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Day of the Dove

"Day of the Dove" is the seventh episode of the third season of the American science fiction television series Star Trek. Written by Jerome Bixby and directed by Marvin Chomsky, it was first broadcast November 1, 1968.

In the episode, an alien forces the crew of the Enterprise into a brutal conflict with the Klingons.

Plot
The Federation starship Enterprise responds to a distress call from a human colony, but on arrival finds no signs of any type of inhabited settlement. A landing party, including Captain Kirk and Ensign Chekov, beams down to investigate further. A few moments later, they are found and surrounded by Klingons who have transported to the surface from their own orbiting vessel. Commander Kang accuses the Enterprise crew of firing upon their vessel and demands that they surrender immediately. Suddenly, Chekov makes a move to attack the Klingons, claiming they had killed his brother. Kang's men subdue him and use an agonizer device to torture him, forcing Kirk to agree to surrender. However, upon contacting the ship and asking to be beamed up, Kirk secretly warns First Officer Spock about the Klingons. Spock uses the transporter to materialize the Enterprise crewmen first, followed by the Klingons, who are overpowered by Enterprise security personnel. Kang surrenders and he and the other Klingons, including his wife Mara, a science officer, are escorted to secure quarters on the ship.

Meanwhile, a glowing entity composed of pure energy, which had initially emerged on the planet below, enters the Enterprise undetected and interfaces with its controls. The ship lurches into warp at maximum speed headed for the edge of the galaxy. With the crew panicked, the entity then traps 392 members of the Enterprise's crew belowdecks by closing bulkheads and making them impenetrable. The 38 remaining members of the crew are equal in numbers to the Klingons. With tempers high – and spurred on by the sudden materialization of swords and other antique hand weapons – they begin to fight.

Spock soon detects the entity, apparently feeding off the violence. When informed by Lt. Sulu that Chekov never had a brother and is an only child, Kirk realizes that the entity is capable of implanting false memories in order to trigger aggression. Kirk and Spock try to calm the crew's escalating furor to no avail. Kirk believes that if he can get to Kang, the Klingon commander can help stop his crew from fighting and help return the ship to a normal state.

Kirk and Spock work their way through the animosity aboard the ship and happen upon Chekov sexually assaulting Mara. Kirk pulls Chekov from her and knocks him unconscious, relenting only when Spock reminds him that Chekov was not in control of himself. Bringing Mara along, they take Chekov to Sickbay, where Dr. McCoy reports that crewmen gravely wounded in the fighting are healing at a much faster than normal rate; the entity wants everyone alive and fighting. Mara is initially skeptical that the entity exists, but is persuaded after realizing Kirk is completely unwilling to kill her. She agrees to lead Kirk to Kang in Engineering. They travel by the risky technique of intra-ship beaming – using the transporter between two points within the ship.

In Engineering, Kang distrusts Kirk's explanation of the entity despite Mara's assurance, and believing she was assaulted, challenges Kirk to a sword duel. As they clash, and with the entity hovering and pulsating a bright red nearby, Kirk implores Kang to stop, telling him that they may become its puppets for a thousand lifetimes if they continue to fight. Kang acknowledges Kirk's warning and the fact that their fighting is pointless. Kirk and Kang order their respective crews to lay down their arms. To starve the entity, Kirk and Kang encourage their crews to act jovially and to laugh with one another loudly. The entity fades and leaves the ship.

Production
This episode was remastered in 2006 and aired January 5, 2008, as part of the remastered Original Series. It was preceded three weeks earlier by the remastered version of "A Taste of Armageddon" and followed a week later by the remastered version of "Who Mourns for Adonais?" Aside from remastered video and audio, and the all-CGI animation of the USS Enterprise that is standard among the revisions, specific changes to this episode also include:
 * The planet Beta XII-A has been given a more realistic Earth-like appearance.
 * New scenes and more dramatic shots of the Klingon battle cruiser have been added, including replaced footage of the ship as it explodes above the planet.

Reception
Zack Handlen of The A.V. Club gave the episode a 'B−' rating, describing it as having potential, but being hampered by a script that fails to act on that. Io9's 2014 listing of the top 100 Star Trek episodes placed "Day of the Dove" as the 99th best episode of all series up to that time, out of over 700 episodes of the franchise.

In 2016, SyFy ranked guest star Michael Ansara as Kang (the Klingon leader), as the 13th best guest star on the original series. Ansara went on to reprise his role as Kang decades later on the Star Trek spin-offs Star Trek: Deep Space Nine and Star Trek: Voyager. Ansara reprised the character Kang in DS9's "Blood Oath", which also featured John Colicos as Kor and William Campbell as Koloth, who, like Ansara, had been guest stars in the original series playing original Klingons with that name.

In 2018, Collider ranked this episode the 16th best original series episode.

Home media
This episode was released on LaserDisc, paired with "Spectre of the Gun" in 1987 in the United States.

This episode was released in Japan on December 21, 1993 as part of the complete season 3 LaserDisc set, Star Trek: Original Series log.3. A trailer for this and the other episodes was also included, and the episode had English and Japanese audio tracks. The cover script was スター・トレック TVサードシーズン for the set.

title: Day of the Dove


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Category talk:War crimes

Untitled
I created the category after finding six different articles, nearly all of which had a paragraph toward the end referencing each other. Not finding an extant appropriate category, I created this one.

— J’raxis (Talk) @   07:20, 2004 Dec 17 (UTC)

Genocides
Category:Genocides is a related category to this, but should not be a subcategory. Genocides that were also war crimes should simply have both category labels. Christopher Parham (talk) 04:47, 2005 August 8 (UTC)

Defined standards
Given the grief that's currently going on at Haditha killings and 2006 Qana airstrike over whether those pages qualify for this category, is anyone interested in writing some clear guidelines on the main page for what incidents qualify for this category? I don't have a particularly strong opinion over what those guidelines should be, as long as they're specific enough to resolve some of the page scuffles. As a starting proposal, I suggest:
 * This page categorizes subjects relating to war crimes. For specific events that have either been (1) legally ruled to be war crimes or (2) credibly alleged to be war crimes, see category:Legally established war crimes and category:Alleged war crimes respectively.

(Those two new categories would then be subcategories of this main cat). TheronJ 16:23, 4 August 2006 (UTC)

 * Inclusion of Attacks on United Nations personnel during the 2006 Israel-Lebanon conflict to this category didnt seem to be a problem then? 82.29.227.171 21:03, 4 August 2006 (UTC)

 * Probably just because nobody noticed it. category:Terrorism has the same problem.  On any given day, you have about a 60% chance of finding either Hamas or the Jewish Defense League, but probably not both.  TheronJ 21:20, 4 August 2006 (UTC)
 * Splitting into 2 categories Category:War crimes and Category:Alleged war crimes is a better compromise but won't completely solve the problem. If split, i agree something like " This category is for events legally ruled to be war crimes. For events credibly alleged to be war crimes, please refer to Category:Alleged war crimes" may be used as a header. The problem would be "what is enough" to assure credibility in the Alleged war crimes category. I also agree Category:Terrorism, Category:War criminals, Category:Terrorists have similar problems.--Wedian 21:55, 4 August 2006 (UTC)
 * Well people are alleging it would seem to be enough, people in a position to judge what constitutes a 'war crime' I mean. Is Israel signed up to the International Criminal Court?  Nope.   Would the UN be able to prosecute when you need unanimous on the Security Council? Nope.  'Accusations of warcrimes' or something like 'Untried allegations of..' or 'Unproven war crimes allegations'?  That gets you around the case of their status as never going to court, and allows retrospective things like Guernica & Dresden bombing etc to fit in there- widely accepted as war crimes but only rhetorically declared so. 82.29.227.171 22:59, 4 August 2006 (UTC)
 * I certainly agree with you. hope this would survive disputes. Any other opinions?--Wedian 18:16, 6 August 2006 (UTC)

 * This issue just came up with an attempt to include the atomic bombings of Hiroshima and Nagasaki in this category. I'm inclined to agree with the separation between alleged and established war crimes based on formal international findings.  Below is my post on the topic from talk:Atomic bombings of Hiroshima and Nagasaki. Rem01 04:51, 21 December 2006 (UTC)
 * An attempt was made to assert (via the categories) that the atomic bombings were a war crime. This is a controversial, political opinion that is by no means commonly accepted or encyclopedic.  Its inclusion in the "war crimes" category devalues that category; if anyone can classify an act as a war crime without use of some sort of objective criteria, the category will be reduced to a tool for political commentary.  My off-the-cuff criteria for distinguishing a war crime would be some sort of formal international approbation, including UN Security Council resolutions to that effect, or findings of guilt in an international war crimes tribunal. Cross-posting to "war crimes" category talk page.

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

title: Category talk:War crimes


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Shaheed Minar, Dhaka

The Shaheed Minar (শহীদ মিনার romanised:- Shohid Minar lit. " The Martyr Tower") is a national monument in Dhaka, Bangladesh, established to commemorate those killed during the Bengali Language Movement demonstrations of 1952 in then East Pakistan.

On 21 and 22 February 1952, students from Dhaka University and Dhaka Medical College and political activists were killed when the Pakistani police force opened fire on Bengali protesters who were demanding official status for their native tongue, Bengali. The massacre occurred near Dhaka Medical College and Ramna Park in Dhaka. A makeshift monument was erected on 23 February by students of Dhaka medical college and other educational institutions, but soon demolished on 26 February by the Pakistani police force.

The Language Movement gained momentum, and after a long struggle, Bengali gained official status in Pakistan (with Urdu) in 1956. To commemorate the dead, the Shaheed Minar was designed and built by Bangladeshi sculptors Hamidur Rahman in collaboration with Novera Ahmed. Construction was delayed by martial law, but the monument was finally completed in 1963, and stood until the Bangladesh Liberation War in 1971, when it was demolished completely during Operation Searchlight. After Bangladesh gained independence later that year, it was rebuilt. It was expanded in 1983.

National, mourning, cultural and other activities are held each year on 21 February (Ekushey February) to mark Language Movement Day or Shaheed Dibas (Martyrs' Day), centred on the Shaheed Minar. Since 2000, 21 February is also recognised as International Mother Language Day.

Location
The Shaheed Minar is situated near Dhaka Medical College Hospital and in the Dhaka University area. It is adjacent to the Mathematics Department of Dhaka University.

1952–1971
The first Shaheed Minar was built immediately after the events of 21–22 February 1952. According to Dr. Sayeed Haider the main planner and the designer of the first Shaheed Minar, the decision to build it was first made by the students of Dhaka Medical College. Shaheed Minar is situated near Dhaka Medical College Hospital and in the Dhaka University area. It is adjacent to the Mathematics department of Dhaka University. It is only 0.5 kilometres (0.3 mi) away from Shahbag and 0.25 km (0.16 mi) distant from Chankharpul. Shaheed Minar is an outstanding monument of Bangladesh. It was built to tribute the martyrs who given up their life for language. The main incident had been occurring inside of Dhaka medical college hospital. So a decision was taken to build a memorial adjacent to DMCH. The planning started at midnight on 22 February, and the work started the next day. This Minar was sponsored by Pearu Sardar, one of the old Dhaka panchayet sardars, when some of the students asked his help at midnight of 22 February, to contribute the raw materials needed to build the monument. Although curfew was in place, students started building the Minar in the afternoon of 23 February. They worked through the night and finished it at dawn. A hand written paper was attached to the Minar with "Shaheed Smritistombho" written on it. The original Minar was on a base measuring 10.5 ft. The Minar was inaugurated by the father of Shafiur Rahman, Molvi. Mahabubur Rahman, who killed during the massacre. It was demolished on 26 February by the police and Pakistani Army. Smaller versions of the memorial were built in other places. The first Shaheed Minar monument was then destroyed four days after its erection, on February 26, 1952, by the Pakistani Police and Army. A signboard placed by the police force on top of the rubble from the Minar read "mosque". Two years after the first monument was destroyed by the then police force, a new Shaheed Minar (Monument of Martyrs) was constructed in 1954 at the same place, to commemorate the protesters who lost their lives. This minar was inaugurated by the then Professor of Dhaka University and the pioneer and most prominent cultural and literary personality Natyaguru Nurul Momen. Work on a larger monument designed by the architect Hamidur Rahman began in 1957 with the support of the United Front government. Following the formation of the provincial government by the United Front in April 1954, the anniversary of 21 February was declared a holiday and it became possible to construct the new monument. A foundation stone was laid in 1956, and a government committee chaired by University of Dhaka Vice-Chancellor Dr Mahmud Husain and including the principal of the Fine College of Arts, Zainul Abedin, was constituted to plan, design, and approve the monument's construction. The committee approved the design of sculptor Hamidur Rahman, followed by the construction of Shaheed Minar, starting in 1957. Hamidur Rahman's model was a huge complex on a large area of land in the yard of Dhaka Medical College Hostel. The enormous design included a half-circular column to symbolise the mother with her fallen sons standing on the monument's central dais. Yellow and deep blue pieces of stained glass, symbolising eyes reflecting the sun, were also to be placed in the columns. The marble floor was designed to reflect the moving shadows of the columns. The basement of the Minar also included a 1500 sqft fresco depicting the history of the language movement. A railing decorated with Bengali alphabet was to be constructed in front. Two footmarks coloured red and black, indicating the two opposite forces, were also in the design. Besides this a museum and a library were also included in Hamidur Rahman's design. A fountain shaped like an eye was also to be constructed. Rahman specifically designed the materials of the monument to withstand the area's tropical climate. Construction started in November 1957, under the supervision of Hamidur Rahman and Novera Ahmed. Most of the work, including the basement, platform, some of the columns with the rails, footprints and some of the murals were also finished when martial law was declared in the area, and the construction was forced to a halt. Construction work was completed in 1963, leaving much of Fatamatuj's design unfinished. It was inaugurated on 21 February 1963, by the mother of Abul Barkat, Hasina Begum. The Minar was severely damaged by the Pakistan Army during the Bangladesh Liberation War in 1971. The columns were destroyed on the night of the commencement of the genocide, 25 March 1971. The Pakistani Army crushed the Minar and placed over the rubble a signboard reading "Mosque".

1972–present
In 1972, a committee headed by the then president Abu Sayeed Chowdhury was formed and renovation work began. The original sketch was ignored, while the Construction and Building Directorate followed the 1963 design. The construction went quickly, according to a modified design from 1963. The murals destroyed by the Pakistani army were not restored and the basement was sealed off. Hamidur Rahman's original design was not approved by the directorate in the renovation work. In the mid-eighties, the monument underwent further renovation under the supervision of the then Department of Architecture chief architect SHM Abul Bashar, which extended the area of the Shaheed Minar premises, giving it a square shape from a triangular one. Quarters concerned demanded proper implementation of the design by Hamidur Rahman with the help of sculptor Novera Ahmed and Danish architect Gean Deleuran. ASM Ismail said that because of the extension, two entrances to the basement murals were permanently closed, and after remaining in an abandoned state for 15 years, the murals had lost much of their gloss. In the 1983 renovation, the original poor materials were lined with marble stone. A museum and library were also featured in the original plan. In August 2010, the High Court issued eight directives for the maintenance and renovation of the Shaheed Minar and asked the Public Works Department to establish a museum and a library on its premises.

Architecture and significance
The enormous design includes a half-circular arrangement of columns to symbolise the mother, with her fallen sons, standing on the monument's central dais, and the red sun shining behind. The Central Shaheed Minar of Dhaka goes up to a height of 14 m and was made with marble stones. The stairs and barrier are highlighted in white, to create a divine look. The fence on both sides is painted with lines from poems of legendary poets in iron letters. As the visitors enter the monument they will find two statues of the patriots who sacrificed their lives in that heinous police firing of 1952. The marble floor was designed to reveal the moving shadows of the columns. The basement of the Shaheed Minar also included a 1,500-square-foot (140 m2) mural representing the history of the Language Movement.

Hurried repair of the Shaheed Minar resulted in the Minar to be reconstructed incorrectly. The height of the column was shorter and the head bent more than originally planned, and the proportions of different parts of the monument were not properly maintained.

The Language Movement was one of the formidable movements which has come up in the country of Bangladesh, thus the Central Shaheed Minar epitomises efforts to represent the spirit of nationalism and also highlight the importance of the Bengali language in the social and cultural progress of the country. As a result, the Shaheed Minar has a very significant place in the social and cultural mechanism of Bangladesh.

At present, all national, mourning, cultural and other activities held each year, regarding 21 February, have been centred on the Shaheed Minar.

Replicas and controversy
The largest replicas of Shaheed Minar in Bangladesh are located in Barisal and Madaripur. Among them, the foundation stone of the replica located in Barisal was laid by the then president Sheikh Mujibur Rahman in 1972. The replica located at Madaripur was inaugurated in 2021.

Apart from Bangladesh and India, there are at least 100 replicas of Shahid Minar in the world. The replica of Shaheed Minar was first built abroad in 1997 in Oldham, Britain. Replicas were later built in Altab Ali Park in Whitechapel, London and in Luton. There are 4 replicas of Shaheed Minar in West Bengal of which two are located in the city of Kolkata. A replica was erected in 2005 in Tokyo, the capital of Japan. A replica is also located in Ashfield Park in Sydney, Australia. A replica was opened in Toronto, Canada on 27 November 2021. Another replica was inaugurated in 2023 in Perris, California. A Shaheed Minar (costing 70 thousand euros to build) was inaugurated in Paris, the capital of France, on 8 October 2023 (the second one in France, the first was built in Toulouse).

Although there are replicas of Shaheed Minar in different parts of Bangladesh, some of them have a different structure than the original structure, so there has been a lot of controversy about them. In 2014, a Shaheed Minar was constructed at Shahjalal University of Science and Technology. It was criticized for being different from the original design of the Central Shaheed Minar. For the same reason, the Shaheed Minars of various districts including Jagannath University have given rise to criticism. As a result of all this, on 14 June 2022, the High Court issued a rule for the formulation of policies for the construction of Shaheed Minar.

title: Shaheed Minar, Dhaka


text:
Wink of an Eye

"Wink of an Eye" is the eleventh episode of the third season of the American science fiction television series Star Trek. Written by Arthur Heinemann, based on a story by Gene L. Coon (under the pen name Lee Cronin), and directed by Jud Taylor, it was first broadcast on November 29, 1968.

In the episode, normally invisible time-accelerated aliens take over the Enterprise and attempt to abduct the crew for use as breeding stock.

Plot
In answer to a distress call, the Federation starship Enterprise arrives at the planet Scalos. Captain Kirk beams down with a landing party to a city with no evidence of life, except for an intermittent insect-like buzzing. Crewman Compton disappears before Dr. McCoy's eyes, and Kirk orders the landing party back to the Enterprise. Upon their return, the ship begins to experience strange malfunctions, and Engineering reports the sudden appearance of an unknown device attached to the ship's life support systems. Kirk and Spock attempt to disconnect the device but are prevented from doing so by an unseen force.

Back on the bridge, Kirk decides to consult with the Enterprise's computers for possible counteractions against what they call the enemy, then allow the unseen enemy to take the next step, and asks for coffee. As he sips it, the bridge crew appears to slow down. Suddenly, a beautiful woman in a colorful gown appears on the bridge and greets Kirk warmly before introducing herself: "Deela, the enemy," in response to the computer's designation of her people for their actions on the ship.

Deela explains that Kirk has been placed in a state of hyperacceleration, rendering him invisible to the rest of his crew, in order to allow him to see and hear the Scalosians. When pressed as to why this has been done, Deela admits that she is the Scalosians' queen, and Kirk will become their king and enjoy life on Scalos. Kirk attempts to parley with Deela to stay with her on Scalos in return for having her people repair the Enterprise and release it with its crew, but she refuses his offer.

Kirk attempts to stun Deela, only for her to laugh and insist that he point the weapon at her and try it. The captain complies, and is stunned to find the phaser beam is slowed down within Deela's hyperaccelerated existence: she easily evades the stun beam and disarms Kirk with her Scalosian side-arm. Queen Deela assures a frustrated Captain Kirk that nothing can be done to change his new existence or return him to his crew as he insists.

Kirk returns to Life Support and discovers that Compton is still alive, having also been accelerated, and is willingly working with the Scalosians, having taught the intruding aliens how to operate the Enterprise's systems. After Deela's chief scientist Rael incapacitates Kirk with his Scalosian weapon, Compton turns against the Scalosians for harming his captain, only to be knocked back by a physical blow to draw blood; he rapidly ages and dies. A worried Scalosian woman named Mira, with whom Compton was selected to mate, is placated by Rael: "another will be secured for you".

After a confrontation with Rael, Kirk surmises that the unknown device is intended to turn the Enterprise into a cryogenic storage unit. He records a message to Spock explaining what he has learnt; Deela, confident in her people's success, allows this. Their plan, she explains, is to use the Enterprise crew to help propagate their species, whose men have been rendered sterile by the same natural disaster that caused their accelerated state. After a heated debate on the ethics of this plan, Kirk rushes away and disables the transporter. Deela, finding it inoperative, pretends to believe Kirk's claim to be ignorant of the problem.

Kirk begins to exhibit the sort of docility seen with Compton; however, this is a ruse that allows him to seize Deela's weapon. On his way to Life Support, Kirk meets newly-accelerated Spock, who has heard Kirk's message and determined the cause of his hyperacceleration was a dose of the polluted Scalosian water. The two arrive at Life Support, where Kirk uses the Scalosian weapon to stun Rael and destroy the cryogenic device.

After transporting Deela and her party back to the planet, Spock reveals that he has brought a possible antidote to the Scalosian water. Kirk takes a dose immediately, while Spock takes advantage of his accelerated state to effect repairs on the Enterprise.

Reception
Star Trek novelist Dayton Ward judged that "the setup for 'Wink of an Eye' is interesting enough at first blush — a race of beings who move through time at a rate so fast that they're all but undetectable. Unfortunately, it's upon the second and subsequent blushes that the concept begins to fall apart." He writes that the Scalosians had too limited imagination for continuing their race, and that mating with members of other species would be no help. He found the science wanting, though "I have to admit that here it provides for one of the series' more original 'redshirt deaths.'" Ward did admire the set design: "Clever use of tilted camera angles and lighting help to sell the illusion of the characters moving about the ship at their hyper-accelerated rate. One nice touch is the slowing down of the various lights and gauges that fill the bridge's workstations when Kirk and Deela are there."

David Alan Mack, also a Star Trek novelist, wrote, "It's not a bad idea for an episode, but the execution on this one felt sorely lacking." He noted some gaps in logic: "Still, how does one propagate a species by mating one's women with aliens? ... And if time moves so slowly for them, why would they need to place the Enterprise crew in suspended animation? Wouldn't a few days' worth of knockout drugs suffice?"

Zack Handlen of The A.V. Club was unimpressed by the episode, assigning it a B− and noting some plot holes: "They manage to beam aboard the Enterprise somehow, which doesn't make a lot of sense, science-wise. If their speed makes them invisible to the computer as life-forms, how would the transporter even work? Especially since they get brought on without anyone on the ship realizing it." Handlen judges that the "hook is clever," although "the ep might've been stronger if it had spent more time focusing on the mystery, and the danger that mystery represented, instead of dropping Kirk down the rabbit hole and spoiling the question so early on." He concludes, "In a stronger season, 'Eye' would've been a low spot, a perfunctory by-the-numbers programmer which, while not embarrassing, wouldn't have made much of an impression. Here, it reminds us that, for a while anyway, competency was the least we could hope to expect from the series."

Melissa N. Hayes-Gehrke of the University of Maryland found more problems with the science: "Unfortunately, the ramifications of the accelerated living just do not stand up under scrutiny. If a Scalosian stays in one place for awhile — even just to have a protracted conversation — he should become visible, albeit briefly, to a normal person. We didn't see any indication that this could happen. Kirk fires his phaser at Deela and she steps out of the way because the beam is moving so slowly. This is patently ridiculous; phaser beams travel at the speed of light, and no object with mass can travel faster than that. From a practical perspective, how do the ship's doors know to open for the Scalosians, when the ship's sensors cannot detect them? How can the Scalosians flip and slide switches (like the transporter controls), that are not designed to move so quickly, without breaking them?"

StarTrekReviews.com found some praise: "There's no character interaction between our heroes, save for the wonderful moment when Kirk meets Spock in the corridor and simply smiles".

Releases
This episode was released in Japan on December 21, 1993 as part of the complete season 3 LaserDisc set, Star Trek: Original Series log.3. A trailer for this and the other episodes was also included, and the episode had English and Japanese audio tracks. The cover script was スター・トレック TVサードシーズン

This episode was included in TOS Season 3 remastered DVD box set, with the remastered version of this episode.

title: Wink of an Eye


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User talk:Redcard

Welcome to Wikipedia. I think you stated on Talk:Sollog that you came over from Slashdot – I take it this was prompted by the recent article on the tug-of-war between Sollog And His Singing Sockpuppets and some of the editors here. I hope you'll see there's more to Wikipedia than the unfortunate Sollog incident and that you'll consider sticking around. Cheers, --MarkSweep 07:22, 17 Dec 2004 (UTC)

Thank you :) I don't know if you'll read this here, if not I'll probably email you or something similar.  Yes, I am aware that Wikipedia is a vast reference.  I've actually used it for many things.  It's a neat little community and the Sollog thing has encouraged me that it can be effective.   You guys strived for NPOV despite his actions and were calm in the article itself.  Sounds fun..  :)  Nice to meet you! --Redcard 22:46, 17 Dec 2004 (UTC)

 * No need to email me, I usually check for replies here. I don't think there is a commonly accepted convention for you to reply on your own talk page (i.e. here) or on my talk page; either way works for me. --MarkSweep 23:06, 17 Dec 2004 (UTC)

Thanks for removing the threatening statement from Talk:Sollog. I'm guessing our friend is busy spamming Florida's AG with bogus complaints via anonymous proxies. In fact, I hope that's what he's doing, since it's a dangerous strategy and it's quite possible it will backfire. --MarkSweep 19:20, 21 Dec 2004 (UTC)

 * Heh.. no problem. This guy's a real nutcase :)  At least I'm wandering around the Wiki more to get some other projects to work on / through :)  Redcard 19:24, 21 Dec 2004 (UTC)

title: User talk:Redcard


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Union Park (Baltimore)

Union Park is a former baseball ground located in Baltimore, Maryland. The ground was home to the Baltimore Orioles during their first "glory years" in the 1890s. It was located in an area bounded by East 25th Street to the north, 24th Street to the south, Hunter Street to the west and Barclay Street to the east. Guilford Avenue teed into 24th from the south, behind right-center field.

The Orioles opened this park during the 1891 season, abandoning Oriole Park. Their first game there was on May 11, 1891, an 8–4 victory over the St. Louis Browns in front of over 10,000 fans. At that time they were playing in the then-major American Association. After that season, the Association folded, and four of its teams were absorbed into the National League, including the Orioles. The Orioles became a perennial contender during that time. Despite that success, they were dropped when the National League contracted after the 1899 season. The legacy of those Orioles lived on through the later achievements of their many Hall of Fame players, such as John McGraw, Wilbert Robinson, Hughie Jennings and Willie Keeler.

Slugger Dan Brouthers played first base for the Orioles during the 1894 and 1895 seasons. On June 16, 1894, he hit a home run over the distant center field fence, the ball landing on Guilford Avenue and finally rolling to a stop at 23rd Street. The Baltimore Sun for April 18 described it as "the longest ever made on the grounds." Decades later, the blow was still being talked about, and due to the distance it rolled was facetiously described as a 1,300 foot homer.

There was a destructive fire on January 14, 1895, which destroyed the grandstand and a clubhouse. The structure was rebuilt and the Orioles were able to continue to use ballpark for their remaining seasons.

Today the site is a residential area of Barclay with 321 East 25th Street once located next to the grandstand. That and other buildings visible in the background of the 1890s photo of the ballpark's exterior still stand today.

title: Union Park (Baltimore)


text:
D-VHS

D-VHS is a digital video recording format developed by JVC, in collaboration with Hitachi, Matsushita, and Philips. The "D" in D-VHS originally stood for "Data", but JVC renamed the format as "Digital VHS". Released in December 1997, it uses the same physical cassette format and recording mechanism as S-VHS, but requires higher-quality and more expensive tapes and is capable of recording and displaying both standard-definition and high-definition content. The content data format is in MPEG transport stream, the same data format used for most digital television applications. It used MPEG-2 encoding and was standarized as IEC 60774-5.

Design
As a final effort for VHS, the D-VHS system had significant advantages as a highly versatile domestic recorder (the other tape-based formats are DV and Digital8, which never gained any traction except as camcorder media), but given the wholesale move to DVD and then hard disk drive (HDD) recording, the format failed to make any headway into the video market.

Existing tape media is bulky and more expensive than hard drives. Although cable companies are gradually switching to the H.264 codec, this should not be an issue for D-VHS units since they can act purely as data stores (like a hard drive but using tape instead), and thereby pass the previously recorded H.264 data directly to the Set-top Box or TV (via i.Link/FireWire). Another alternative is a lengthy transfer to a computer for viewing. Finally, since machines are no longer manufactured, maintenance of current recorders may prove difficult.

D-VHS's primary advantage is that it is still the best way to archive encrypted high definition material from cable programming in the US. Cable, satellite companies, TiVo, and PCs equipped with cable card tuners all offered high-definition digital video recorders, but archival has proven to be an obstacle, as proprietary boxes have restrictions on moving encrypted content. Outside of D-VHS, only HD capture devices that use an analog conversion process, such as the Hauppauge HD PVR, have enabled removal of encrypted content off many of the above proprietary boxes. This uses an analog conversion process, producing slightly degraded but still high definition grade recordings. D-VHS, on the other hand, does not need to take advantage of this so-called "analog hole", since D-VHS makes a pure bit-for-bit recording with no conversion necessary. This is made possible by compliance with CCI flag values carried by the digital streams, wherein only D-VHS is allowed to digitally move recordings of content originally flagged as Copy Once off of a DVR device and onto a D-VHS tape. This programming that complies with the CCI flags then marks such material on the tape such that no second generation copies can be made from the tape itself, though additional copies can still be made directly from the original DVR unit to additional tapes.

Monthly rental fees to cable, TiVo, and satellite were also less with D-VHS.

The only PAL D-VHS model sold in Europe was the JVC HM-DR10000, also sold as the Philips VR-20D, and was standard definition only. This model was not a bitstream recorder, although it did have a FireWire input. Instead it is best thought of as a digital recorder for traditional analog inputs such as domestic analog TV and digiboxes for digital broadcasts. The deck was able to record D-VHS signals onto S-VHS tapes, which made it a cost-effective source of high quality domestic recordings (the US version also allows use of cheaper S-VHS media). Pictures were noticeably superior to S-VHS and were essentially transparent when compared to an off-air source. Using the LS3 mode, approximately 17.25 hours of digital video could be stored on a S-VHS E-240. The deck's biggest shortcomings were the lack of a DV output and, perhaps more crucially, the lack of RGB input via the SCART connector. NTSC versions had component video outputs.

Tape length and speeds

D-VHS VCRs can record at multiple speeds. "HS" is "High Speed", "STD" is "Standard" and "LS" is "Low Speed"; where LS3 and LS5 represent 3 and 5 times the standard length of tape, respectively. High-definition content such as 1920x1080 or 1280x720 is typically stored at 28.2 Mbit/s (HS speed). Standard-definition content such as 720x576 (720x480) can be stored at bit rates from 14.1 Mbit/s down to 2.8 Mbit/s (STD, LS3, LS5 speeds).

The quality of STD speed is actually superior to the average DVD, since this speed has a much higher bitrate (approximately 14 versus 5 Mbit/s average) and suffers few compression artifacts. LS2 speed has a bitrate of 7 Mbits/s. The LS3 speed is roughly equal to an amateur DVD with some visible artifacts in high-action scenes (4.7 Mbit/s), and LS5 appears similar to a medium-quality video download (2.8 Mbit/s). JVC's HM-DH40000U and SR-VD400U were the only units to support LS5 recording.

As a result of all these different speeds, the tape labels are a bit confusing for the consumer. D-VHS was originally a standard definition format that recorded at the STD speed. When High Definition recording and HS speed was later introduced, it required twice the amount of tape. For this reason, a DF-240 will record 240 minutes of standard definition, and 240/2 = 120 minutes of high definition. When reviewing the table, note that the digital speeds HS and STD are equivalent to the older analog speeds SP and LP.

Pre-recorded tapes

In 2002, prerecorded D-VHS cassettes were sold under the brand name D-Theater in the US. While D-Theater is a D-VHS tape, it is incompatible with D-VHS decks not bearing the D-Theater logo. They provide content in both 720p and 1080i as well as at least one Dolby Digital audio track. Supported films studios include 20th Century Fox, Artisan Entertainment, DreamWorks, and Universal Pictures. D-Theater does have region code restrictions. There are 3 known regions; 1 for the USA, 2 for Japan, and 3 for South Korea. There has never been a D-Theater video release in region 2 or 3. Region code hacks for Japanese decks have been performed to support playback of US titles. The last film available was 20th Century Fox's I, Robot. This title was a surprise to many as there were no prior announcements nor any indication that the title was available. It was originally available only on JVC's D-VHS store in late 2004 and no other distributor had it (not even Fox itself). A couple of weeks later they started trickling out to more distributors after much delay and confusion about its existence. Alien vs. Predator was announced to retailers as also being released on the same day as I, Robot, but Fox later announced that Alien vs. Predator was never shipped to retailers.

Most tapes have built-in copy protection mechanism (DTCP, also known as "5c") (copy never) that disables copying via FireWire. HDNet productions and 2929 Entertainment via Magnolia Entertainment did provide some of their original content on D-VHS but without copy protection. Many of the tapes have an introduction by owner Mark Cuban encouraging the viewer to make copies of the program in order to help distribute them.

Additional tracks may be included on D-Theater in other sound formats such as DTS. However, only the newest D-VHS players, like the JVC HM-DH40000, HM-DH5U, HM-DT100U, and Marantz MV-8300, include alternate audio track capabilities.

Compatibility
There are technical issues with compatibility between recordings from Mitsubishi and JVC D-VHS decks. PAL and NTSC recordings are also incompatible.

Adoption
Very few models were available to the world market and sales of this format have been weak; correspondingly, prices remained high for both VCRs and media, contributing to low demand. In 2000, Sony arranged with JVC to manufacture D-VHS VCRs under the Sony label, marking one of the first collaborations between the two former rivals. The lack of consumer knowledge of D-VHS's advantages and capabilities as well as input limitations led to its eventual demise. The introduction in 2006 of Blu-ray and HD-DVD rendered the format abandoned.

Similar formats
There has been no small-format version of D-VHS equivalent to VHS-C; JVC, the originator of the format, chose to use MiniDV for its digital camcorder lines, and since 2005 has also expanded into tapeless camcorder designs based on hard drive storage (the Everio line). JVC does market the Digital-S format for professional use; while the tapes and technology used are superficially similar to D-VHS tapes, the underlying data format is based on the DV codec and the media formulation is drastically different. Sony's MicroMV format uses the same codec as D-VHS. Therefore, D-VHS capture software can also be used to transfer MicroMV tapes.

title: D-VHS


text: User talk:69.163.88.205

title: User talk:69.163.88.205


text:
User talk:Anarcho hipster

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
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 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]] 07:26, Dec 17, 2004 (UTC)

You Thomas Pynchon edits
Hi,

I was reading your Pynchon edits. This is what I was thinking:

1. The info about Gravity's Rainbow should really be merged into the Gravity's Rainbow article. It seems more appropriate and what you have written contains spoilers and the convention is to flag that up.

2. The info about Salinger is already included in the article under the Rumours section. Can you merge your info in there.

3. The info about his location is fine. :)

Cheers,

--Tomheaton 09:40, 17 Dec 2004 (UTC)

I merged James Rector into People's Park
Thanks for your work on Wikipedia. I have merged your article on James Rector into the article about People's Park, where he was killed, and why he was notable. I added the point about the mural, which was not in the article. Please feel free to ask me if you have any questions about this. JesseW 06:46, 26 Dec 2004 (UTC)

Unverified images
Hi. You uploaded Image:Bloody thursday 1.jpg but did not list any source and/or copyright information on the image description page. Please mark it either as GFDL or public domain. See Image copyright tags for more info. Please note that images without copyright information may be deleted in the future. Thanks. RedWolf 03:52, Dec 28, 2004 (UTC)

Eric Drooker
Hi. Your text for Eric Drooker seems to be a direct copy from this article by Victoria Huang. Since there's no evidence that it was used with permission, and not even any acknowledgement of the author (something I'd think an anarcho-hipster would respect), I'm cutting it all until someone can write something original. And even if the author gave permission, this would have to be rewritten; it's not concise enough for an encyclopedia article, and has lots of praise of the artist that goes against NPOV. Drooker deserves an article, so if you have time to condense and rewrite that text, please do! ←Hob 17:56, September 8, 2005 (UTC)

Image copyright problem with Image:Clouzot_itse.jpg
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Hamas
Hi. It is not the ruling party; Fatah controls the executive. Thanks. El_C 16:51, 10 March 2006 (UTC)

Vandalism
Hello Anarcho hipster. Thank you for reverting vandalism from my user page. Regards, Masterpiece2000   ( talk ) 06:05, 6 July 2008 (UTC)

Proposed deletion of Pacific Arabic Resources

The article Pacific Arabic Resources has been proposed for deletion  because of the following concern:
 * non-notable school. It has no significant coverage and is unsourced but since it has at least a very weak claim to notability (the sf weekly award) it is unspeedyable.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

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Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Kevin (talk) 08:14, 8 May 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:56, 23 November 2015 (UTC)

title: User talk:Anarcho hipster


text:
British folk rock

British folk rock is a form of folk rock which developed in the United Kingdom from the mid 1960s, and was at its most significant in the 1970s. Though the merging of folk and rock music came from several sources, it is widely regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to "go electric", in which, like the Animals, he brought folk and rock music together, from which other musicians followed. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on their Beatles for Sale album. The Beatles and other British Invasion bands, in turn, influenced the American band the Byrds, who released their recording of Dylan's "Mr. Tambourine Man" in April 1965, setting off the mid-1960s American folk rock movement. A number of British groups, usually those associated with the British folk revival, moved into folk rock in the mid-1960s, including the Strawbs, Pentangle, and Fairport Convention.

British folk rock was taken up and developed in the surrounding Celtic cultures of Brittany, Ireland, Scotland, Wales and the Isle of Man, to produce Celtic rock and its derivatives, and has been influential in countries with close cultural connections to Britain. It gave rise to the genre of folk punk. By the 1980s the genre was in steep decline in popularity, but survived and revived in significance, partly merging with the rock music and folk music cultures from which it originated. Some commentators have found a distinction in some British folk rock, where the musicians are playing traditional folk music with electric instruments rather than merging rock and folk music, and they distinguish this form of playing by calling it "electric folk".

Origins

Though the merging of folk and rock music came from several sources, it is widely regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to go electric. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on the song "I'm a Loser" from their Beatles for Sale album. The Beatles and other British Invasion bands, in turn, influenced the Californian band the Byrds, who began playing folk-influenced material and Bob Dylan compositions with rock instrumentation. The Byrds' recording of Dylan's "Mr. Tambourine Man" was released in April 1965 and reached #1 on the U.S. and UK singles charts, setting off the mid-1960s folk rock movement. The Beatles' late 1965 album, Rubber Soul, contained a number of songs influenced by the American folk rock boom, such as "Nowhere Man" and "If I Needed Someone". During this period, a number of electric bands began to play rock versions of folk songs and folk musicians used electric musical instruments to play their own songs, including Dylan at the Newport Folk Festival in the summer of 1965.

Folk rock became an important genre among emerging English bands, particularly those in the London club scene towards the end of the 1960s. The skiffle movement, to which many English musicians, including the Beatles, owed their origins as performers, meant that they were already familiar with American folk music As they emulated the guitar and drum based format that had crystallised as the norm for rock music, these groups often turned to American folk and folk rock as the focus of their sound and inspiration. Among these groups from 1967 were Fairport Convention, who had enjoyed some modest mainstream success with three albums of material that was largely American in origin or style, before a radical change of direction in 1969 with their album Liege & Lief, which came out of the encounter between American inspired folk rock and the products of the English folk revival.

The first English folk music revival had seen a huge effort to record and archive traditional English music by figures such as Cecil Sharp and Vaughan Williams in the late 19th and early 20th centuries. The second revival in the period after the Second World War, built on this work and followed a similar movement in America, to which it was connected by individuals like Alan Lomax, who had fled to England in the era of McCarthyism. Like the American revival, it was often overtly left wing in its politics, but, led by such figures as Ewan MacColl and A. L. Lloyd from the early 1950s, it also attempted to produce a distinctively English music that was an alternative to the American dominance of popular culture, which was, as they saw it, displacing the traditional music of an increasingly urbanised and industrialised working class. Most important among their responses were the foundation of folk clubs in major towns, starting with London where MacColl began the Ballads and Blues Club in 1953. These clubs were usually urban in location, but the songs sung in them often hearkened back to a rural pre-industrial past. In many ways this was the adoption of abandoned popular music by the middle classes. By the mid-1960s there were probably over 300 folk clubs in Britain, providing an important circuit for acts that performed traditional songs and tunes acoustically, where they could sustain a living by playing to a small but committed audience. This meant that there were, by the later 1960s, a group of performers with musical skill and knowledge of a wide variety of traditional songs and tunes.

A number of groups who were part of the folk revival experimented with electrification in the mid-1960s. These included the unrecorded efforts of Sweeney's Men from Ireland, the jazz folk group Pentangle, who moved from purely acoustic instrumentation to introducing electric guitar on their later albums, Eclection, who released one album in 1968, and the Strawbs who developed from a bluegrass band into a "progressive Byrds" band by 1967. However, none provided a sustained or much emulated effort in this direction. Also products of the folk club circuit were Sandy Denny who joined Fairport Convention as a singer in 1968 and Dave Swarbrick, a fiddle player and session musician who reacted positively to the electric music he encountered while working with Fairport in 1969. The result was an extended interpretation of the song "A Sailor's Life", which was released on their album Unhalfbricking. This encounter sparked the interest of Ashley Hutchings who began research in the English Folk Dance and Song Society's library; the result was the band's seminal Liege & Lief (1969) which combined traditional songs and tunes with some written by members of the band in a similar style, all played on a combination of electric instruments including Swarbrick's amplified fiddle, setting the template for British folk rock.

Heyday 1969–76
The rapid expansion of British folk rock that followed in the wake of Liege & Lief in the 1970s came mainly from three sources. First were existing folk performers who now 'electrified', including Mr. Fox, formed around the acoustic duo Bob and Carole Pegg, and Pentangle, who having previously recorded largely without electrification, produced a fourth album of entirely traditional material, Cruel Sister, in 1970, performed very much in the British folk rock mould. Similarly, Swarbrick's former playing partner, Martin Carthy, joined Steeleye Span in 1971 to the astonishment of many in the folk music world. Five Hand Reel, a band formed out of the remnants of Spencer's Feat, proved to be one of the more successful and influential folk rock bands. Releasing four albums with Topic/RCA records, they were popular in Europe, where they gave most of their performances. Unlike the 'English' genre of folk tunes prevalent in the other popular bands, Five Hand Reel performed Scots and Irish songs and won Melody Maker's "Folk Album of the Year" in 1975.

Second were groupings created directly by the members or former members of Fairport Convention, which can be seen as the nexus from which a family of organisations or performers emerged. Sandy Denny's short-lived group Fotheringay was one of these and Steeleye Span was another, the latter formed as a traditionally focussed, but essentially electric outfit, by Ashley Hutchings after his departure from Fairport in late 1969. He left Steeleye Span after three albums and eventually formed the Albion Country Band, later the Albion Band, which broke up in 2002. The Albion Band in turn spawned one of the most musically talented British folk rock groups of the 1980s Home Service, whose third album Alright Jack (1985) is often seen as representing another artistic highpoint for the genre.

A much smaller group of English bands were formed in emulation of existing folk rock bands. Most often the model seems to have been Steeleye Span, as it was for the Cambridge group Spriguns of Tolgus, the Northumbrian band Hedgehog Pie and the Oyster Band, who started as the unpromising Fiddler's Dram in 1978. Fiddler's Dram were often dismissed as "one hit wonders" for their single "Day Trip to Bangor", which peaked at no 3 in the UK and for their clear status as "Steeleye Span soundalikes". What was remarkable is that they proved to have a singer-songwriter of genuine talent in Cathy Lesurf, and after she had left for the Albion Band in 1980 the remaining members regrouped as the Oyster Band (latterly Oysterband), an increasingly heavy and politically aware folk rock unit who produced some of the best work in the genre in the 1980s and 1990s, merging into the developing folk punk and independent scenes.

Decline and survival 1977–85
For a time electric folk threatened to break through to the mainstream, peaking in the early-to-mid-1970s when Steeleye Span had a Christmas Top 20 hit single ("Gaudete") in 1973 and another Top 5 hit in 1975 ("All Around My Hat"). The album of the same name was their most commercially successful, reaching no. 5 in the UK album chart in the same year. By comparison Fairport Convention released few singles and made very little impact on the British charts, although their albums sold well in the early 1970s. Liege & Lief reached no. 17 in 1969 and a later album, Angel Delight made the Top 10 in 1971. Most of their career, from that point until they initially disbanded in 1979, was one of declining profile and sales.

The same was generally true of other electric folk outfits. The late 1970s and early 1980s were a time to either abandon the genre or fight a losing struggle for survival. The reason is often said to be the rise of punk rock, which reached a peak in 1977. It changed the ethos of popular music, overturning certainties about musicianship and songwriting and had no greater target than the old fashioned folk musicians of the preceding generation. All popular music trends have a generational problem as their audiences grow and might not be replaced, but for folk rock the discontinuity was very acute. One result was a further hybridisation with the development of folk punk among younger acts in the later 1970s, some of which, like the Pogues and The Levellers, achieved some mainstream success. The early 1980s were the nadir of electric folk, when, in contrast to the mid-1970s only the Albion Band (with the associated Home Service) and the Oysterband remained as major exponents of the genre and this was perhaps their least productive period, although in part, at least, this was due to lack of major record company interest in the genre. Folk-rock has never been a major revenue earner for record companies, even in its 1970s heyday. As a consequence of this lack of interest the three Home Service albums released between 1984 and 1986 came out on three different independent labels (Jigsaw, Coda and Making Waves), which further dented their commercial prospects.

Resurgence 1985–present
In the later 1980s, things began to look much more positive for the genre. Despite formally disbanding in 1979, Fairport Convention staged what were initially called "reunion" concerts annually from 1980, which eventually evolved into the Cropredy Festival ("Fairport's Cropredy Convention") which remains (in 2022) a mainstay of the U.K. summer festival calendar and regularly attracts up to 20,000 attendees, by no means all of whom are Fairport Convention fans. When the band reformed in 1985 they were able to embark on increasingly lengthy and successful tours and produce a series of highly regarded albums. The reason for this recording revival was partly because they abandoned the mainstream record business, instead focusing on growing their own audience and producing records independently on their own labels (Woodworm and Matty Grooves), ironically a development which the punk and post-punk era had helped to accelerate.

The Albion Band survived initially by becoming involved in theatre productions and, from 1993, by downsizing to a smaller acoustic outfit that could play the still extensive network of folk clubs and other smaller venues. This move was also significant in indicating the way in which electric folk personnel had become assimilated into the folk revival. Almost all the members of Fairport Convention have toured the folk club circuit solo or in smaller units and the line up at Cropredy includes as many acoustic acts as electric.

In 1980, Steeleye Span's Sails of Silver took a decisive move away from traditional songs. It was a commercial failure and their last album for six years as they became a part-time touring band. However, in 1986 they produced Back in Line and since then, despite several line-up changes, they have continued to perform and have recorded eight more albums.

Some bands like Stone Angel and Jack the Lad, who had disbanded in the 1970s, had reformed and resumed a recording or touring career.

Impact on English rock music
Hard rock and progressive rock bands such as Led Zeppelin and Jethro Tull incorporated elements of folk music in their music, though they are not considered part of the folk rock movement. Led Zeppelin had shared a stage with Fairport Convention at the Bath Festival of Blues and Progressive Music in 1970. Robert Plant and Jimmy Page's interest in the genre was first evident in the recording of "Gallows Pole" a traditional ballad on Led Zeppelin III (1970), which stands out among their usual output of blues orientated rock. At this time they also wrote the ballad "Poor Tom" which would surface on Coda (1982). It is more subtly manifested in their most famous album Led Zeppelin IV (1971), which contained elements of both American folk rock and English electric folk on 'Stairway to Heaven' and most obviously on 'The Battle of Evermore', on which Sandy Denny had the distinction of being the only person ever to be invited to do guest vocals on a Led Zeppelin album. These influences would also appear on later albums, but reduced as the band returned to a hard rock sound from Presence (1976) onwards.

As Led Zeppelin moved away from electric folk, another long term survivor of the British blues movement, Jethro Tull, began to move towards it. Ian Anderson had produced Steeleye Span's album Now We Are Six in 1974 and first demonstrated a clear interest in more traditional sounds on Minstrel in the Gallery (1975), but it was in 1977 with the release of Songs from the Wood (1977) that Anderson took the band into electric folk territory. All the songs on the album focused on rural life and, in addition to the normal electronic instruments and flute of the band, used mandolin, lute and a pipe organ. Two tracks, 'Hunting Girl' and particularly 'Velvet Green' followed the form of erotic folk ballads, much suited to Anderson's song writing interests. Two more albums followed in a similar vein: Heavy Horses (1978) and Stormwatch (1979) to form a loose folk rock trilogy, before Anderson moved into more electronic territory at the beginning of the 1980s. Ironically it was at this point that Dave Pegg of Fairport Convention would be the first of several members of that band to join Jethro Tull.

Electric and progressive folk
Progressive folk developed in Britain in the mid-1960s partly as an attempt to elevate the artistic quality of the folk genre, but also as a response to diverse influences, often combining acoustic folk instruments with jazz, blues and world music. As a result, it was already established in Britain, albeit a difficult to define and varied subgenre, before the advent of electric folk at the end of the 1960s. It can be seen as including performers such as Donovan, the Incredible String Band, Pentangle, Strawbs, Nick Drake, Roy Harper, John Martyn and the original Tyrannosaurus Rex. Some of this, particularly the Incredible String Band, has been seen as developing into the further subgenre of psych or psychedelic folk.

The advent of electric folk had profound effects on this developing strand of the folk genre. First, many existing acts, having avoided the American model of folk rock electrification from about 1965 now adopted it, most obviously Pentangle, Strawbs and acoustic duo Tyrannosaurus Rex which became the electric combo T-Rex. It also pushed progressive folk towards more traditional material. Acoustic performers Dando Shaft and Amazing Blondel, both beginning about this time, are examples of this trend.

Examples of bands that remained firmly on the border between progressive folk and progressive rock are the short lived Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music.

While progressive folk as a genre continued into the late 1960s, it was overshadowed by electric folk and progressive rock, arguably, later to emerge in a new form.

Medieval folk rock
From about 1970 a number of performers inspired by electric folk, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and 19th century ballada that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band. In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk. In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979. However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock. One remaining but notable exponent of medieval folk rock is Ritchie Blackmore with Blackmore's Night.

Celtic rock
Initially Celtic rock replicated electric folk, but naturally replaced the element of English traditional music with its own folk music. It was rapidly evident in all areas of the Celtic nations and regions surrounding England, as Ireland, Scotland, Isle of Man, Wales, Cornwall, and Brittany all saw the adoption and adaptation of the electric folk model. Through at least the first half of the 1970s, as Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic fiddle and harp tunes and even traditional vocal styles, but making use of rock band levels of amplification and percussion it can be considered part of the electric folk movement. However, as it developed into new derivatives and hybrids, including Celtic punk, Celtic metal, and other sorts of Celtic fusion, the initial electric folk pattern began to dissipate.

Folk punk
In the mid-1980s a new rebirth of English folk began, this time fusing folk forms with energy and political aggression derived from punk rock. Leaders included The Men They Couldn't Hang, Oysterband, Billy Bragg and The Pogues. Folk dance music also became popular in the 1980s, with the English Country Blues Band and Tiger Moth. The decade later saw the use of reggae with English folk music by the band Edward II & the Red Hot Polkas, especially on their seminal Let's Polkasteady from 1987.

Folk metal
In a process strikingly similar to the origins of electric folk in the 1960s, the English thrash metal band Skyclad added violins from a session musician on several tracks for their 1990 début album The Wayward Sons of Mother Earth. When this was well received they adopted a full-time fiddle player and moved towards a signature folk and jig style leading them to be credited as the pioneers of folk metal. This directly inspired the Dublin-based band Cruachan to use traditional Irish music in creating the Celtic metal subgenre. Attempts have been made elsewhere to replicate this process with examples ranging from the Middle Eastern folk music of Orphaned Land, the Baltic folk music of Skyforger and the Scandinavian folk music of Korpiklaani. In Germany this trend is more closely associated with the neo-medieval music known as medieval metal.

Festivals
Fairport's Cropredy Convention (previously Cropredy Festival) has been held every year since 1980 near Cropredy, a village five miles north of Banbury, Oxfordshire and attracts up to 20,000 fans. It remains one of the key events in the UK folk festival calendar.

After holding a successful open-air concert at Kentwell Hall, Suffolk in 2005, Steeleye Span decided to hold their own annual festival, known as Spanfest.

Other, more traditional, folk festivals (Shrewsbury, Towersey, Cambridge and Sidmouth, to name but four) now routinely host performances by exponents of the folk-rock genre.

Electric folk
When English bands of the late 1960s and early 1970s defined themselves as 'electric folk' they were making a distinction with the already existing 'folk rock'. Folk rock was (to them) what they had already been producing: American or American style singer-songwriter material played on rock instruments, as undertaken by Bob Dylan and the Byrds from 1965. They drew the distinction because they were focusing on indigenous (in this case English) songs and tunes. This is not to say that all the proponents of electric folk totally abandoned American material, or that it would not be represented in their own compositions, but their work would be characterised by the use of traditional English songs and tunes and the creation of new songs in that style, using the format and instruments of a rock band with the occasional addition of more traditional instruments.

The result of this hybridisation was an exchange of specific features drawn from traditional music and rock music. These have been defined as including:

Traditional music:
 * Lyrics
 * Tunes (including ornamentation)
 * The drone (cf. bagpipes), but usually on a guitar or bass
 * Use of some acoustic instruments
 * Use of traditional rhythms; for example, an eight-beat rhythm of 3+3+2 with the stress on the first, fourth, and seventh beats, as in Led Zeppelin's "The Battle of Evermore", while not unusual precludes the standard rock backbeat.
 * Blending of multiple songs in the traditional music style: often a short instrumental piece is inserted as an instrumental in a longer lyrical piece (i.e. a piece with vocals), both in traditional music and Electric folk

Rock music:
 * Rhythm (specifically the backbeat)
 * The hook
 * Ostinati (plural of ostinato), a melodic and/or rhythmic figure that is persistently repeated throughout a piece or a section of a piece
 * Use of some electric instrument
 * The tempo of some songs may be altered well beyond the traditional boundaries
 * Key changes may be added

Not all of these features are found in every song. For example, electric folk groups, while predominantly using traditional material as their source for lyrics and tunes, occasionally write their own (much as traditional musicians do).

title: British folk rock


text:
User talk:Kmorris1077

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
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 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]] 07:27, Dec 17, 2004 (UTC)

Proposed deletion of Thollem McDonas

The article Thollem McDonas has been proposed for deletion  because of the following concern:
 * Article is written like an advertisement.

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Steven Walling • talk   20:30, 25 August 2012 (UTC)

Nomination of Thollem McDonas for deletion
A discussion is taking place as to whether the article Thollem McDonas is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Thollem McDonas until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion template from the top of the article. Steven Walling • talk   22:38, 26 August 2012 (UTC)

title: User talk:Kmorris1077


text:
User talk:Darkros

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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Good luck!

[[User:Meelar|Meelar (talk)]] 07:27, Dec 17, 2004 (UTC)

title: User talk:Darkros


text:
Wikipedia:Articles for deletion/Truegrim

Truegrim was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Notability? 0 goog Mikkalai 07:27, 17 Dec 2004 (UTC)
 * Comment: Maybe we should check what the Finnish Wikipedia thinks. Maybe they have a similar article on VfD or already deleted. [[User:MacGyverMagic|Mgm|(talk)]] 08:51, Dec 17, 2004 (UTC)
 * At the moment it seems the Finnish Wiki doesn't have any references to the band, and as the current article is unverifiable, POV, as well as probable band vanity (no albums = no notability, most likely), I'll vote delete. [[User:Livajo|Ливай | ☺]] 00:31, 18 Dec 2004 (UTC)
 * Delete, they may be ok but this article is truly grim (nn) Wyss 02:23, 19 Dec 2004 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: File:Greek atheos.gif

title: File:Greek atheos.gif


text:
User talk:Eelozano

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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Good luck!

[[User:Meelar|Meelar (talk)]] 07:33, Dec 17, 2004 (UTC)

title: User talk:Eelozano


text:
Tak, Thailand

Tak (ตาก, ) is a town (thesaban mueang) in north-west Thailand, capital of the Tak Province and the Tak district. As of 2005 the town had a population of 19,900 and an area of 7.27 km2. It covers the tambon Rahaeng, Nong Luang, Chiang Ngoen, and Hua Diat. It is on the Ping River, 418 km north-north-west of Bangkok.

Geography
Tak is on the Ping River, which runs from north to south through the town. While the land to the east is fairly flat, the Tenasserim Hills and Dawna Range lie to the west.

Climate
Tak has a tropical savanna climate (Köppen climate classification Aw). Winters are dry and very warm. Temperatures rise until April, which is very hot with the average daily maximum at 38.5 °C. On 15 April 2023, Tak measured the highest temperature ever recorded in Thailand, reaching 45.4 °C, the first time that Thailand recorded a temperature over 45 °C (113 °F). The monsoon season runs from May through October, with heavy rain and somewhat cooler temperatures during the day, although nights remain warm.

Transportation
Route 105, through Mae Sot, forms one of two major transnational roads through the Tenasserim Hills to Burma. Route 1, also known as the Phahonyothin Road, passes through Tak. On the north side it leads to Lampang, Chiang Rai, and the border with Burma at Mae Sai. On the south side it leads to Kamphaeng Phet, Nakhon Sawan, and Bangkok. Route 12 leads east to Sukhothai, Phitsanulok, Chum Phae, Khon Kaen, Kalasin, and the border with Laos at Mukdahan.

Tak is served by Tak Airport, 13 km east of the town.

title: Tak, Thailand


text:
John Clyn

John Clyn, O.F.M. (c. 1286), of the Friars Minor, Kilkenny, was a 14th-century Irish friar and chronicler who lived at the time of the Black Death.

Background
Clyn was probably born in Leinster some years prior to 1300, possibly at Baile a Clinn/Clyn's town/Clintstown, in the parish of Conahy, some six and a half miles north-west of Kilkenny. The surname Clyn is found in Somerset and Bristol, which may have been where his Anglo-Norman ancestors originated.

Career
Bishop James Ussher stated, possibly in error, that Clyn was a doctor of the Franciscan Order. This statement may be a presumption as it has no supporting evidence. Clyn was well educated, though just where he received his education is unknown. He may have attended the university at Dublin, while Oxford and Cambridge remain more distant possibilities.

Clyn is recorded as the Guardian of the friary of Carrick in 1336; Bernadette Williams believes that he would have been about fifty at that time ("around the same age as his hero Fulk de la Freigne"), as someone mature would have been needed to hold that post.

Clyn may have attended the General Chapter of the Friars Minor at Marseilles in 1346. At some point between 1336 and 1348 he moved to Kilkenny.

John Clyn wrote a diary, or journal, about the Black Death, which has become a key primary source on the plague. He left blank pages for those who wanted to "finish the work."

He was still alive after 17 June 1349, his last entry in his annals being a eulogy for Fulk de la Freigne. It is unknown whether Clyn perished from the disease. Though the Black Death persisted in Ireland until 1350, Clyn may have survived it. If this is the case, he may have ceased writing "...because of the death of his friend, and perhaps patron, Fulk de la Freigne."

The Annals of Ireland
In an effort to identify Clyn's purpose in writing his annals, Bernadette Williams states: "They are not a house chronicle, a town chronicle or a political history. ... the difference between a city and county annalist is quite evident; Clyn was not a member of the burgage population of Kilkenny but a man of the countryside. ... The reality is that Clyn was writing a military history of the geographical area of Kilkenny and Tipperary... his audience was either the military men of that area or more specifically a military family such as the de la Freignes."

Indeed, the latter family are mentioned fulsomely in his annals.

As a person "from a military and chivalric background... he displayed an acceptance of the military situation on the ground" but abhorred "treachery and unprovoked violence."

Clyn would be unknown as the author had he not identified himself in his entry on the Black Death.

In 2007 an edition of the annals of Friar Clyn was translated into English by Dr. Bernadette Williams.

Notable entry
"So that notable deeds should not perish with time, and be lost from the memory of future generations, I, seeing these many ills, and that the whole world encompassed by evil, waiting among the dead for death to come, have committed to writing what I have truly heard and examined; and so that the writing does not perish with the writer, or the work fail with the workman, I leave parchment for continuing the work, in case anyone should still be alive in the future and any son of Adam can escape this pestilence and continue the work thus begun."

title: John Clyn


text:
User:Streeterviller

Feedback welcomed

title: User:Streeterviller


text: User talk:67.100.55.216

title: User talk:67.100.55.216


text:
Hawke

Hawke may refer to:

 * Hawke (surname)

In fiction

 * Hawke (film), a 2010 Australian television film about Bob Hawke
 * Hawke (novel), a 2003 novel by Ted Bell
 * Hawke (Advance Wars), a fictional commander first introduced in Advance Wars 2: Black Hole Rising
 * Hawke (Dragon Age), a prominent character from the Dragon Age video game series
 * Hawke, a fictional character in the video game Romancing SaGa
 * Cannon Hawke, comic book character
 * Connor Hawke, comic book character
 * Jeff Hawke, a science fiction comic strip
 * Elizabeth Hawke, protagonist/antagonist in the Australian series Wicked Science

Places

 * Hawke Bay, a bay on the North Island of New Zealand
 * Hawke's Bay, the area surrounding Hawke Bay, New Zealand
 * Hawke's Bay (Karachi), a beach and neighborhood in Karachi, Pakistan
 * Hawke's Bay Province, a historical province of New Zealand
 * Hawke (New Zealand electorate), a historical parliamentary electorate of New Zealand
 * Mount Hawke, village in Cornwall, England, U.K.
 * Hawke (crater), a lunar impact crater on the southern hemisphere on the far side of the Moon
 * Division of Hawke, Australian electoral division
 * Hawkesdale, Victoria, Australia
 * Hawksdale, a location in Cumbria, England, sometimes called "Hawkesdale"

Ships

 * HMS Hawke, the name of various British Royal Navy ships

Organisations

 * Hawke Sea Scouts, a Scouting unit in Auckland, New Zealand.
 * Hawke Racing Cars, a defunct Formula Ford racing car constructor
 * Hawke Coachwork, a defunct coachbuilder

Animals

 * A historical alternative spelling for hawk

title: Hawke


text:
Aircraft emergency frequency

The aircraft emergency frequency (also known in the USA as Guard) is a frequency used on the aircraft band reserved for emergency communications for aircraft in distress. The frequencies are 121.5 MHz for civilian, also known as International Air Distress (IAD) or VHF Guard, and 243.0 MHz—the second harmonic of VHF guard—for military use, also known as Military Air Distress (MAD) or UHF Guard. Earlier emergency locator transmitters (ELTs) used the guard frequencies to transmit, but an additional frequency of 406 MHz is used by a more modern emergency locator transmitter.

History
The choice of 121.5 MHz was made by ICAO in conjunction with ARINC and the ITU.

Monitoring
In the United States, the emergency frequency is monitored by most air traffic control towers, FSS services, national air traffic control centers, military air defense and other flight and emergency services, as well as by many commercial aircraft. The notice to airmen FDC 4/4386 requires "…all aircraft operating in United States National Airspace, if capable, shall maintain a listening watch on VHF GUARD 121.5 or UHF 243.0."

In the UK, 121.5 MHz is monitored by the Royal Air Force Distress and Diversion cells (known as "D&D") at the London Terminal Control Centre and the Shanwick Oceanic Control, from a nationwide network of antennas. Depending on the aircraft's altitude and location, the personnel in the centres may be able to use triangulation to determine its exact position which can be useful to the pilot if the aircraft is lost or "temporarily unsure of position".

Use
Both guard frequencies can be used by any aircraft in distress or experiencing an emergency and in addition it can be used by air traffic control to warn aircraft if they are about to fly into restricted or prohibited airspace.

Guard frequencies can be used for distress calls, such as Mayday calls, and urgency calls, such as Pan-pan calls.

Aircraft will also be contacted on 121.5 MHz when intercepted by air defence aircraft, to ask for identification and intentions and to pass on instructions.

Misuse
ICAO Annex 10, Volume V, § 4.1.3.1.1 states "the emergency channel (121.5 MHz) shall be used only for genuine emergency purposes".

A misuse of the frequency can result in punishment. In the United States, Federal Communications Commission (FCC) rules prohibit false distress calls and superfluous communications. If the FCC Enforcement Bureau identifies an individual breaking these rules, they can be subject to a fine of up to $19,246 for a single violation and up to $144,344 for an ongoing violation. FCC may also confiscate radio equipment and file for criminal charges.

In the United Kingdom, pilots may make "practice PAN" or "training fix" calls. Practice Mayday calls are not permitted.

Locating beacons
Older emergency locator transmitters transmit on 121.5 MHz in case of impact. Newer ELTs transmit on 406 MHz, with a low power beacon on 121.5 MHz for local homing. Satellites listen for the signals and alert local personnel to the emergency, and the beacon allows search and rescue to find the scene of the accident faster. Beacons operating at 406 MHz are encoded, allowing the vessel of origin to be determined and false alarms to be quickly verified. Satellite support for the 121.5 MHz–only versions was discontinued in early 2009.

title: Aircraft emergency frequency


text:
Albahaca

Albahaca may refer to:

 * Ocimum campechianum ("albahaca de monte"), widespread across the Americas from Mexico southward.
 * Ocimum basilicum, which is the basil ingredient for cooking, grown worldwide.
 * Celosia virgata, a shrub found in Puerto Rico and the Virgin Islands.

Plants named Albahaca

title: Albahaca


text:
Étude in D-sharp minor, Op. 8, No. 12 (Scriabin)

Étude in D-sharp minor, Op. 8, No. 12, is an étude for piano composed by Alexander Scriabin in 1894. It features many technical challenges, including numerous jumps in the left hand, repetitive chord strikes, and abundant octaves. It is a particular favorite among pianists and audiences alike. This piece was a favorite encore of Vladimir Horowitz.

Technique
The dramatic motive and moving recitative of the solo in the upper voices on the chordal background is characteristic of Scriabin's early creations. The typical tempo for the piece is around 100-112 beats per minute. The right hand is always playing octaves except for the piece's ending. Similarly, the left hand is continually jumping around until the final chord is struck.


text:
Wolfgang Petritsch

Wolfgang Petritsch (born 26 August 1947) is an Austrian diplomat. Between 1999 and 2002 Petritsch served as the international High Representative for Bosnia and Herzegovina.

Early life and studies
Petritsch was born to a Carinthian Slovene family in Klagenfurt; he grew up in Glainach in a mixed Slovene/German-speaking environment. Besides his native tongues, he speaks English, French, and Serbo-Croatian.

Petritsch studied history, German studies, political science and law at the University of Vienna, where he obtained a PhD in 1972. He was also a Fulbright Scholar at the University of Southern California in Los Angeles. From 1977 to 1983 he was secretary and press officer to Federal Chancellor Bruno Kreisky, about whom he published a biography in 2011.

Diplomatic career
After one year at the Austrian Mission to the OECD in Paris, between 1984 and 1992 Petritsch served as Director of the Austrian Press and Information Service Agency in the United States and as Minister Plenipotentiary to Austria's Permanent Mission to the United Nations in New York. In 1992–1994 he served as Acting Head of the Department for Multilateral Economic Co-operation in the Austrian foreign ministry, as well as in the latter year as Head of Department for Information on European Affairs in the Federal Chancellery, supervising the Austrian Federal Government's information campaign on Austria's accession to the EU. Between 1995 and 1997 he headed the Department for International Relations of the City of Vienna.

From 1997 to 1999 he was Austrian Ambassador to the Federal Republic of Yugoslavia. During the same period, between October 1998 and July 1999, he also served as the European Union Special Representative for Kosovo. In such a vest he chaired the EU negotiating teams in February and March 1999 at the Kosovo peace talks in Rambouillet and Paris.

Petritsch served between August 1999 and May 2002 as the international High Representative for Bosnia and Herzegovina (OHR). In this role, he was the final authority on the civilian implementation of the 1995 Dayton Peace Agreement. In 1999–2001 he was also chair of the Succession Commission for the former Socialist Federal Republic of Yugoslavia (SFRY) in charge of distributing the public assets and liabilities among the successor states (Vienna Agreement, June 2001).

In the 2002 Austrian elections, Petritsch ran with Alfred Gusenbauer's SPÖ, as prospective Foreign Minister. Already before the ballot, he was appointed Austria's Permanent Representative to the United Nations in Geneva, on which post he later returned at the beginning of 2008.

In September 2003, Petritsch, as Austria's Permanent Representative to the United Nations Office at Geneva, to the WTO and to the Conference on Disarmament; he was appointed President of the Ottawa Treaty's First Review Conference, or Nairobi Summit on a Mine Free World taking place in Kenya in 2004. In 2004–2005 he chaired the United Nations Economic Commission for Europe (UNECE) and was in charge of its reform.

After leaving Geneva, Petritsch went to Paris as Ambassador and Permanent Representative of Austria to the OECD until 2013.

Since November 2021 Petritsch is part of the advisory board of the Austrian Service Abroad.

Other positions
From 2005 to 2014 Petritsch chaired the Center for European Integration Studies (CEIS) in Geneva. Since 2007 he is President of the Paul Lazarsfeld Gesellschaft, Vienna From 2008 to 2013 he served as chair of the board of the European Cultural Foundation in Amsterdam. Since 2009 he is President of the Herbert Kelman Institute, Vienna. From 2010 to 2013 he was member of the senior advisory group on the International Dialogue on Peacebuilding and Statebuilding (g7+), in Paris. Later he was appointed Joseph A. Schumpeter Fellow at Harvard University. He still serves as the president of the Austrian Marshall Plan Foundation.

Works

 * 1999: Kosovo: Mythen, Daten, Fakten = Kosova, gemeinsam mit Karl Kaser und Robert Pichler, Wieser-Verlag, Klagenfurt 1999, ISBN 978-3-85129-304-3
 * 2008: Das Kreisky-Prinzip: im Mittelpunkt der Mensch, gemeinsam mit Margaretha Kopeinig, Czernin-Verlag, Wien 2008, ISBN 978-3-7076-0277-7
 * 2009: Zielpunkt Europa: von den Schluchten des Balkan und den Mühen der Ebene ; Aufsätze – Reden – Kommentare – Interviews – Dokumente, 2001–2009, Wieser-Verlag, Klagenfurt 2009, ISBN 978-3-85129-859-8
 * 2010: Die europäische Chance: Neustart nach der Krise, gemeinsam mit Margaretha Kopeinig, Verlag Kremayr & Scheriau, Wien 2010, ISBN 978-3-218-00807-5
 * 2010: Bruno Kreisky: die Biografie, Residenz-Verlag, St. Pölten/Salzburg 2010, ISBN 978-3-7017-3189-3
 * 2018: Epochenwechsel: unser digital-autoritäres Jahrhundert, Christian Brandstätter Verlag, Wien 2018, ISBN 978-3-7106-0268-9

title: Wolfgang Petritsch


text:
Wikipedia:Articles for deletion/Fatima alim

Fatima alim was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

''Fatima Alim is currently a biomedical engineering student at the University of California-Irvine. She wishes to become a teacher upon graduation.'' Vanity or non-notable. -- Hoary 07:49, 2004 Dec 17 (UTC)
 * Delete. Most pointless Vanity ever. P Ingerson 08:44, 17 Dec 2004 (UTC)
 * Speedied as vanity. [[User:MacGyverMagic|Mgm|(talk)]] 08:57, Dec 17, 2004 (UTC)
 * Delete as vanity. However, this should not have been speedied.  Vanity is not (yet) one of the specific cases for speedy deletion.  Rossami (talk) 22:51, 17 Dec 2004 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Santa Anita

Santa Anita may refer to:

 * Places
 * Little Santa Anita Canyon, a canyon in the San Gabriel Mountains, California
 * Santa Anita metro station, a station on the Mexico City Metro
 * Rancho Santa Anita, a 13,319-acre (53.90 km2) land grant given to Hugo Reid
 * Santa Anita, Baja California Sur, a village in Baja California del Sur, Mexico
 * Santa Anita, California, a community in Los Angeles County
 * Santa Anita Assembly Center, a temporary Detention Camp for Japanese Americans during World War II in Santa Anita, California
 * Santa Anita Canyon, a canyon in the Angeles National Forest in California
 * Santa Anita District, a district of the Lima Province in Peru
 * Santa Anita Golf Course, in Los Angeles, California
 * Santa Anita Park, a thoroughbred racetrack in Arcadia, California, United States
 * Westfield Santa Anita, a shopping mall in Arcadia, California

 * Horse races
 * Santa Anita Handicap a horse race run each March at Santa Anita Park in Arcadia, California
 * Santa Anita Oaks, a horse race held annually in mid March at Santa Anita Park in Arcadia, California
 * Santa Anita Derby, a horse race run each April at Santa Anita Park in Arcadia, California

title: Santa Anita


text:
Buddy Burner

A Buddy Burner is a simple stove made from a can and part of a corrugated paper box. It is usually fueled by paraffin wax but other fuels, such as boiled butter, animal fat or diesel fuel, can be used. It is usually used for cooking but can also provide heat.

The most common type of buddy burner is made from a tuna or cat food can because of the low profile. The corrugated paper is cut into a strip as wide as the can is tall then rolled into a tight coil and placed in the can. The can is then filled with fuel (if fueled with paraffin wax it is first melted) leaving enough of the paper above the fuel to act as a wick.

Benefits
Using paraffin wax as a fuel has two advantages. First, when the burner cools the wax hardens making it convenient to keep in the burner for later use. Second, it is safe to refuel the burner while it is operating since placing solid paraffin wax on top of the burning stove involves no danger of the fresh fuel igniting explosively.

Since oxygen is necessary for combustion, holes may need to be punched around the top of the can to allow air to enter, and to provide a way for combustion gases to escape around the pot.

Safety precautions
Modern canning techniques now employ coatings that may produce toxic fumes when burning and can cause metal fume fever, and care must therefore be taken to ensure that cans used for burning are uncoated plain metal. Such coatings are usually used for tomatoes and other acidic foods.

Candles are usually made of paraffin wax and can be melted to put into a Buddy Burner. However, candles or paraffin wax blocks should be melted in a double boiler so that they cannot catch fire.

title: Buddy Burner


text:
User:Goldom

New note: I am no longer particularly active, only fixing things as I come across them. If you need something from an admin, you're better off messaging another one.

Why have I deleted your page / not deleted something you marked as a speedy delete? The answer to both these can probably be found in WP:CSD or WP:WMD. Please read them before asking me.

Some of my significant wiki work includes:

For my gallery of uploaded images, see /gallery. For all sorts of wacky insanity, see /nonsense. For information about awards I have given out/received, see /awards.

For sake of brevity, my signature is now some interrobangs and an asterism. Just cause they are neat looking and rarely-used symbols. -Goldom ‽‽‽ ⁂ 00:42, 2 June 2006 (UTC)

(Things I keep forgetting: Indefblockeduser Indefblocked-username UsernameBlocked)

title: User:Goldom


text:
Oakdale Park

Oakdale Park is a former baseball park that was located in Philadelphia, Pennsylvania.

History
This field was home to the Philadelphia Athletics professional baseball team in the first season of the American Association, 1882. The site of the park had been used for amateur baseball since the Civil War. It was used from 1877 to 1881 by the Olympic Ball Club of Philadelphia.

The 1882 Athletics played at the park, bounded by Huntingdon Street (north), 11th Street (east), Cumberland Street (south), and 12th Street (west) in the West Kensington neighborhood. The Athletics played 39 regular-season games at the park, compiling a 21–18 record. The franchise relocated to Jefferson Street Grounds in 1883.

Oakdale Park was sold shortly thereafter and torn down. Philadelphia Ball Park was built several blocks west of this site, five years later.

title: Oakdale Park