirror was loaned to COSI in Columbus as an exhibit. (Eventually the 69 inch was returned to Perkins by the year 1999)

Part of the arrangement between OSU, OWU, and Lowell Observatory called for Ohio State to continue to fund operations at Perkins Observatory. This included maintaining the building, the library, and the monthly public programs. However, over the following decades, without a research instrument on site, interest in Perkins Observatory within the Ohio State University Astronomy Department declined. The on-site staff shrank until there was just a part-time secretary and a building superintendent who had only a small maintenance budget. Few of the observatory's Directors (employees of OSU) spent much time at the observatory. There was not even enough money in the budget to maintain subscriptions to prominent astronomy magazines for the Observatory's library.

For some years a small dome detached and separated from the main observatory building housed a 0.6-meter f1.8 Schmidt telescope. In 1990 this instrument was moved to Lowell Observatory and extensively refurbished using funding from NASA. In 1993 this new instrument came online as the LONEOS system to detect near-Earth asteroids. However, at the time Perkins Observatory received no compensation for use of this instrument.

At Ohio Wesleyan University, unfortunately, interest in Perkins Observatory also waned. Little concern was shown toward maintaining the historic property. An endowment fund of approximately $90,000 left by Hiram Perkins in his will (intended to fund observatory operations and the Director's salary) disappeared somewhere into the OWU's general endowment fund. Worst of all, most of the land surrounding the observatory was sold to developers. Of a sizable initial plot, by 1990 only 16 acre remained. (A golf course was built on the sold off property, which later also swallowed up the Big Ear radio telescope.)

Rebirth and reinvention
In the 1990s, Tom Burns, a member of the Columbus Astronomical Society and professor of English at the Ohio Wesleyan University, became Director of Perkins Observatory. He greatly expanded the Observatory's public programs and visibility in the central Ohio area.

A collaborative and mutually beneficial relationship was also established with the Columbus Astronomical Society. (In exchange for monthly meeting space and observatory access the CAS provides volunteer assistance with the many public programs.)

Major repairs to the observatory dome were undertaken, thanks to the profits made from the sale of eclipse viewing glasses for the 1994 solar eclipse. Unused office and storage space was converted into exhibit rooms, a children's play area and a small gift shop. In September 1999 the original 69 in telescope mirror was retrieved from COSI (where it had been sitting in a closet for over a decade) and placed on display.

In 1998 the Ohio State University formally ended its relationship with Ohio Wesleyan University and Perkins Observatory. OSU withdrew from the 1935 agreement so it could apply its financial resources to purchasing time on the Large Binocular Telescope on Mount Graham. The 72 in telescope was sold outright to Lowell Observatory by Ohio Wesleyan. (The proceeds of this sale went into the Perkins Observatory Endowment Fund.) Staff members who were technically Ohio State University employees started receiving their paychecks from OWU.

Current use
Currently, regular observing programs are held almost every Friday and Saturday night throughout the year. Programs are held on other evenings and during the day by special appointment. A monthly lecture series detailing various current topics in astronomy is ongoing. Occasional special events (like telescope fairs, celebrity guest lecturers, and viewings of unusual astronomical events) are also sponsored and organized by Perkins. (Thousands of people visited the observatory to see comet Hale-Bopp in 1997. Each time a notable solar eclipse is visible from Central Ohio, several thousand pairs of eclipse glasses are distributed and educational school programs scheduled. Ed Krupp, Director of Griffith Observatory and John Dobson, inventor of the Dobsonian telescope, have both visited and lectured at Ohio Wesleyan thanks to Perkins sponsorship.)

Perkins Observatory is now the most visible and most reliable source of information related to astronomy and space exploration in central Ohio. Television stations, newspapers, other local science museums, and members of the general public rely on Professor Burns and his staff to answer questions, provide perspective, make media appearances and dispel astronomical misconceptions.

Near-Earth object flyby
In 2019, Perkin Observatory was noted for pointing out the flyby of the Near-Earth asteroid 1999 KW4 (66391 Moshup) by a local radio station. They recommend viewing it with at least a 8-inch aperture telescope, and that it would be about 3 million miles away from the Earth during its flyby. The asteroid will not return until 2036.

Challenges
Perkins Observatory faces many challenges as it begins the 21st Century.

Like many public institutions without government support, Perkins faces funding limitations. Although the Ohio Wesleyan University is very supportive, it cannot by itself provide adequate monies for staff, program expansion, or maintenance on the historic building. (An endowment fund has been established, and donations are accepted.)

Since the observatory was constructed 1923–1931, it experiences many maintenance challenges typical of older, historic buildings. Costly repairs and heating and cooling expenses eat into the limited budget. Also, handicapped accessibility was not a concern in the 1920s. Retrofitting the building for public use while keeping its unique architectural identity has proved to be difficult, costly, and time-consuming.

The most troublesome challenge that Perkins Observatory must now deal with is the increasing effect of light pollution. The city of Delaware is expanding from the north while Columbus expands from the south. Although lighting regulations exist which cover the surrounding area, enforcing compliance is a constant struggle. Observatory staff recognizes that the day is coming when observation of deep sky objects will no longer be possible from the site.

The 69-inch Perkins of 1931
The 69-inch Perkins was the 3rd largest telescope in the World when it came online in 1931.

 * Contemporaries at first light:

In 1961 the telescope was moved out from Perkins Observatory, and eventually the 69 inch mirror was put in a museum. The 69 inch was replaced with a new 72 inch mirror in the 1960s, which is why it was later called the 72 inch Perkins, not the 69 inch.

It was featured in a telescope exhibit at one point, but was eventually walled in a closet and thus not available for viewing. The mirror was returned to Perkins observatory by 1999, and was put on display. The mirror was the first large mirror cast in the United States and probably the third largest telescope mirror in the World when it came into use in 1931. The mirror blank weighed 3000 pounds and was cast in 1927 by the United States Bureau of Standards. It needed 8 months to cool properly.

The Perkins telescope, with the 72 inch mirror, was sold to Lowell Observatory in 1998. The evolved version of the Perkins is located at Anderson Mesa in Arizona, where it is now used by that Observatory and other universities.

title: Perkins Observatory


text:
Talk:Shmoo

Rumbumbo
Contrary to the article as it stands, there was at least one other Li'l Abner story featuring Schmoon. I believe it was the one with a pair of them as the "Ultimate Weapon" possesed by General Rumbumbo. He used them to hold the USA ransom, Dr. Evil style. Abner was trained to destroy them, but never got the chance, as Rumbumbo deployed them via bomber aircraft. They never reach the mainland, however, as the Schmoon reproduced in the hold and overloaded the plane, bringing it down in the ocean. Abner notes that their last act was, once again, sacrificial in nature - very Schmoo-like. —Preceding unsigned comment added by 86.130.81.225 (talk) 04:09, 16 September 2007 (UTC)

An anon user, as their only edit, added the text "In Australia shmoo is a commonly used slang for the clitoris". I am moving this to talk pending confirmation that this is common slang from our Australian editors. -- Infrogmation 06:59, 10 Dec 2004 (UTC)

Im from melbourne, and i've never heard that expression.

I remember to some degree the Hanna-Barbera cartoon from the 1980's and am trying to recall the names of the teenagers who accompanied the Shmoo on his adventures, I believe they were Mickey, who was somewhat nerdy,; Nita, a pretty latina,; and Billy Joe, who was a big blond guy probably from the south. However as it was a few decades ago this info might not be accurate. Does anyone else recall that cartoon?-Griffonclaw —Preceding unsigned comment added by Griffonclaw (talk • contribs) 21:32, 23 January 2010 (UTC)

I have hazy memories of a show called The New Schmoo as well. sjorford →•← 21:54, 23 Mar 2005 (UTC)

Shmoo image
The entry as it stands desperately needs an image, preferably a cartoon drawing from the strip. The previous scan (of two happy shmoos emitting hearts above their heads) was removed for unspecified reasons. Can someone find and post a suitable image for this article, from among thousands of shmoo drawings? --[User:Rackinfrackin] 10:22, 5 November 2009 (UTC)

The above post is obsolete. Just what the doctor ordered, thanks to Pepso2. --[User:Rackinfrackin] 16:42, 29 November 2009 (UTC) —Preceding unsigned comment added by 71.134.157.5 (talk)

Shmoo and Spoo
Is it possible that the Happy, Friendly, helpful Schmoo evolved into pasty, mealy, sighing Spoo, the depressing delicacy farmed across the Galaxy in Babylon 5?

Sure, why not.

Sustenance
The lead paragraph now reads "They require no sustenance of any kind." If I recall correctly, they were described as living on air. -- Infrogmation 15:33, 26 March 2006 (UTC)

Reasons for Destruction
The article here gives the distinct impression that the destruction of the Schmoos was purely due to government propoganda, not any real danger the Schmoos posed to society. However, the other commentaries I've seen on this all seem to say that Al Capp meant them to be dangerous, in a paradoxical way. Most importantly, I've seen it claimed that Ol' Man Mose in the strip said they were dangerous. Ol' Man Mose doesn't sound like a government propagandist; it sounds a whole lot like Al Capp trying to drive a point home. Does anyone have any sources that would shed light on this?

My source for the previous is http://www.deniskitchen.com/thestore/bios_shmoo.html. Better sources should be used, I think. -HappyMan250.1 User:68.50.195.159 03:42, 9 August 2006 (UTC)
 * The schmoos were Capp's catch-all satire on any social phenomenon that supposedly took away people's incentive to do for themselves. It's hard to tell for sure which side of the welfare state issue he was satirizing, as he himself evolved from liberal to conservative to pervert. Wahkeenah 15:19, 1 November 2006 (UTC)

 * You'd have to read the comic strips. Briefly, the old miser, who makes his living selling rotten food to the citizens of Dogpatch goes out of business, because they have shmoos.  He gripes about his problems, all the way up to the big syndicate boss, in a major metropolitan city.  The boss doesn't care, he's about to take his floozy out to dinner, who laments that she has to please her sugar daddy to get herself a steak dinner.  Li'l Abner, appears out of nowhere and gives her a schmoo, even city folk aren't immune to the benefits of a schmoo.  Deprived of his mistress, the boss send the mob to kill every last schmoo.  —Preceding unsigned comment added by 76.233.5.127 (talk) 14:49, 28 February 2008 (UTC)

I seem to recall a late 1960's story arc where the Shmoos were involved with one of General Bullmoose's concerna ("General Dy-De namics") which transformed the Shmoos into "Shimfants"- perfect infant-like creatures.Saxophobia 01:02, 2 January 2007 (UTC)

Plural
Isn't the plural of shmoo, shmoon?
 * No, it's "schmoos". Wahkeenah 01:15, 21 February 2007 (UTC)

Either one is correct. 134.39.153.20 17:37, 9 August 2007 (UTC)

 * I don't think it is "grammatically appropriate" (for lack of a better term) to create an irregular plural for an originally coined word in English. English standard pluralization is to add s to the end of the singular (or es when a simple s creates cacophony) and irregular plurals are only correct when inherent, and most if not all irregular pluralizations predate the modern English convention.  So far I have seen shmoos, shmoon, and shmoo (in the externally linked article from the main article about Shmoo's First Appearance) as plurals.  Using shmoon as a serious plural in the main article looks unprofessional and silly.  I think mention of the shmoon plural should be retained only in reference to the fact that Capp deliberately created an amusing plural, but shmoos should be used in the main article.

Mal7798 (talk) 21:00, 3 January 2008 (UTC)

I'll agree with the above paragraph. Capp himself probably realized his comic plural "shmoon" was confusing to his readers, and rarely used it in Li'l Abner - retaining it only when referring to the "Valley of the Shmoon". Dogpatch residents (never ones to employ correct terms anyway!) invariably referred to the animals in plural as "shmoos" - as did even the urban, incidental characters in the strip. I went back and reread the original stories to make sure. (They're marvelous, by the way.) Capp, ever the satirist, had a finely tuned ear for unusual sounds. He employed playful puns in the shmoo stories - like "smoosical comedy" and "good shmoos tonight", etc. Perhaps Valley of the Shmoon is a deliberate pun on Jack London's novel, Valley of the Moon ? (Capp was exceptionally well-read.) Who knows? It's all academic at this point. Far more problematic (for me, at least) is the mispelled "schmoo" - a spelling which Capp never employed, and seems to be a combination of typos and lazy research. (User talk:Rackinfrackin) 10:00, 15 July 2009 (UTC)

guinea pig
OK, other then the fact that they are kind of roundish and are animals of some sort, what do the schmoos have to do with guinea pigs? (see 'see also' section) —The preceding unsigned comment was added by 202.4.74.65 (talk) 19:27, 26 March 2007 (UTC).
 * I agree. This is an unnecessary reference. At the very least, if guinea pigs have been compared to shmoos anywhere else besides here, it should be explicitly referenced.

SCHMOO
My Mom had a cardboard cutout which you put on a page or something like that where you just see him peeking over the top with his big nose flopped over. She called this a Schmoo. I seem to recall a WWII reference to 'Kilroy was here'. Any more information?

FTL Newsfeed
I don't have any episodes of this stuff on tape, but I seem to remember that the Shmoos were mentioned as a genetically engineered livestock that was named after the ones in the comics books. Anyone got some more info on that to confirm? Sweetfreek (talk) 01:28, 8 March 2008 (UTC)

Boldface
An anonymous editor wrote as an edit summary: first mention of ea. char. in boldface, as per Wiki stardard". Where is this standard? I have never herd of this before. Please explain. Thank you. Ground Zero | t 00:56, 15 April 2009 (UTC)

I find no reference to this style in Manual of Style (writing about fiction) or WP:NOVSTY, so I'm removing the boldface. If anyone wants to restore it, please identify exactly where in a Wikipedia style guide there is support for this style. Thanks. Ground Zero | t 01:26, 3 June 2009 (UTC)

I have made these edits again because they are consistent with the Wikipedia Style as far as I can tell. if anyone can show me that I am wrong, I'll stop making them. User:64.236.243.16's edit summary -- "Undid revision 294073265 meaningless, egotistical changes undone" -- is not helpful, and violates WP:No personal attacks. Ground Zero | t 00:47, 15 June 2009 (UTC)

The analysis is obviously plagiarized or not attributed properly
The analysis section of this article reflects a non-neutral POV because it reads like a literary analysis that has no in-line attributions. Whoever wrote it needs to clarify, or the section needs to be deleted. 76.105.127.213 (talk) 16:14, 12 January 2010 (UTC)

"Obviously plagiarized", yet the above unsigned poster does not bother to indentify (and presumably does not know) the alleged original source? How absurd. Anonymous disputes betray the disputer's courage of his own convictions. In addition, unwarranted attacks - including unsubstantiated charges of plagiarism - are not helpful and violate Wikipedia's own standards. Please do not make scattershot allegations without the slightest evidence - or, if you do, at least have the courage to own up to it by identifying yourself.

"The analysis section of this article reflects a non-neutral POV", yet this point could have been raised without unnecessary tagging. Verbatim from the Wikipedia rule book: "Drive-by tagging is strongly discouraged by Wikipedia. Simply being of the opinion that a page is not neutral is not sufficient to justify the addition of the tag. Tags should be added as a last resort."  Regarding the assertion of POV non-neutrality, links to attributed articles with analyses, questions and/or conclusions about the Shmoo story and/or its subtext - many of which are available on the web from a variety of sites and sources spanning almost six decades - are being provided forthwith. Rackinfrackin | t 16:22, 18 January 2010 (UTC)

Trivia
I think some of the trivia information is quite interesting and would like to see it incorporated into the main body of the article. I've added a trivia tag to point it out to someone who may have some time to do the massaging necessary.--99.21.122.177 (talk) 16:46, 22 May 2010 (UTC)

Please acquaint yourself with Wikipedia's rules regarding unnecessary, drive-by tagging. I will continue to revert your dubious, anonymous edits until you do. talk) 20:34, 31 May 2010 (UTC) —Preceding unsigned comment added by 71.134.52.132 (talk)

Evolution
I will accept the rewording, because apparently somebody doesn't understand that imaginary animals are not real counter-examples and therefore that has to be spelled out. However, it took me a bit of work to find the exact reference to Darwin, and I'd like to save that effort for other readers. TomS TDotO (talk) 14:44, 10 February 2011 (UTC)
 * I prefer to discuss a difference of opinion here in the talk pages rather than engaging in an edit war. But I don't seem to be getting any response from this editor. So I'm asking whether anyone else has an opinion on this. TomS TDotO (talk) 15:32, 10 February 2011 (UTC)
 * The Darwin quote says that an example in which a living feature in one species is completely for the benefit of a different species would be a counter-example to natural selection. The fact that there is a counter-example means that natural selection is "falsifiable". Dennett brought up the shmoo as being such an example, but Dennett did not give an explicit reference to Darwin. I was hoping to help out an interested reader by giving an appropriate reference to Darwin. If you disagree, I can understand. Reasonable people can disagree. TomS TDotO (talk) 17:50, 11 February 2011 (UTC)
 * Does no one want to discuss this? It seems that the only way that I can get any idea of what you object to is if I make a change on the main page. That seems to put me in an impossible situation. I'm ready to talk about this, and, believe me, I can be a reasonable person who can change his mind and compromise or even concede defeat. But what am I to do if no one wants to talk about it? TomS TDotO (talk) 19:00, 12 February 2011 (UTC)
 * I don't know why those who don't like my citation to Darwin don't want to discuss it. It seems that the only way that this can be "debated" is if I make changes to the main article. Therefore, I make an additional citation, this time to Pinker. For those who do not have access to his book, here is the pertinent text: "The discovery of a real-life schmoo [sic] would instantly refute Darwin." TomS TDotO (talk) 15:57, 13 February 2011 (UTC)

Not Old Man Mose
I have made a correction in the section about the first Shmoo story. The old man character who unsuccessfully tries to warn Li'l Abner away from the Valley of Shmoos is not Old Man Mose of the annual Sadie Hawkins Day predictions. Although the two characters have somewhat similar appearances, they are clearly different characters, based on the location of their beards, their faces, and the fact that the former but not the latter carries a staff. Newyorkbrad (talk) 20:44, 12 February 2011 (UTC)

Not obvious
A line reads "His satirical intent should be evident:"... followed by a list of the Schmoo's traits. Well maybe I am dense but it isn't at all obvious to me. Can somebody who knows say what the satirical intent is, exactly? BobThePirate (talk) 20:53, 27 March 2011 (UTC)

First of all, it's Shmoo, not "Schmoo." Wikipedia works best when those with an actual knowledge of the subject edit the pages. Please refrain from editing here again until you have, at the very least, mastered the tricky, one-syllable spelling of the title page. Next, let's assume for the sake of argument that not all life forms on earth subsist on nothing, and devote their entire existence to the service and pleasure of humankind. The story revolves around an absurdly beneficial animal that couldn't possibly exist, one which performs impossible functions such as producing pre-bottled milk and pre-packaged fresh eggs. The animal will happily commit suicide in order to provide a hungry human with nourishment. It seems to me no further explanation of the author's satirical intent is necessary, especially since that author was perhaps one of the widest-read satirists of the 20th century. I've read this story to a nine-year-old child, who immediately "got" it, satirical intent and all. How much clearer does it need to be?168.161.192.16 (talk) 21:52, 30 March 2012 (UTC)

It could be clear to the extent of actually saying what it is. Like, for example, "His intent was to satirise..." followed by whatever it is that it's supposed to satirise. Which I still don't get - okay, the animal is absurdly beneficial. So what? What's satirical about that? I get that it's obvious, to you. Maybe it is to many people. But isn't a description that clarifies it better than one that doesn't? I don't know what these things are supposed to be a satire of, so please, PLEASE can we put it on the page? BobThePirate (talk) 16:23, 30 March 2012 (UTC)

Hmm, reverted again, once more with no reference to the talk page and now with threats. And given how wikipedia works... well, fair enough. It can remain a mystery for the ages. I'm done with the whole thing. BobThePirate (talk) 20:05, 30 March 2012 (UTC)

Bob, I'm also at a loss to understand the angst over this one sentence, which seems perfectly fine to me. I honestly don't think it's mysterious or cosmic for anyone else, but let me try to understand what you're asking:

Are you disputing that the story is satirical? If so, that could hardly be better documented; it's not even something that needs a citation. It'd be like citing that the Shmoo is fictional.

Do you need the story better explained? I'll take a crack at it, it's not terribly dense. The Shmoo is a fabulous gift to mankind, which responds to its purity and goodness with corruption. People argued (and still do) about the precise political message, but that's about all there is to it. If you're able to understand a film like "The Day The Earth Stood Still" (1951, I think), you should be able to get this easily.

If you're wanting all that incorporated into that one particular sentence, that would be a bit awkward, and I think the page already does a fine job of analyzing the story to the extent that's needed. As a compromise, though, we could go with "His satirical intent should be evident (except to BobThePirate)..." (insert Smiley face).Joe Suggs (talk) 21:42, 30 March 2012 (UTC)

I meant simply and exactly what I said; the sentence claims that the satirical intent is "obvious". This, to me, seems to be unencyclopedic language. I know nothing of the Shmoo, had never heard of it till I stumbled on the article, and when I hit that I thought "Um... what's it satirising then?" I have no idea, and the article simply doesn't say. Do I claim that it's not satirical? No, not in the least. I don't have an opinion on the matter - I just want the article to tell people who don't know already what it is supposed to be a satire OF. You say it would be like citing that the Shmoo is fictional? Well the article DOES say that the Shmoo is fictional, right there at the beginning. Almost every article about a fictional thing says so in the very first sentence.

Now I've done everything that wikipedia says one should; I didn't edit the article, I posted here asking for somebody knowledgeable to expand on it a little. All I had in mind was that somebody would say "The author's intent was to satirise capitalism" (or whatever the hell it is supposed to satirise). Nobody troubled themselves to respond; not to modify the sentence, not to put something in the talk page discussing the idea. A simple absence of interest. So after waiting a while, I removed the sentence. It seemed to me that it would be better not to have such a thing at all than to have it the way it is.

I was then reverted without explanation. I again waited a decent interval, hoping somebody would come here, read the talk page, and address the issue. No such luck, so I remove it again. And am reverted again, with insults, accusations of disruption, and ominous talk of invoking moderators.

I've done nothing that wikipedia doesn't recommend that editors do. I've been polite, reasonable, used the talk pages, refrained from "edit wars", acted in good faith and taken others as acting in good faith.

In return I've been belittled over a typo, attacked over my contribution history, insulted, and practically threatened. But I'm the bad one here, for the heinous crime of asking that an unclear sentence be clarified. What a lovely way to run things around here. BobThePirate (talk) 19:20, 2 April 2012 (UTC)

Bob, I said that it would be like citing that the Shmoo is fictional, not stating it. No citation is needed to verify things that are extremely obvious and objectively true. In this case, the author himself, Al Capp, discussed the Shmoo story as satire several times when asked about it, so objectively, it's satire, and that satire was his intent is obvious in that it was universally received as satire from 1948 onward. (Again, this is too obvious to require citation, especially since response to the story and interpretation of it are well-covered elsewhere in the article).

Furthermore, satire was Capp's widely recognized form- he was often compared to Johnathan Swift, whose satiric intent- forgive me- was also obvious. That's not to say that his exact satiric message was obvious, nor was Capp's. But the satiric intent was obvious.

Maybe that helps, but I've become doubtful that this can be explained to your satisfaction as the issue seems to have become personal to you. I would just suggest in a friendly spirit that you step away from it and wait to see if anyone else down the road thinks the sentence needs improving. If there's actually a problem, or the sentence could be improved, someone else will inevitably think so and address it more effectively. I'm sincerely sorry if you feel persecuted, threatened, or insulted by responses here; speaking only for myself, that was not my intention. I just think it's a good, clear piece of writing that should not be reverted, and others do, too. Joe Suggs (talk) 20:59, 5 April 2012 (UTC)

No, BobThePirate, you haven't "refrained from edit wars." Nor have you been "practically threatened," whatever that means. The Talk page is not the proper place for peevishness. If you can't make your edits dispassionately, and in subjects of which you are knowledgeable (as opposed to ones you admittedly "know nothing of"), then I respectfully suggest you pursue a less stressful pastime. Please DO try to play well with others --- and lighten up a little. Cheers! Rackinfrackin (talk) 10:43, 10 April 2012 (UTC)

Hi there. I'm not a Wikipedia editor, but I wanted to mention that I clicked over to the talk page specifically because I was also confused by that "His satirical intent should be obvious" comment. Listing the shmoo's beneficial characteristics without summarizing the plot of the story in which they come to have a negative effect (that doesn't show up until a later section of this article) does nothing to show that Capp is being satirical as opposed to, say, wishful. Furthermore, that exact phrasing ("His satirical intent should be obvious") implies that the goal of his satire is obvious, not just that he is being satirical in general. The fact that people have debated the meaning of this satirical story since it was published directly contradicts that idea. "Satiric intent" does not mean the same as "intent to be satirical". That much is obvious to me, and I am self-righteously befuddled that it isn't to you, Rackinfrackin.

Further furthermore, the reason I am not a Wikipedia editor is because of attitudes like what I see here. (Also, since I know you're thinking it: No, I am not a sock puppet for BobthePirate two years after the fact.) I respectfully suggest you do less to make this pursuit stressful for other people, Rackinfrackin. And maybe look up the word "obvious" sometime. — Preceding unsigned comment added by 72.48.251.20 (talk) 03:45, 9 March 2014 (UTC)

 * I've removed the sentence. It is clearly humorous and absurd. It is not clear that it's satire. This does come up later in the article, but there's no need for in the bare description because, from the description, it's not clear at all what (if anything) is being satirised. Adpete (talk) 07:28, 19 June 2017 (UTC)

editor
You guys need to invite a moderating editor to review this ?--RichardMills65 (talk) 08:36, 1 April 2012 (UTC)

No, of course not. But section blanking, as happened on 27 March, is a different matter. It may have just been a coincidence that it was the same section. Rackinfrackin (talk) 20:13, 1 April 2012 (UTC)

Why was the reference of fact that Shmoo is a Jewish or Yiddish word for penis removed?
Why was the reference of fact that Shmoo is a Jewish or Yiddish word for penis removed from the article? I am trying to figure out what the difference between the Yiddish word Schmuck and the word Shmoo is? Is one uncircumcised while the other circumsized? Inquiring minds want to know?

External links modified
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"Shmoo" as pet name of Shmuel (Samuel)?
Maybe the name "Shmoo" comes from Shmuel, which is Hebrew for Samuel? After all, when I grew up, I knew someone known by many as Shmoo, and his more formal name is Shmuel. — Preceding unsigned comment added by Therav (talk • contribs) 16:01, 25 October 2020 (UTC)

title: Talk:Shmoo


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Milbenkäse

Milbenkäse ("mite cheese"), called Mellnkase in the local dialect and often known as Spinnenkäse ("spider cheese"), is a German speciality cheese. It is made by flavouring balls of quark (a type of soft cheese) with caraway and salt, allowing them to dry, and then leaving them in a wooden box containing rye flour and cheese mites for about three months. An enzyme in the digestive juices excreted by the mites causes the cheese to ripen. Milbenkäse tastes similar to Harzer cheese, but with a bitter note (increasing with age) and a zesty aftertaste. Mites clinging to the cheese rind are consumed along with the cheese.

Historically, the cheese was produced in the Zeitz and Altenburg districts of the Saxony-Anhalt / Thuringia border region; today it is produced exclusively in the village of Würchwitz, in the state of Saxony-Anhalt. The traditional method of making Milbenkäse, which dates back to the Middle Ages, was nearly lost by 1970, with only the elderly Liesbeth Brauer knowing the technique. Local science teacher Helmut Pöschel was taught the proper way to make it and together with his associate, Christian Schmelzer, succeeded in revitalizing the tradition. A Cheese Mite Memorial was later erected at Würchwitz to celebrate the renaissance of Milbenkäse production.

Production
Quark flavoured with salt and caraway is shaped into small balls, cylinders or wheels, and dried. It is then placed in a wooden box containing rye flour and inhabited by Tyrophagus casei mites for at least three months. The digestive juices of the mites diffuse into the cheese and cause fermentation; the flour is added because the mites would otherwise simply eat the whole cheese instead of just nibbling away at the crust as is desired. After one month, the cheese rind turns yellow; after three months, reddish brown. Some producers allow the cheese to ripen for up to one year, until it has turned black.

Legality
Milbenkäse falls into a legal grey area: European Union regulations allow the sale of foodstuffs containing living animals if they are "prepared for placing on the market for human consumption". On the other hand, cheese mites or their digestive juices are not explicitly permitted as additives for cheese according to the relevant German food ordinances (Zusatzstoff-Zulassungsverordnung and Käseverordnung). Milbenkäse is produced under a permit by the local food safety office, and Hazard Analysis and Critical Control Points compliance of the product is enforced.

title: Milbenkäse


text: Category:German cheeses

title: Category:German cheeses


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Tarcutta

Tarcutta is a town in south-western New South Wales, Australia. The town is 438 km south-west of Sydney, 3 km east of the Hume Highway, It was proclaimed as a village on 28 October 1890. As of 2016, the town had a population of 446.

It serves a local farming community relying for its prosperity mainly on sheep and cattle, and the interstate truckies who use the town as a halfway change-over point in the trade between the state capital cities of Sydney and Melbourne.

History
The Tarcutta area was first visited by the European explorers Hume and Hovell as they passed through on their way from Sydney to Port Phillip in the Colony of Victoria. On 7 January 1825, near the present site of Tarcutta, they met a group of Wiradjuri aborigines.

A decade after this first European contact around 1835–37, "Hambledon", a U-shaped slab house was built at Tarcutta. It was the first inn and post office to be built between Gundagai and Albury. Tarcutta Post Office opened on 1 January 1849.

Among the earliest settlers was Thomas Hodges Mate. Mate was Tarcutta's earliest innkeeper, as well as its first post-master. Mate's daughter Annie claimed that 'tarcutta' was a Wiradjuri word meaning 'a food prepared by grinding grass seed'.

Gold was mined in the area round Tarcutta, with limited success.

By the 1880s Tarcutta locals were actively lobbying for a rail branch line from Wagga Wagga to Tumbarumba via Tarcutta, and in 1917 the Tumbarumba branch line became a reality. A section of the line sustained major flood damage in 1974, and the remainder of the line was closed in 1987.

The Tarcutta bypass is west of the village, linking-up to the freeway 3 km to the north of the village and 3 km south of the village. It was opened to traffic on 15 November 2011.

Trucking industry
Tarcutta is situated halfway between Sydney and Melbourne on the Hume Highway, and has long been popular in the trucking industry as a stopping and changeover point for drivers.

The local park houses the National Truck Drivers' Memorial to the truck drivers who have died on the infamous local stretch of the Hume Highway, as well as around the country. The country singer, Slim Dusty, endorsed the memorial with a plaque. A commemorative event is held annually in October.

The local café, which has sustained generations of truckies, has also been the source of inspiration for some of Australia's recent modern poets, Les Murray and Bruce Dawe. Murray wrote "The Burning Truck" while visiting the café in 1961 and Dawe immortalised the eatery in a couple of lines in his poem "Under Way". The poem reads in part: 'there would be days / banging open and shut like the wire door of the cafe in Tarcutta / where the flies sang at the windows'.

There had been extensive political arguing since 1999 between Federal and State Governments over funding and where to site a proposed Tarcutta truck changeover facility. It was finally decided to place it off the main street and the project which was completed early 2007 was jointly funded at a cost of $6.5m. Truck drivers are required to stop for 30 minutes every five hours.

Heritage listings
Tarcutta has a number of heritage-listed sites, including:
 * Tarcutta Street: Hambledon Homestead

Other features
Tarcutta is also the birthplace of former Grand Slam champion tennis player Tony Roche. A left-hander, Roche had a successful singles and double career and won 12 Grand Slam men's doubles tournaments.

Located nearby is the 432 ha Tarcutta Hills Reserve, owned and managed by Bush Heritage Australia. This reserve provides an important remnant of white box woodland with a relatively untouched grassy understory: a last refuge for the squirrel glider, endangered birds like the swift parrot, and as many as 11 other threatened wildlife species. The site is listed on the Register of the National Estate.

In 1969, the Tarcutta Rugby League side became the Group 13 Rugby League premiers. Their superior season also saw them crowned as the Clayton Cup winners for 1969.

title: Tarcutta


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Robert Ressler

Robert Kenneth Ressler (February 15, 1937 – May 5, 2013) was an American FBI agent and author. He played a significant role in the psychological profiling of violent offenders in the 1970s and is often credited with coining the term "serial killer", though the term is a direct translation of the German term Serienmörder coined in 1930 by Berlin investigator Ernst Gennat. After retiring from the FBI, he authored a number of books on serial murders, and often gave lectures on criminology.

Early life
Robert Ressler grew up on North Marmora Avenue in Chicago, Illinois and graduated from Schurz High School, Class of 1955. He was the son of Joseph, who worked in security and maintenance at the Chicago Tribune, and Gertrude Ressler. At an early age Robert became interested in killers, as he followed the Tribune's articles on "The Lipstick Killer". Ressler claims that he was more fascinated than afraid of this notorious killer, as other killers fascinated him in his later years with the FBI. His fascination would be bolstered decades later by John Wayne Gacy, who had grown up in the same neighborhood as Ressler, and was in the Boy Scouts with him. Ressler attended two years at a community college before joining the U.S. Army and was stationed in Okinawa. After two years in the army Ressler decided to enroll in the School of Criminology and Police Administration at Michigan State University. He graduated with a bachelor's degree and started graduate work but only finished one semester before going back into the army as an officer, having also completed an ROTC program at Michigan State.

Military career
Ressler served in the U.S. Army from 1957 to 1962 as a provost marshal of a platoon of MPs in Aschaffenburg, as he states in his autobiography Whoever Fights Monsters. He was in charge of solving cases such as homicides, robberies, and arson. After four years in Germany, Ressler decided to leave the position and was reassigned as the Commander of a Criminal Investigation Division (CID) at Fort Sheridan. He then went back to Michigan State to finish his master's in police administration, paid for by the army, in exchange for two more years of service after graduation. After he received his degree, he served a year in Thailand and a year in Fort Sheridan, where he ended his career with the army as a major, and moved on to the Federal Bureau of Investigation (FBI).

FBI career
Ressler joined the FBI in 1970 and was recruited into the Behavioral Science Unit, which deals with drawing up psychological profiles of violent offenders, such as rapists and serial killers, who typically select victims at random.

Between 1976 and 1979, Ressler and criminal profiler coordinator of the Behavioral Science Unit John Douglas together organized the interviews of thirty-six incarcerated serial killers in order to find parallels between such criminals' backgrounds and motives. In addition, Ressler and retired Detective Pierce Brooks of the LAPD  were instrumental in setting up Vi-CAP (Violent Criminal Apprehension Program). This consists of a centralized computer database of information on unsolved homicides. Information is gathered from local police forces and cross-referenced with other unsolved killings across the United States. Working on the basis that most serial killers claim similar victims with a standard method (modus operandi) it hopes to spot early on when a killer is carrying out crimes in different jurisdictions. This was primarily a response to the appearance of nomadic killers who committed crimes in different areas. So long as the killer kept on the move, the police forces in each state would be unaware that there were multiple victims and would just be investigating a single homicide each, unaware that other police forces had similar crimes. Vi-CAP would help individual police forces determine if they were hunting for the same perpetrator so that they could share and correlate information with one another, increasing their chances of identifying a suspect.

He worked on many cases of serial homicide such as Jeffrey Dahmer, Ted Bundy, Richard Chase and John Joubert, and Montie Rissell.

Later life and death
Ressler retired from the FBI in 1990 and authored a number of books about serial murder. He actively gave lectures to students and police forces on the subject of criminology and, in 1993, was brought in, in London, to assist in the investigation into the murders committed by Colin Ireland. In 1995, Ressler met South African profiler Micki Pistorius at a conference in Scotland and she invited him to review her investigation of the "ABC Murders", so-called because of their location in the Johannesburg suburbs of Atteridgeville, Boksburg, and Cleveland. A man named David Selepe had died in police custody while being investigated as a suspect for the Cleveland murders, prior to the discovery of the Atteridgeville and Boksburg crimes, and the authorities feared that they had killed an innocent man while the real culprit was still at large. Ressler believed that Selepe was indeed responsible for the Cleveland murders, either alone or with an accomplice, and that the Atteridgeville and Boksburg murders had been committed by the same offender, but that this killer was not involved in the Cleveland murders. He also pointed out that the Atteridgeville-Boksburg murderer was gaining confidence with each killing and would contact the media. As predicted, serial killer Moses Sithole called the South African newspaper The Star to claim responsibility for the Atteridgeville and Boksburg murders, some time after Ressler left the case.

Ressler's visit to Ciudad Juárez in Mexico to investigate the still-active feminicides occurring there served as inspiration for the character Albert Kessler in Roberto Bolaño's novel 2666.

Ressler died at his home in Spotsylvania County, Virginia, on Sunday May 5, 2013, from Parkinson's disease, aged 76.

Model for fictional characters
A screenplay adapted from his colleague John E. Douglas' book Mindhunter: Inside the FBI's Elite Serial Crime Unit was picked up by Netflix. Mindhunter stars Holt McCallany, who plays the character Special Agent Bill Tench, a lead character based on Ressler. In 2021, Ressler was portrayed by Jake Hays in Ted Bundy: American Boogeyman. In 2024, Ressler was portrayed by Sean Cameron Michael in South Africa's Catch Me a Killer (TV series).

Books

 * Sexual Homicide: Patterns and Motives (with John E. Douglas, Ann Wolbert Burgess) (1988)
 * Whoever Fights Monsters: My Twenty Years Tracking Serial Killers for the FBI (with Tom Shachtman) (1992)
 * Justice Is Served (with Tom Shachtman) (1994)
 * I Have Lived in the Monster (with Tom Shachtman) (1998)

title: Robert Ressler


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Category:NASCAR tracks

This category contains articles on tracks that have held a NASCAR-sanctioned race.

title: Category:NASCAR tracks


text:
Category:NASCAR teams

This category contains articles on all current NASCAR stock car racing teams.

title: Category:NASCAR teams


text:
Wikipedia:Articles for deletion/Trevor thornton

Trevor thornton
Article doesn't provide enough details to establish notability. Vanity not ruled out. --MarkSweep 07:05, 10 Dec 2004 (UTC)
 * Delete. No results on Google (tried "trevor thornton biker" and "trevor thornton sixsixone") - sounds very vanity-ish to me. Aerion 07:43, 10 Dec 2004 (UTC)
 * Delete. As someone else has note, why, oh why do these vanity blurbs so often have titles with only the given name capitalized? Wyss 12:41, 10 Dec 2004 (UTC)
 * Delete: Seems like a speedy delete as a user test. No way this was serious, I hope.  Complete vanity, utter trash.  Newbies used to type ALL iN cAPS.  they learned not to do that so now they type all in lower case i guess the problem is still that shift key is just too much work for them.  Geogre 13:33, 10 Dec 2004 (UTC)
 * "...he's that cool!" No, he's not. Why must we tolerate crap like this for a week? Delete. -R. fiend 18:41, 10 Dec 2004 (UTC)
 * del. Mikkalai 08:57, 11 Dec 2004 (UTC)
 * Delete. utcursch 11:02, Dec 11, 2004 (UTC)


text:
Category:Dutch cheeses

 * This category contains articles related to cheese from the Netherlands.

title: Category:Dutch cheeses


text: Wikipedia talk:WikiProject NASCAR/to do

title: Wikipedia talk:WikiProject NASCAR/to do


text:
Wikipedia:Articles for deletion/AoD

AoD
Non-notable author of a non-notable web comic. Tuf-Kat 07:10, Dec 10, 2004 (UTC)
 * Delete because the text of the page basically admits that it shouldn't even be there (non-notable), and I'm sure he's just hoping for the linksies (vanity spam). DreamGuy 07:21, Dec 10, 2004 (UTC)
 * Delete: Web comics, IMO, aren't encyclopedic yet. This one seems to be page rank boosting for an obscure one.  Geogre 13:30, 10 Dec 2004 (UTC)
 * Delete. Though unlinking the link is really annoying.  He won't get that much of a pagerank boost by having it linked from wikipedia for seven days. - Lifefeed 13:50, Dec 10, 2004 (UTC)
 * del. Mikkalai 08:57, 11 Dec 2004 (UTC)
 * Delete. utcursch 11:05, Dec 11, 2004 (UTC)
 * Delete (AoD himself): I've just read the page regarding the deletion policy, and must admit that it was, in part, something of a childish act. Please delete this page. My humblest of apologies.

title: Wikipedia:Articles for deletion/AoD