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Collegiate a cappella

Collegiate a cappella (or college a cappella) ensembles are college-affiliated singing groups, primarily in the United States, and, increasingly, the United Kingdom and Ireland, that perform entirely without musical instruments. The groups are typically composed of, operated by, and directed by students. In the context of collegiate a cappella, the term a cappella typically also refers to the music genre performed by pop-centric student singing groups. Consequently, an ensemble that sings unaccompanied classical music may not be considered an a cappella group, even though technically it is performing a cappella.

According to the nonfiction book Pitch Perfect, a cappella music is one of the oldest forms of music in existence, "the kind made without any accompaniment at all," and descended from the tradition of Gregorian chant. A cappella music as a form joined this early form with a later Puritan style, known as shape-note singing, which further extended into the American Gospel tradition. Further permutations leaked into the American pop landscape. Today, by some accounts, there exist as many as “twelve hundred collegiate a cappella groups in the United States alone.”

History
The RPI Glee Club of Rensselaer Polytechnic Institute, established in 1873, was one of the earliest known collegiate a cappella groups. The longest continuously operating group is thought to be The Whiffenpoofs of Yale University, which was formed in 1909 to create a musical group with a more "modern" sound than that of the Yale Glee Club, and named for the lyrics to Little Nemo, a popular Broadway song at the time. Such names, normally intended for comedic effect, have come to define in some part the irreverent attitude found in modern collegiate a cappella. For example, the second-oldest continuously performing a cappella group (and oldest all-male group) is Yale's Society of Orpheus and Bacchus, or "SOB's". The first a cappella groups at other American Ivy League universities include Notes and Keys of Columbia, which were founded in 1909, the same year as the Whiffenpoofs; the Princeton Nassoons (c.1941); the Dartmouth Aires (1946); the Harvard Krokodiloes (1946); Cayuga's Waiters of Cornell University (1949); and the Jabberwocks of Brown University (1949). The Smith College Smiffenpoofs are the oldest continuous soprano/alto a cappella group, founded in 1936.

In recent years, online a cappella communities have come together, allowing for greater involvement in the shaping of modern a cappella music, including stylistic trends. Among the most prominent online a cappella presences are the A Cappella Blog, Varsity Vocals, and CASA (The Contemporary A Cappella Society). According to The A Cappella Blog's information section, "The A Cappella Blog was founded in January 2007. Since that time, the site has reviewed over 40 International Championship of Collegiate A Cappella competitions. In addition, the site has featured interviews with over 50 a cappella groups and major figures in the a cappella community, including Ben Folds, Jerry Lawson, and Straight No Chaser. The A Cappella Blog has also published guest posts by Mickey Rapkin, Deke Sharon, Amanda Newman, and Bill Hare."

Similarly, the Varsity Vocals compose an international a cappella organization based around their two main competitions, the ICCA (International Competition of Collegiate A Cappella) and the ICHSA (International Competition of High School A Cappella). The South Asian a cappella competitive circuit is governed by the Association of South-Asian A Cappella (ASA), a non-profit organization formed in 2016, with some collegiate teams that compete in both circuits.

Collegiate a cappella is by far most common in the United States from which it originated; however in recent decades the trend has spread beyond to universities in the United Kingdom and the Republic of Ireland in Europe as well as up north into Canada and across the Pacific into Australia, New Zealand and a few nations in Asia.

Modern growth
College a cappella has grown rapidly since 1980. This growth was fueled in part by stylistic changes that had widespread appeal, and in part by the founding in 1991 of the Contemporary A Cappella Society (CASA) by Deke Sharon and Rex Solomon, which enabled interaction and collaboration of a cappella groups across the United States for the first time.

Sharon, a member of the Tufts a cappella group The Beelzebubs, co-created CASA after two years spent tenured as the historic group's musical director. Sharon sought to bring a cappella into the musical mainstream, popularizing a more pop format for the music, as well as helping to contribute to a standardization of a cappella performance through the founding of CASA.

One of CASA's core values in its promotion of the a cappella community is that of innovation, stating "We develop new methods for singers, groups, fans, and educators to sing, learn, connect, and interact with one another."

The new style used voices to emulate modern rock instruments, marking a shift away from the more traditional sounds of jazz or classical ensembles and glee clubs to contemporary a cappella, with groups focusing on modern pop music, complete with complex textures and a driving beat (see vocal percussion). Today, even some glee clubs have a largely pop-music repertoire supplemented only in small part by the traditional genres.

In modern competing a cappella groups, there are several techniques that are making each group more and more distinctive. Beatboxing is at the top among them, but tone, sound effects, style, blend, and harmonies are all unique, too.

Performance styles
Collegiate a cappella spans many music genres and styles including jazz, pop, jazz-influenced pop, fusion, barbershop, rhythm and blues, madrigals, alternative and hard rock, comedy, Jewish (including Yiddish or Hebrew songs), Christian (including Christian pop and rearranged hymns), and South Asian fusion. Differences in musical styles and individual group preferences result in a great diversity of music arrangements and performances.

Costume
The costumes and uniforms that the groups display present a message to the audience. That may be in matching, not matching, formal, informal, and many more. Each group has a "brand" and a "look/style" to their members. Costumes can be whatever a group wants them to be, but aesthetic appearances is a pleasing visual for the audience and, most importantly, the judges.

Choreography
Within the ICCA and ICHSA is a point system. Each group is judged based on several things, some of which including sound, blend, harmonies, choreography, and many more. Choreography is a big factor in determining how many points a group will get, and how clean and precise their movements are is also vital.

Arch sing
An "arch sing" is a casual, public performance, often held in an archway for reasons of acoustics and shelter from the weather. Typically, one or more a cappella groups will perform for a small audience, either as a concert or to promote upcoming concerts. The term is also sometimes used to describe similar casual, outdoor performances not held under arches.

Live techniques
In recent years, with the advent of more advanced audio equipment and the ability of a cappella groups to attract income with live performances for pay, there has been increased exploration into the importance of microphones. Whereas groups at schools with older campuses find themselves with arches and naturally acoustically accentuated spaces in which to perform, many groups find themselves lacking spaces such as these. As has been documented and encouraged by various a cappella organizations, such as CASA, Varsity Vocals, and The A Cappella Blog, individual microphone use for each member of an ensemble has risen in popularity, allowing for, as Mike Chin of the A Cappella Blog states, a "big,...clear,...crisp" sound in an otherwise acoustically dull performance space. In addition, the use of individual microphones allows for added effects to be applied to a group's live vocals, such as adding a digital lower octave (or "octavizing") the bass vocalist to produce a tone that is outside the natural range of most singers. The integration of these technological advancements continues to shape the sound of modern a cappella music at the college level and beyond.

Group structure and culture
Most collegiate a cappella groups, whether all-male identifying, all-female identifying, or mixed, share similar traits. The groups often benefit from the talent of non-music majors who have significant experience with music, choral singing, or both. Participation in such groups provides both a social and creative outlet for students who are pursuing other academic fields. Groups are generally self-sustaining and often entirely run by students. Some groups receive financial support from their educational institution while others are entirely self-supporting.

Unlike professional groups, which typically have four to seven members, collegiate groups typically perform with eight to sixteen members, with full group rosters measuring up to 30 members in some cases. This large roster size is often driven by necessity, as college groups tend to see high turnover due to graduation and changing student commitments. A large member count enables a group to maintain continuity over time and it also affects the group's aural aesthetic. For example, a large group may be able to perform arrangements that have more than a dozen separate parts, an impossible feat for smaller groups.

Some groups record albums of their music, typically at intervals of two or three years. The quality of such albums has recently improved markedly due to an increased focus on multi-track recording, greater access to home recording technology, and the emergence of professional a cappella production specialists (including arrangers, vocal editors, and mix/mastering engineers). Achievements in collegiate a cappella recording are recognized by awards programs (e.g., the Contemporary A Cappella Recording Awards, awarded by CASA) and compilation albums, such as the long-running Best of College A Cappella series.

Many college groups compete in annual competitions organized by the International Championship of Collegiate A Cappella (ICCA), which conducts various regional competitions, with winners of regional competitions advancing to a national competition. The South-Asian a cappella circuit, run by ASA, also conducts various regional competitions leading up to All-American Awaaz, their national championship.

title: Collegiate a cappella


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Pablo Santos (actor)

Pablo Santos (9 January 1987 – 15 September 2006) was a Mexican actor.

Career
Santos was born in Monterrey, Nuevo León. At the age of 12 he moved with his family to Los Angeles, California. He began an acting career and starred as the son of a Mexican-Irish-American family portrayed in Greetings from Tucson, which ran on the WB network from 2002 to 2003.

After the series ended, he appeared in the 2004 film Party Animalz. He also appeared in television shows such as Law & Order: Special Victims Unit and Boston Public.

Death
Santos died on 15 September 2006 in a plane crash at Toluca International Airport in Toluca, west of Mexico City. He was flying as a passenger, seated on the floor with no restraints, in a chartered plane (a Piper PA-46 Malibu) flown by a commercial pilot, from Monterrey to Acapulco with five friends to celebrate Mexican Independence Day when the plane crashed over a mile (1.6 km) short of the runway while the pilot was attempting an emergency landing at an intermediate airport in Toluca due to low fuel levels. Another passenger, Martel Fernández, was declared brain-dead the following day; his life support was terminated. All others on board were hospitalized for minor injuries. The aircraft was certified to carry six persons, including the pilot, and there were six seats in the plane, yet there were seven people onboard.

Filmography

 * 2006: Gettin' Some Jail Time
 * 2006: Walkout
 * 2005: Sea of Dreams
 * 2005: Shackles
 * 2004: Party Animalz
 * 2003: Boston Public: Episode 1 "Chapter Sixty Seven" (TV series)
 * 2003: The Proud Family (TV series)
 * 2002: Law & Order: Special Victims Unit: Episode "Angels" (TV series)
 * 2002: Greetings from Tucson (TV series)
 * 2002: Cojones
 * 2002: Jeremiah: Episode "Red Kiss" (TV series)
 * 2002: American Family : Episode "Crash Boom Love" Parts 1 & 2 (TV series)
 * 2002: The Shield: Episode "Journey of Dreams" (TV series)''
 * 2001: Alias: Episode "Doppelgänger" (TV series)
 * 2000: The Weeping Woman of the River
 * 2000: Resurrection Boulevard: Episode "Comenzando de Nuevo" (TV series)

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

title: Pablo Santos (actor)


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Bösendorfer

Bösendorfer (L. Bösendorfer Klavierfabrik GmbH) is an Austrian piano manufacturer and, since 2008, a wholly owned subsidiary of Yamaha Corporation. Bösendorfer is unusual in that it produces 97- and 92-key models in addition to instruments with standard 88-key keyboards.

History
Bösendorfer, one of the oldest piano manufacturers, was established in 1828 by Ignaz Bösendorfer. It has a history of producing highly respected instruments.

In 1830, it was granted the status of official piano maker to the Emperor of Austria.

Ignaz's son Ludwig Bösendorfer (1835–1919) assumed control in 1859, operating from new premises from 1860.

Between 1872 and its closure in 1913, the associated Bösendorfer-Saal was one of the premier concert halls of Vienna.

In 1909, Carl Hutterstrasser purchased the company and was succeeded by his sons Alexander and Wolfgang in 1931.

In 1966, the Jasper Corporation (later renamed Kimball International), parent company of Kimball Pianos, assumed control of Bösendorfer.

In 2001 Bösendorfer returned to Austrian hands, when the BAWAG PSK Gruppe purchased it.

On 21 December 2007 BAWAG signed an agreement to sell 100% of Bösendorfer to Yamaha Corporation.

Bösendorfer continues to make handcrafted pianos in the same Vienna factory. Almost 300 of these premium pianos are made each year.

Characteristics

Bösendorfer pioneered the extension of the typical 88-key keyboard, creating the Imperial Grand (Model 290), which has 97 keys (eight octaves). Ferruccio Busoni initially ordered this innovation in 1909 as part of a custom piano, as he wanted to transcribe an organ piece that extended to the C below the standard keyboard. This innovation worked so well that this piano was added to regular product offerings and quickly became one of the world's most sought-after concert grands. Because of the 290's success, the extra strings were added to Bösendorfer's other line of instruments such as the 225 model, which has 92 keys. The extra keys, at the bass end of the keyboard, were originally hidden beneath a hinged panel mounted between the piano's conventional low A and the left-hand end-cheek to prevent their being struck accidentally during normal play; more recent models have omitted this device and simply have the upper surface of the extra natural keys finished in matte black instead of white to differentiate them from the standard 88.

The rim of a Bösendorfer grand piano is built quite differently from that of all other grands. Instead of veneers bent around a form, the rim is made in solid sections of spruce and jointed together. Spruce is better at transmitting sound than reflecting it. This is perhaps why Bösendorfers tend to have a more delicate treble and a bass that features the fundamental tone more than the higher harmonics. There are also two other features of Bösendorfers that are shared with only a few other piano brands: one is a removable capo d'astro bar in the treble, which facilitates rebuilding of the instrument and, Bösendorfer says, provides greater acoustic separation from the plate, decreasing tonal absorption; the other is single-stringing, providing each string its own individual hitch pin on the plate instead of connecting it to a neighbouring string. This design may slightly improve tuning stability and is an advantage in case of string breakage.

The latest development in the Bösendorfer range is the CEUS digital grand piano reproducing system, which incorporates a computer-controlled mechanism that records a performance on a digital storage medium (magnetic disk or memory chips) and plays it back. The requisite equipment can be fitted to most Bösendorfer pianos to allow the direct recording of pieces while capturing all the keyboard velocity data as a .boe file. Bösendorfer uses a proprietary format to record key and pedal movements as a digital file.

Models
Bösendorfer makes eight models of grand piano from 155 cm to 290 cm in length (5'1" to 9'6") and two vertical pianos,120 cm and 130 cm in height (47" and 51"). The Imperial Grand is one of the world's largest pianos. Each numerical Bösendorfer model directly corresponds to its length in centimeters. For example, a Model 170 is 170 centimeters long (approximately 5'7"). The following tables describes the current Bösendorfer models:

Grand pianos
Current Grand Piano Models

Upright pianos
Current Upright Piano Models

Conservatory Series
To appeal to a wider market, Bösendorfer designed the Conservatory Series for colleges and universities that could not afford Bösendorfer's standard black-model pianos. The production of the two CS Series pianos spends less time in "non-critical areas", cutting down costs of production and purchase, making them more affordable than standard models. The cases and frames are of satin finish, rather than polished and, initially, the pianos were loop-strung rather than single-strung, but those practices have since been abandoned.

Special and Limited editions
Bösendorfer has produced a number of specially designed pianos named after famous composers such as Franz Schubert, Frédéric Chopin and Franz Liszt, as well as pianos designed for special occasions, such as Bösendorfer's 170th and 175th anniversaries.

SE reproducing piano
Under the ownership of Kimball, Bösendorfer built and sold a small number of Stahnke Edition automatic reproducing pianos based on 3 of the 'Imperial Line' models 225, 275 and 290. The 'SE' designation was for Stahnke Engineering, whose founder, Wayne Stahnke, invented the mechanism. These instruments were fitted with sensors, electronics and mechanical systems to record and play back piano performances extremely accurately through electro-mechanical actuation of the piano keys and pedals. These instruments were designed to work with either performances stored on cassette tapes as digital data, or with an attached MS-DOS IBM PC computer. Using the computer, the SE instruments could be used for recording, editing and playback. The SE system instruments were the first commercially available computer-controlled "player piano" capable of accurately reproducing both the notes and intensity of a performer's playing. This system was not further developed or patented due to its high cost. Competitors soon introduced patented reproducing piano technologies such as the Yamaha Disklavier in 1982.

The Bösendorfer SE instruments were used in a number of well-regarded commercially available audio recordings published on CD, where the performance was recorded on the SE system, but the piano was recorded playing back the performance later in a studio or hall, sometimes on a different instrument. Other audio recordings were produced using converted piano roll recordings from the early 20th century, including a two-disc series entitled 'A Window in Time' featuring performances by Rachmaninoff and produced by Wayne Stahnke.

Thirty-two SE pianos were produced by Bösendorfer between 1984 and 1987, including the 225SE, the 275SE, and the 290SE Imperial model pianos. In the 290 range, this included some 290 to 290SE conversions. One third of the production were 290SE models. Most of these instruments are still in use as of 2024.

The research that went into the SE reproducing system later laid the foundation for the CEUS computerized reproducing piano system, though much of the resulting design was completely different.

Designer models
Bösendorfer produces a limited number of Artisan Models annually, each available for order only during the calendar year in which it was developed. An example of a designer model is the Bösendorfer Swarovski Crystal Grand piano. Three of these special pianos were produced in 2003 in honour of Bösendorfer's 175th anniversary. Each piano's case is encrusted with 8000 crystals and layers of gold.

Three notable architects who have designed Bösendorfer piano models are Theophil Freiherr von Hansen (1866), Josef Hoffmann (1909) and Hans Hollein (1990). There were only two Hans Hollein 225 models produced in 1990; one can be found in the lounge of the Grand Bohemian Hotel in Orlando, Florida.

Bösendorfer artists
Among the earliest artists to be associated with Bösendorfer was Franz Liszt, who at least once opined that Bösendorfer and Bechstein pianos were the only instruments capable of withstanding his tremendously powerful playing. The renowned twentieth-century American composer–conductor Leonard Bernstein has also performed on a Bösendorfer. Another great pianist who championed Bösendorfer pianos was Wilhelm Backhaus.

In his memoirs, Arthur Rubinstein recounts having insisted on a Bechstein instead of the hall's Bösendorfer before a recital in Austria. After the performance, the then-head of the Bösendorfer company came backstage to meet this young artist who refused to play a piano highly cherished by his Russian namesake, Anton Rubinstein; Rubinstein claims he thereafter always sought out Bösendorfers when in Austria.

In the late 1970s, following a concert performed in Vienna, jazz pianist Oscar Peterson turned to his impresario, Norman Granz, with the words: "Dammit, Norman, where does this box go? I also gotta have such a thing!" Such was his reaction to playing a Bösendorfer 290. Musician/comedian Victor Borge also played Bösendorfer pianos.

More recent examples of notable artists who have played the Bösendorfer include Russian pianist Sviatoslav Richter claiming it had a preferable pianissimo sound and control, according to his own interview); Hungarian pianist András Schiff; Austrian pianist Alfred Brendel; Italian pianist Arturo Benedetti Michelangeli; American free jazz pianist Cecil Taylor and American singer-songwriter Tori Amos; German pianist Wolfgang Rübsam; Austrian pianists Friedrich Gulda, Walter Klien and Paul Badura-Skoda; British pianists Leon McCawley and Mark Gasser.

Minimalist composer Charlemagne Palestine chose a nine-foot Bösendorfer as the vehicle on which to perform his 1974 composition Strumming Music. Released as his first compact disc in 1991, it features in excess of 45 minutes of Palestine forcefully playing two notes in rapid alternation, slowly expanding into clusters, with the sustain pedal depressed throughout.

Jazz pianist Keith Jarrett performed the solo improvisations (his Köln Concert) at the Cologne Opera House in Cologne, Germany, on 24 January 1975 on a Bösendorfer and became a Steinway & Sons artist in 1981.

Recordings
Bösendorfer pianos have appeared on numerous records. Some examples are:

Classical (recordings made with 19th century Bösendorfer pianos)

 * Wolfgang Brunner, Michael Schopper. Anton Bruckner. Piano Works. Label: CPO. Played on a Bösendorfer piano (before 1835).
 * Christoph Eggner. Anton Bruckner. Piano Pieces from the Kitzler-Studienbuch. Label: Gramola.
 * Hardy Rittner, Teunis van der Zwart. Johannes Brahms. Early Piano Works Vol. 2. Label: Dabringhaus und Grimm (MDG). Played on an Ignaz Bösendorfer piano (1849-1850).
 * Isabelle Faust, Alexander Melnikov, Teunis van der Zwart. Johannes Brahms. Horn Trio Op. 40, Violin Sonata Op. 78, Fantasies Op. 116. Label: Harmonia Mundi. Played on a Bösendorfer piano (1875).
 * Isabelle Faust, Alexander Melnikov. Albert Dietrich, Robert Schumann, Johannes Brahms. Violin Sonatas Op. 100 & 108. Label: Harmonia Mundi. Played on a Bösendorfer piano (1875).
 * Alexander Melnikov. Franz Schubert, Frédéric Chopin, Franz Liszt, Igor Stravinsky. Four Pianos, Four Pieces. Label: Harmonia Mundi. Played on pianos by Alois Graff (c. 1828-1835), Érard (1837), Bösendorfer (c. 1875) and Steinway (2014).
 * Italian Piano Quartet. Johannes Brahms. Piano Quartets Op. 25, 26 & 60. Label: Symphonia. Played on a Bösendorfer piano (1880).
 * Maria Milstein, Jozef De Beenhouwer. Johannes Brahms. Hauskonzert bei Brahms - Mürzzuschlag, 23. August 1885. Label: Brahms Museum Mürzzuschlag. Played on a Ludwig Bösendorfer piano (1882).
 * Simona Eisinger, Zuzana Ferjenčíková. Sergei Rachmaninoff, Robert Schumann, Johannes Brahms, Richard Strauss. Seelenverwandt. Label: Schwechtenstein-Records. Played on pianos by Johann Baptist Streicher (1847), Friedrich Ehrbar (1878) and Ludwig Bösendorfer (1893).
 * Radoslav Kvapil. Antonín Dvořák. Dvořák Piano Works. Label: Alto. Played on the composer's own Bösendorfer piano (1879).
 * Radoslav Kvapil. Antonín Dvořák. Dvořák Piano Works II. Label: Alto. Played on the composer's own Bösendorfer piano (1879).
 * Jan Michiels. Antonín Dvořák. Suite Op. 98, Poetische Stimmungsbilder Op. 85, Humoresken Op. 101. Label: Eufoda. Played on a Bösendorfer piano (1884).
 * Jan Michiels. Johannes Brahms. Klavierstucke & Intermezzi Opus 116-119. Label: Eufoda. Played on a Bösendorfer piano (1884).

Classical (recordings made with modern Bösendorfer pianos)

 * Sofja Gülbadamova. Ernst von Dohnányi. Suite in the olden style, Pastorale, Variations on a Hungarian folk song. Label: Capriccio. Played on the composer's own Bösendorfer piano (1910).
 * Malcolm Frager recorded ten compositions by Frédéric Chopin on a Bösendorfer Imperial 290 piano for the TELARC label on August 3 and 4, 1978. This is one of the earlier, high-quality digital recordings of the Imperial. Sampling frequency conversion of Telarc's Soundstream digital master to the Compact Disc format was accomplished with the Studer SFC-16 sampling frequency converter. The digital data was not subject to any analog processing, thus preserving the integrity of the original digital master. Originally released as "Malcolm Frager Plays Chopin", Telarc DG-10040 in 1979. Re-released with "Sonata, Op. 58" added in 1991 on Telarc CD-80280.
 * Aldo Ciccolini recorded his second traversal of the piano music of Erik Satie on a Bösendorfer; his first traversal was on a Steinway. Both are included in French EMI set 50999685824 2 5, offering record listeners an unusual opportunity for direct comparison of the two instruments.
 * Peter Hill recorded Havergal Brian's complete piano music on a Bösendorfer Imperial at the Northern College of Music for Cameo Classics. John Ogdon highly praised the recordings in his review for Tempo.
 * Gerhard Oppitz in 1989 recorded a complete traversal of the solo piano music of Johannes Brahms on an Imperial Grand.
 * Awadagin Pratt more recently recorded Mussorgsky's Pictures at an Exhibition, his own transcription of Bach's Passacaglia and Fugue in C minor, BWV 582, and Brahms's Variations and Fugue on a Theme by Handel on an Imperial Grand.
 * Sviatoslav Richter recorded Bach's Well-Tempered Clavier on a Bösendorfer at Salzburg in two settings of 1972 and 1973.
 * Maria Tipo played Mozart's Piano Concerto No. 21 in C major K 467 on a Bösendorfer with Mozarteum Orchestra Salzburg in 1989.
 * Carol Rosenberger recorded music of Liszt, Griffes, Ravel, and Debussy and Beethoven's Appassionata and op. 111 sonatas on an Imperial Concert Grand.
 * Moritz Rosenthal played a Bösendorfer for his celebrated series of recordings for HMV.
 * Terry Riley's 1986 minimalist piano piece written in Just intonation, The Harp of New Albion, was recorded on a Bösendorfer Imperial grand piano, specially tuned for Riley himself.
 * Robert Silverman committed a complete Beethoven sonata cycle to computer hard drive on a Bösendorfer 290SE reproducing piano. John Atkinson of Stereophile magazine then recorded a similar piano at the Maestro Foundation recital hall in Santa Monica, California replaying the files; the resulting CDs were issued as a 10-disc set.
 * Robert Ekelund – Two albums of piano pieces performed by economist and pianist Robert Ekelund, performed on the Murray N. and JoAnn B. Rothbard Bösendorfer Imperial Concert Grand Piano in the Mises Institute's Conservatory. Ekelund also performed Brahms Rhapsody Op. 79, No. 2; J.S. Bach, Gigue, French Suite No. 5 (G-major).
 * Valentina Lisitsa Chopin's 24 Études D.V.D. track. Op. 10 and Op. 25 Études.
 * Igor Stravinsky's Le Sacre du Printemps, The Firebird and Petrushka played by Dag Achatz and Roland Pöntinen on BIS Records was played on a Bosendorfer Model 275
 * Kimiko Douglass-Ishizaka has recorded J. S. Bach's Goldberg Variations for public domain release on the Internet by the Open Goldberg Variations project, an initiative sponsored in part by Bösendorfer. She played a C290 Imperial fitted with the CEUS system. Accompanying the recording—offered in MP3, FLAC, and 24 bit 44 K WAV formats—is a freshly made copy of the full score. Ishizaka also recorded Bach's The Well-Tempered Clavier on a Bösendorfer 280.

 * Costantino Catena has recorded on new Bösendorfer VC280 the CD "Dedications—Schumann-Liszt / Costantino Catena plays the new Bösendorfer 280VC" for Camerata Tokyo
 * Zoltán Kocsis recorded on Bösendorfer, together with conductor Ivan Fischer and the Budapest Festival Orchestra, the complete work for piano and orchestra by Bela Bartok for Philips.

Popular

 * Bradley Joseph in his album Rapture.
 * According to composer Jim Steinman, Roy Bittan played a Bösendorfer on the Meat Loaf album Bat Out of Hell in 1977, which was a deviation from Steinman's preference for Yamaha pianos.
 * Singer/songwriter Tori Amos has recorded and toured exclusively with Bösendorfers since 1993.
 * Keith Jarrett in The Köln Concert.
 * Matthew Bellamy of the rock band Muse has recently started using a Bösendorfer.
 * Tori Amos has been endorsing Bösendorfer since 1994. She records and tours with her Bösendorfer.

In popular culture

 * A Bösendorfer, with artwork by Japanese artist Takashi Murakami, is seen in the video for Drake's 2020 song "Toosie Slide".
 * Dr. Evil plays a Bösendorfer Imperial piano in the Austin Powers movies ('böse' means evil in German). While Mini-Me plays a "mini Bösendorfer Imperial" piano

General bibliography

 * Fine, Larry (2007). 2007–2008 Annual Supplement to The Piano Book. Brookside Press ISBN 1-929145-21-7 and ISBN 1-929145-22-5 (electronic edition).
 * Fine, Larry (2001). The Piano Book. Brookside Press ISBN 1-929145-01-2
 * Kunz, Johannes (2002). Bösendorfer: A Living Legend. Molden Publishing Co. ISBN 3-85485-080-8

title: Bösendorfer


text: Category:30s deaths

title: Category:30s deaths


text: Category:60s deaths

title: Category:60s deaths


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Talk:Male chauvinism

Deletion
I proposed the page for deletion. You can read the reaon on the main page. If I detailled the page, it included:

A definition, somehow similar to the Mysogyny page:
 * Male chauvinism is the term for the belief that males are superior to females.

Some considerations on how the terme was created.
 * The word "chauvinist" was originally used to describe someone who has a fanatical loyalty in one's country. The word was later applied by the women's liberation movement in the 1960's and used to describe men who uphold the belief of female inferiority.

A POV statement, without source, with anti-feminist bias
 * At times the term has been unfairly applied to men whom do not believe that women are inferior to men. This "playing of the gender card" is sometimes done in an effort to gain power or escape responsibility.

A true info
 * The slur "Male Chauvinist Pig" (MCP) has been reclaimed by some men as a jocular personal rebuttal or tolerance of such accusations.

The page should be either deleted, or at least merged with more relevant page. "Male Chauvinism" should then directly lead to the Mysogyny page. - —The preceding unsigned comment was added by Narval (talk • contribs).

I disagree. Since this is a term which has been corrupted in common parlance (the loss of the crucial descriptor "male" leaving only "chauvinism" as a synonym for "male chauvinism") an encyclopedia entry for the formal term is necessary.24.165.210.213 23:55, 12 October 2006 (UTC)

Seems to not be able to stand on it's own
This article seems to need to be in the main article instead of off on it's own, as there's little content in it. --Pichu0102 20:02, 11 December 2006 (UTC)

 * I support the proposed merger with Chauvinism. The articles are so short that there is no reason for a spinout article.-Andrew c 03:34, 8 February 2007 (UTC)

title: Talk:Male chauvinism


text:
33rd Street station (IRT Lexington Avenue Line)

The 33rd Street station is a local station on the IRT Lexington Avenue Line of the New York City Subway. Located at the intersection of Park Avenue and 33rd Street in the Murray Hill neighborhood of Manhattan, it is served by trains at all times, <6> trains during weekdays in the peak direction, and  trains during late night hours.

The 33rd Street station was constructed for the Interborough Rapid Transit Company (IRT) as part of the city's first subway line, which was approved in 1900. Construction of the line segment that includes the 33rd Street station started on September 12 of the same year. The station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway. After the city's first subway line was split into multiple lines in 1918, there was a failed proposal in the 1920s to convert 33rd Street into an express station. The station's platforms were lengthened in the late 1940s.

The 33rd Street station contains two side platforms and four tracks; express trains use the inner two tracks to bypass the station. The station was built with tile and mosaic decorations, which are continued along the platform extensions. The platforms contain exits to 32nd Street to the south and 33rd Street to the north. The platforms are not connected to each other within fare control. The original station interior is a New York City designated landmark and listed on the National Register of Historic Places.

Construction and opening
Planning for a subway line in New York City dates to 1864. However, development of what would become the city's first subway line did not start until 1894, when the New York State Legislature passed the Rapid Transit Act. The subway plans were drawn up by a team of engineers led by William Barclay Parsons, the Rapid Transit Commission's chief engineer. It called for a subway line from New York City Hall in lower Manhattan to the Upper West Side, where two branches would lead north into the Bronx. A plan was formally adopted in 1897, and all legal conflicts concerning the route alignment were resolved near the end of 1899. The Rapid Transit Construction Company, organized by John B. McDonald and funded by August Belmont Jr., signed the initial Contract 1 with the Rapid Transit Commission in February 1900, in which it would construct the subway and maintain a 50-year operating lease from the opening of the line. In 1901, the firm of Heins & LaFarge was hired to design the underground stations. Belmont incorporated the Interborough Rapid Transit Company (IRT) in April 1902 to operate the subway.

The 33rd Street station was constructed as part of the route segment from Great Jones Street to 41st Street. Construction on this section of the line began on September 12, 1900. The section from Great Jones Street to a point 100 feet (30 m) north of 33rd Street was awarded to Holbrook, Cabot & Daly Contracting Company, while the remaining section to 41st Street was done by Ira A. Shaler. The section between 33rd and 41st Streets was built as two double-track tunnels. To accommodate a never-built connection to the mainline platforms at Grand Central Terminal, the tunnel carrying northbound trains was shifted eastward (nearly touching the eastern curb line of Park Avenue). At the time, the railroads that operated the terminal had not agreed to the connection. Property owners did not learn about the change until a series of accidents occurred along the excavation site in 1902. A dynamite explosion near Park Avenue and 41st Street on January 27, 1902, killed five people, and several mansions on Park Avenue fell into the excavation site that March due to rockslides. Shaler became known by the pejorative nickname of "hoodoo contractor" as a result. After Shaler was killed by a rockslide in his own excavation site on June 17, 1902, his estate completed the construction of the tunnel between 33rd and 41st Street.

By late 1903, the subway was nearly complete, but the IRT Powerhouse and the system's electrical substations were still under construction, delaying the system's opening. The 33rd Street station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway from City Hall to 145th Street on the Broadway–Seventh Avenue Line. Litigation over the IRT's Murray Hill tunnels continued for several years; in 1905, a judge found that the city government was responsible for the January 1902 explosion. In spite of this, the northbound tunnel was never relocated, as it had already been completed.

Service changes and station renovations
After the first subway line was completed in 1908, the station was served by local trains along both the West Side (now the Broadway–Seventh Avenue Line to Van Cortlandt Park–242nd Street) and East Side (now the Lenox Avenue Line). West Side local trains had their southern terminus at City Hall during rush hours and South Ferry at other times, and had their northern terminus at 242nd Street. East Side local trains ran from City Hall to Lenox Avenue (145th Street).

To address overcrowding, in 1909, the New York Public Service Commission proposed lengthening the platforms at stations along the original IRT subway. As part of a modification to the IRT's construction contracts made on January 18, 1910, the company was to lengthen station platforms to accommodate ten-car express and six-car local trains. In addition to $1.5 million (equivalent to $ million in ) spent on platform lengthening, $500,000 (equivalent to $ million in ) was spent on building additional entrances and exits. It was anticipated that these improvements would increase capacity by 25 percent. Both platforms at the 33rd Street station was extended 27 ft to the south. New "electric manholes", passageways leading to the equipment closets, were built at the southern ends of the platforms. Six-car local trains began operating in October 1910. The Lexington Avenue Line opened north of Grand Central–42nd Street in 1918, and the original line was divided into an H-shaped system. All local trains were sent via the Lexington Avenue Line, running along the Pelham Line in the Bronx.

In December 1922, the Transit Commission approved a proposal to convert the 33rd Street station into an express stop. It was estimated that the extra time spent by express trains at 33rd Street would be offset by the reduced dwell times at Grand Central. Local business owners supported the proposal, but the IRT opposed the plan, which would cost the company $750,000. In October 1923, the plan was postponed for a year due to a lack of funds. The Fifth Avenue Association requested in January 1924 that the Transit Commission again consider converting the 33rd Street station into an express stop, citing the fact that a 35-story structure was to be built immediately adjacent to the station. The express-stop proposal was postponed indefinitely in 1925. The Fifth Avenue Association requested in 1929 that the express-station proposal be reconsidered. The association said the conversion would "complete a quadrilateral of express stops" that included 34th Street–Penn Station, Times Square–42nd Street, and Grand Central–42nd Street.

In 1928, to alleviate overcrowding on the Lexington Avenue Line, a consulting engineer for the New York State Transit Commission proposed the construction of "reservoir" stations at 33rd/34th and 42nd Streets. The proposal entailed constructing a northbound-only tunnel under Lexington Avenue from 30th to 42nd Street, with stations at 34th and 42nd Streets, then converting the IRT tunnel under Park Avenue and the existing 33rd and 42nd Street stations to southbound-only use. The northbound and southbound stations at 33rd/34th and 42nd Streets would both have had two express tracks and one local track; the express tracks in either direction would have merged with each other north of 42nd Street and south of 30th Street. Although the "reservoir" plan was technically feasible, the $25 million projected cost was too high.

The city government took over the IRT's operations on June 12, 1940. In January 1947, the New York City Board of Transportation awarded a $4.003 million contract for the lengthening of platforms at the 23rd Street, 28th Street, and 33rd Street stations. The platform extensions at all three stations opened on April 13, 1948, after which they could accommodate ten-car trains. On December 27, 1948, a new entrance to the station at 32nd Street opened for use.

In 1979, the New York City Landmarks Preservation Commission designated the space within the boundaries of the original station, excluding expansions made after 1904, as a city landmark. The station was designated along with eleven others on the original IRT. The original interiors were listed on the National Register of Historic Places in 2004.

Station layout
Like other local stations, 33rd Street has four tracks and two side platforms. The 6 stops here at all times, rush-hour and midday <6> trains stop here in the peak direction; and the 4 stops here during late nights. The two express tracks are used by the 4 and 5 trains during daytime hours. The station is between to the north and  to the south. The platforms were originally 200 ft long, like at other local stations on the original IRT,  but later became 520 ft long. The platform extensions are at the southern ends of the original platforms. The express tracks stay level, while the local tracks slowly incline from south to north to allow for the easier deceleration of local trains. This results in a layout where the express tracks are at a lower elevation than the local tracks in the northern half of the station.

North of the station, the two pairs of tracks in each direction separate into different tunnels because of the presence of the Murray Hill Tunnel, which runs under the center of this section of Park Avenue. As built, the tunnels were supposed to have been 17 ft apart, but the northbound tunnel (to the east) was shifted eastward by another 21 ft to accommodate a three-track connection from the original IRT subway north to the mainline Grand Central Terminal. There is a drainage pipe connecting the two tunnels between 37th and 38th Streets, as well as a cross-passage between 38th and 39th Streets.

Design
As with other stations built as part of the original IRT, the station was constructed using a cut-and-cover method. The tunnel is covered by a U-shaped trough that contains utility pipes and wires. The bottom of this trough contains a foundation of concrete no less than 4 in thick. Each platform consists of 3 in concrete slabs, beneath which are drainage basins. The original platforms contain I-beam columns spaced every 15 ft, while the platform extensions contain columns with white glazed tiles. Additional columns between the tracks, spaced every 5 ft, support the jack-arched concrete station roofs. The ceiling height varies, being about 15 ft above platform level near the northern fare control areas, and lower in other portions of the station. There is a 1 in gap between the trough wall and the platform walls, which are made of 4 in-thick brick covered over by a tiled finish.

The fare control areas are at platform level, and there is no crossover or crossunder between the platforms. The walls along the platforms near the fare control areas consist of a brick wainscoting on the lowest part of the wall, with bronze air vents along the wainscoting, and white glass tiles above. The platform walls are divided at 15 ft intervals by buff and green mosaic tile pilasters, or vertical bands. In the original portion of the station, each pilaster is topped by green faience plaques depicting eagles, an allusion to the former 71st Regiment Armory at Park Avenue and 33rd Street; the eagles hold blue and white shields containing the number "33". A cornice with yellow and brown vine and fretwork patterns runs atop these walls. The platform extensions contain tiles with the number "33" atop the pilasters. Mosaic plaques with the words "33rd St." are also spaced at various intervals on the walls. The mosaic tiles at all original IRT stations were manufactured by the American Encaustic Tile Company, which subcontracted the installations at each station. The decorative work was performed by tile contractor John H. Parry and faience contractor Grueby Faience Company. The ceilings of the northern fare control areas contain plaster molding.

The 1997 artwork at this station is Lariat Seat Loops by James Garvey. These are composed of fourteen bronze loops surrounding the I-beam columns near the northern fare control areas, which are designed as handholds or seat rests. According to Garvey, "the thick bronze bar ... resembles the lasso demonstration in a Will Rogers film clip". Garvey subsequently designed Lariat Tapers, a similar artwork at the Wall Street station, in 2011.

Exits
Each platform has exits to both 32nd and 33rd Streets. The northbound platform's exits are on the eastern side of Park Avenue while the southbound platform's exits are on the western side. The street staircases contain relatively simple, modern steel railings like those seen at most New York City Subway stations.

At 33rd Street, each control area contains two exits, one each to the north and south sides of 33rd Street. These exits are directly outside 4 Park Avenue to the northwest, 2 Park Avenue to the southwest, 3 Park Avenue to the northeast, and 1 Park Avenue to the southeast. At 32nd Street, each control area contains two exits to the south side of that street.


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James E. Bailey

James Edmund Bailey (August 15, 1822 – December 29, 1885) was an American Democratic United States Senator from Tennessee from 1877 to 1881.

Early life and education
Bailey was born in Montgomery County, Tennessee. He attended the Clarksville Academy and the former University of Nashville.

Career
He then studied law and was admitted to the bar in 1843, starting a practice in Clarksville, Tennessee. In 1853, he was elected to the Tennessee House of Representatives as a Whig.

During the Civil War, he served in the 49th Tennessee Regiment, Confederate States Army as a colonel.

He was appointed by governor of Tennessee John C. Brown to the Court of Arbitration in 1874.

Bailey was elected by the Tennessee General Assembly as a Democrat to the balance of the unexpired term of the late Andrew Johnson, serving from January 19, 1877, to March 4, 1881. In the 46th Congress, he was chairman of the Senate Committee on Education and Labor. His efforts to effect his reelection were unsuccessful, and upon the expiry of his term he returned to the practice of law in Clarksville.

Family
Bailey's son was Judge Jennings Bailey.

Death
He died in Clarksville and is buried in that city's Greenwood Cemetery.

title: James E. Bailey


text:
Talk:Hereford Cathedral

Son of Lewis Nockalls Cottingham's Death
There is a contradiction in dates regarding the death of architect Lewis Nockalls Cottingham's son, Nockalls Johnson Cottingham. In this article on Hereford Catheral, it states that he died in 1857 but his own article states that he died in 1854. I did some checking and found that the ship he was on, the SS Artic of the American Collins Line, struck a french vessel and sank in the North Atlantic in 1854. I have corrected the date.

Some notes about the major source material added Dec 1, 2004.

"The Cathedrals of England and Wales: their history, architecture and associations", Cassell and Company, 1906. 2 vols. Quarto. Not attributed to any author. -- Hotlorp 05:33, 2 Dec 2004 (UTC)

This article seems very out of date, much appears to be copied from some book. The Mappa Mundi, for example, it suggests is housed in the cathedral, when it is actually now in another building (and has been for quite some time). I can't say I've got much knowledge on this, so someone else is going to have to give this a good going over! EAi 23:15, 15 April 2007 (UTC)

Surname Change Of An Organist
One of the organists, "William Juglott" I'm 100% certain that this is a misspelling of his name which should be "William Inglott" who used to be organist in Norwich Cathedral also and an ancestor of mine. I know it's not a proper reference, but here is some information on him

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Image from this article to appear as POTD soon
Hello! This is a note to let the editors of this article know that File:Hereford Cathedral Choir, Herefordshire, UK - Diliff.jpg and three other images will be appearing as picture of the day on 2018-10-08. You can view and edit the POTD blurb at Template:POTD/2018-10-08/1. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. Thanks — Amakuru (talk) 10:51, 5 October 2018 (UTC)

John Farrant, subsection Organists
I see among notable organists instanced the name of John Farrant, bracketed with John Bull as a 16th century composer. However, it is wikilinked to Richard Farrant whose article mentions no John, and in the disambiguation list of Farrants the only John Farrant appearing, without wikilink, is described as possibly more than one man, recorded as being organist at Salisbury and one other cathedral. I suggest it be deleted if no published Hereford Cathedral connection be found for this name. I have added George Robertson Sinclair (also choirmaster) who has a wiki article and was a friend of Elgar.Cloptonson (talk) 17:45, 5 September 2021 (UTC)

title: Talk:Hereford Cathedral


text: Category:California State Recreation Areas


text:
Avicularia

Avicularia is a genus of the family Theraphosidae containing various species of arboreal tarantulas. The genus is native to Panama, the Caribbean, and tropical South America. Each species in the genus has very distinguishable pink foot pads.

Species belonging to this genus are amongst the relatively small exception of tarantulas that can jump moderate distances as juveniles, with most tarantulas being limited to lunges of 3-4 centimeters.

Urticating hairs are distinct to new world tarantulas including the Avicularia that are attached to the spider's cuticle via a stalk. These spiny, barbed hairs are used as a defense against potential intruders as well as embedded into silk to protect the egg sac. In active defense, the hairs are released by contact with the stimulus and rubbed in.

At least three species of Avicularia are threatened by habitat loss and illegal trafficking, due to their popularity as exotic pets. Avicularia avicularia are among the tarantulas most commonly kept as pets for their "stunning" color and size.

Taxonomy
The genus Avicularia was erected in 1818 by Jean-Baptiste Lamarck for species previously placed in Mygale Latreille, 1802, the genus name used at the time for most mygalomorph spiders. One of the species Lamarck included in his new genus was Avicularia canceridea, which included Aranea avicularia, first described by Carl Linnaeus in 1758. Araneologists continued to use the name Mygale, although this had been used for genus of mammals in 1800, so was not available for Latreille to use for spiders. Ausserer in 1871 used Avicularia, but a degree of confusion persisted until a decision of the International Commission on Zoological Nomenclature in 1928 established the correctness of Avicularia, with the type species being Linnaeus' Aranea avicularia in the combination Avicularia avicularia.

Linnaeus' name Avicularia is derived from the Latin avicula, meaning "little bird", with the suffix -aria, which is the Latin female singular form of -arius, meaning "pertaining to." This refers to a 1705 illustration by Maria Sibylla Merian, showing a tarantula that appears to be of this genus feeding on a bird. The English names "bird spider" and "bird-eating spider," and the German name for tarantula, Vogelspinne (a compound noun literally meaning "bird" [vogel] "spider" [spinne]) reflect this Latin name. Ironically, the term "bird-eater" is more typically applied to the common names of large terrestrial species of tarantulas, such as the Goliath birdeater (Theraphosa blondi), the burgundy Goliath bird eater (Theraphosa stirmi), and the Brazilian salmon pink bird-eating tarantula (Lasiodora parahybana).

A major review of the genus drastically reduced the number of species recognized, from over 50 to 12,. Some species have been transferred to other genera, with others reduced to synonymy. Yet more names are considered to be doubtful in their application (nomina dubia).

Species
, the World Spider Catalog accepted the following species:

 * Avicularia avicularia (Linnaeus, 1758) (type species) – Venezuela, Guyana, Suriname, French Guiana, Trinidad and Tobago, Brazil, Peru, Bolivia
 * Avicularia caei Fukushima & Bertani, 2017 – Brazil
 * Avicularia glauca Simon, 1891 – Panama
 * Avicularia hirschii Bullmer, Thierer-Lutz & Schmidt, 2006 – Ecuador, Peru, Brazil
 * Avicularia juruensis Mello-Leitão, 1923 – Colombia, Ecuador, Peru, Brazil
 * Avicularia lynnae Fukushima & Bertani, 2017 – Peru, Ecuador
 * Avicularia merianae Fukushima & Bertani, 2017 – Peru
 * Avicularia minatrix Pocock, 1903 – Venezuela, Brazil
 * Avicularia purpurea Kirk, 1990 – Colombia, Ecuador, Peru
 * Avicularia rufa Schiapelli & Gerschman, 1945 – Ecuador, Peru, Bolivia, Brazil
 * Avicularia taunayi (Mello-Leitão, 1920) – Brazil
 * Avicularia variegata F. O. Pickard-Cambridge, 1896 – Venezuela, Brazil

Transferred to other genera:

 * Avicularia affinis (Nicolet, 1849) → Euathlus affinis
 * Avicularia aymara (Chamberlin, 1916) → Thrixopelma aymara
 * Avicularia caesia (C.L. Koch, 1842) → Caribena laeta
 * Avicularia diversipes (C.L. Koch, 1842) → Ybyrapora diversipes
 * Avicularia dubia → Vitalius dubius
 * Avicularia duplex → Aphonopelma duplex
 * Avicularia embrithes → Brachypelma embrithes
 * Avicularia emilia → Brachypelma emilia
 * Avicularia epicureana → Brachypelma epicureanum
 * Avicularia gamba Bertani & Fukushima, 2009 → Ybyrapora gamba
 * Avicularia geotoma → Aphonopelma geotoma
 * Avicularia guyana → Eupalaestrus guyanus
 * Avicularia hageni → Aphonopelma hageni
 * Avicularia helluo → Aphonopelma helluo
 * Avicularia hespera → Aphonopelma hesperum
 * Avicularia hirsuta (Pocock, 1901) → Iridopelma hirsutum
 * Avicularia imperatrix → Plesiopelma imperatrix
 * Avicularia laeta (C. L. Koch, 1842) → Caribena laeta
 * Avicularia lanceolata → Aphonopelma lanceolatum
 * Avicularia latens → Aphonopelma latens
 * Avicularia magdalena (Karsch, 1879) → Hapalopus formosus
 * Avicularia marxi → Aphonopelma marxi
 * Avicularia mendozae → Grammostola mendozae
 * Avicularia mesomelas → Megaphobema mesomelas
 * Avicularia minax (Thorell, 1894) → Grammostola doeringi
 * Avicularia muritelaria (Holmberg, 1876) → Kukulcani ahibernalis (Hentz, 1842) (Filistatidae)
 * Avicularia myodes → Plesiopelma myodes
 * Avicularia obscura → Ami obscura
 * Avicularia pallida → Aphonopelma pallidum
 * Avicularia palmicola (Mello-Leitão, 1945) → Iridopelma hirsutum
 * Avicularia panamensis → Sericopelma panamense
 * Avicularia parva → Catumiri parvum
 * Avicularia parvior → Lasiodora parvior
 * Avicularia pulchra (Mello-Leitão, 1933) and Avicularia recifiensis (Struchen & Brändle, 1996) → Pachistopelma rufonigrum
 * Avicularia regina (Chamberlin, 1917) → Homoeomma strabo
 * Avicularia rustica → Aphonopelma rusticum
 * Avicularia rutilans Ausserer, 1875 → Caribena versicolor
 * Avicularia sabulosa → Brachypelma sabulosum
 * Avicularia saltator (Pocock, 1903) → Eupalaestrus weijenberghi
 * Avicularia seemanni → Aphonopelma seemani
 * Avicularia seladonia → Typhochlaena seladonia
 * Avicularia serrata → Aphonopelma serratum
 * Avicularia smithi → Brachypelma smithi
 * Avicularia sooretama Bertani & Fukushima, 2009 → Ybyrapora sooretama
 * Avicularia subvulpina Strand, 1906 → Grammostola subvulpina
 * Avicularia spinicrus → Citharacanthus spinicrus
 * Avicularia steindachneri → Aphonopelma steindachneri
 * Avicularia stoica → Aphonopelma stoicum
 * Avicularia tamaulipeca → Clavopelma tamaulipeca
 * Avicularia tripeppi → Nhandu tripepii
 * Avicularia truncata → Aphonopelma truncatum
 * Avicularia vagans → Brachypelma vagans
 * Avicularia vellutina → Vitalius vellutinus
 * Avicularia versicolor → Caribena versicolor
 * Avicularia violacea → Tapinauchenius violaceus
 * Avicularia wacketi → Vitalius wacketi
 * Avicularia zorodes → Iridopelma zorodes

Treated as synonyms or as nomina dubia:

 * Avicularia ancylochira Mello-Leitão, 1923, synonym of A. avicularia
 * Avicularia arabica (Strand, 1908), nom. dub.
 * Avicularia aurantiaca Bauer, 1996, nom. dub.
 * Avicularia azuraklaasi Tesmoingt, 1996, nom. dub.
 * Avicularia bicegoi Mello-Leitão, 1923, synonym of A. variegata
 * Avicularia braunshauseni Tesmoingt, 1999, nom. dub.
 * Avicularia cuminami Mello-Leitão, 1930, synonym of A. avicularia
 * Avicularia detrita (C. L. Koch, 1842), nom. dub.
 * Avicularia doleschalli (Ausserer, 1871), nom. dub.
 * Avicularia exilis Strand, 1907, synonym of A. avicularia
 * Avicularia fasciculata Strand, 1907, nom. dub.
 * Avicularia geroldi Tesmoingt, 1999, nom. dub.
 * Avicularia gracilis (Keyserling, 1891) → Ischnocolus gracilis, nom. dub.
 * Avicularia hirsuta (Ausserer, 1875), nom. dub.
 * Avicularia holmbergi Thorell, 1890, nom. dub.
 * Avicularia huriana Tesmoingt, 1996, nom. dub.
 * Avicularia leporina (C. L. Koch, 1841) → Iridopelma leporina, nom. dub.
 * Avicularia metallica Ausserer, 1875, nom. dub.
 * Avicularia nigrotaeniata Mello-Leitão, 1940, synonym of A. avicularia
 * Avicularia ochracea (Perty, 1833), nom. dub.
 * Avicularia plantaris (C. L. Koch, 1842) → Iridopelma plantaris, nom. dub.
 * Avicularia rapax (Ausserer, 1875), nom. dub.
 * Avicularia soratae Strand, 1907, nom. dub.
 * Avicularia surinamensis Strand, 1907, nom. dub.
 * Avicularia ulrichea Tesmoingt, 1996, nom. dub.
 * Avicularia urticans Schmidt, 1994, synonym of A. juruensis
 * Avicularia velutina Simon, 1889, synonym of A. avicularia
 * Avicularia walckenaeri (Perty, 1833), nom. dub.

title: Avicularia


text:
User:Dara

Useful pages

 * Recentism
 * Template_messages

title: User:Dara


text:
GBL

GBL may refer to:

Sports

 * Golden Baseball League, a defunct North American league
 * Greater Boston League, a defunct high school athletic conference in Massachusetts, United States
 * Greater Brisbane League, a baseball league in Queensland, Australia
 * Greek Basket League, in Greece

Companies

 * GAMCO Investors, an American financial services company
 * GB Airways, a defunct British airline
 * Georgian Bay Line, a defunct American steamship operator
 * Groupe Bruxelles Lambert, a Belgian holding company

Other uses

 * Gainsborough Lea Road railway station, in England
 * Game Based Learning
 * Game Boy Light, a Japan-exclusive Nintendo handheld
 * Gamit language
 * gamma-Butyrolactone
 * Garden-based learning
 * Glenn A. Black Laboratory of Archaeology, at Indiana University

title: GBL


text:
User talk:Birdmessenger

Anthropology project
I have communicated with The Ungovernable Force regarding the proposed anthropology project which you indicated an interest in, and have gotten the OK from him to move the project into wiki-space and make it active. He indicated that he is busy in school right now, but will be as active as he can be given that. The project page as it now exists is only a minimum page, and could use the input of interested parties such as yourself. Personally, I did noticably poorly in the one cultural anthropology class I took in college, so I'm bowing out of this one, but wish you and the other members of the project the best of luck with it. Thank you. Badbilltucker 21:47, 8 November 2006 (UTC)

WikiProject Anthropology Collaboration of the month
Hello. I noticed that you signed up for WikiProject Anthropology and thought that you might be interested in participating in the Collaboration of the Month. This month's article is Marvin Harris. Thanks. Stilgar135 19:26, 10 December 2006 (UTC)

Availability for WikiProject_Anthropology/Collaboration_of_the_month
The probable sorry state of 'core anthropology' articles on Wikipedia has been recently identified here

As a self-nominated WikiProject_Anthropology member, I thought I'd check on your interest and willingness to see anthropology better represented on Wikipedia? Bruceanthro (talk) 14:52, 20 January 2008 (UTC)

Fair use rationale for File:Axfight.jpg
Thanks for uploading or contributing to File:Axfight.jpg. I notice the file page specifies that the file is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the file description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'file' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "File" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Sfan00 IMG (talk) 14:32, 10 May 2010 (UTC)

Non-free rationale for File:Oiny screenshot.jpg
Thanks for uploading or contributing to File:Oiny screenshot.jpg. I notice the file page specifies that the file is being used under non-free content criteria, but there is not a suitable explanation or rationale as to why each specific use in Wikipedia is acceptable. Please go to the file description page, and edit it to include a non-free rationale.

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

title: User talk:Birdmessenger


text:
Northborough, Cambridgeshire

Northborough is a small village and civil parish in the Peterborough district, in the ceremonial county of Cambridgeshire, England. It has a pub, a shop, a school and a small castle. Northborough is around eight miles north of the city of Peterborough and one mile south of village of Deeping Gate and the Lincolnshire border.

The place-name "Northborough" is first attested in the Anglo-Saxon Chronicle for the year 656, where it appears as Northburh. In an Assize Roll of 1202 it appears as Norburg. The name means 'northern burg or fortified settlement'.

Northborough Manor House is a fortified manor house, largely built by Roger de Norburgh in the early fourteenth century. A short way away is the parish church of St Andrew, of which the original Norman sections date back to the late twelfth century. After the restoration of the monarchy Elizabeth Cromwell, widow of Oliver, lived with John Claypole (her son in law) and is said to be buried in this church. However, there is no grave-stone or marker to be seen.

The village underwent its largest change in the 1970s, when it expanded hugely with the building of the new estate, increasing the population of the village.

Northborough also has a small primary school, which also takes children from other neighbouring villages, such as Maxey and Peakirk. Until relatively recently, the school was housed in the School House, almost opposite the manor along the Lincoln Road. Then, as the village grew, it moved to a new, larger and better equipped site. The school benefits from a large field and adjoining orchard.

title: Northborough, Cambridgeshire


text:
Northborough

Northborough may refer to:

 * Northborough, Cambridgeshire, a village and civil parish in Cambridgeshire, England
 * Northborough, Massachusetts, a town in Worcester County, Massachusetts, United States
 * Northborough (CDP), Massachusetts, a census-designated place in Northborough, Massachusetts
 * Northborough, Slough, an area of Slough in Berkshire, England (List of places in Berkshire)

title: Northborough


text:
Talk:Steve Sansweet

Untitled
Does somebody know Steve's date of birth? More info on the collection would also be welcome. --Chino 05:45, 2 Dec 2004 (UTC)

POV vandalism
I have removed the following POV text for the second time:

"Sansweet is currently George Lucas' yes-man, as evidenced by his recent appearance at the 2006 San Diego Comic-Con, in which he shamelessly promoted a sub-standard DVD release of the original Star Wars films (pre-special edition) to the Star Wars faithful. Apparently unaware of the meaning of "anamorphic widescreen transfer," he tried to convince die-hard Star Wars fans that a 1993 Laserdisc rip not enhanced for widescreen televisions was the best Lucasfilm and the gods of THX could offer consumers in the year 2006.

Some incredulous fans present quote Sansweet as stating, "If you don't like these discs, then there's something seriously wrong with you."

This statement, akin to trying to persuade someone to love a Ferrari's beauty after a horrible crash, was laughably dismissed by all familiar with George Lucas' revisionist tendencies."

PacificBoy 16:56, 6 October 2006 (UTC)

He lives in Petaluma
I am wondering why my edit that he lives in Petaluma, CA, was reverted? It is a true fact, and was even mentioned in the local newspaper, the Press Democrat. Wikiwarlock 01:05, 23 February 2007 (UTC)

Rename and rewrite to Rancho Obi-Wan
I don't think this individual meets WP:NBIO, but his museum might. I think this content should be merged and redirected to Rancho Obi-Wan when it is written. --Piotr Konieczny aka Prokonsul Piotrus| reply here 06:10, 23 May 2017 (UTC)

External links modified (January 2018)
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I have just modified 5 external links on Steve Sansweet. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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 * Added archive https://web.archive.org/web/20091023063658/http://www.temple.edu/sct/alumni/lew_klein_awards_2009.html to http://www.temple.edu/sct/alumni/lew_klein_awards_2009.html
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title: Talk:Steve Sansweet


text:
List of plays and musicals set in New York City

This article lists plays and musicals set in New York City.

 * Anna Christie (1921)
 * The Hairy Ape (1922)
 * Street Scene (1929)
 * London Calling (1930)
 * Design for Living (1933)
 * Night of January 16th (1935)
 * The Old Maid (1935)
 * My Sister Eileen (1940)
 * Arsenic and Old Lace (1941)
 * On the Town (1944)
 * The Iceman Cometh (1946)
 * Death of a Salesman (1949)
 * Bell, Book and Candle (1950)
 * Guys and Dolls (1950)
 * The Seven Year Itch (1952)
 * Wonderful Town (1953)
 * Saturday Night (1954)
 * A View from the Bridge (1955)
 * Auntie Mame (1956)
 * West Side Story (1957)
 * Two for the Seesaw (1958)
 * The Zoo Story (1958)
 * Fiorello! (1959)
 * Do Re Mi (1960)
 * Come Blow Your Horn (1961)
 * Subways Are for Sleeping (1961)
 * How to Succeed in Business Without Really Trying (1961)
 * A Thousand Clowns (1962)
 * Barefoot in the Park (1963)
 * Enter Laughing (1963)
 * Here's Love (1963)
 * Funny Girl (1964)
 * Hello, Dolly! (1964)
 * The Subject Was Roses (1964)
 * Balm in Gilead (1965)
 * Cactus Flower (1965)
 * The Odd Couple (1965)
 * Skyscraper (1965)
 * Mame (1966)
 * Sweet Charity (1966)
 * Wait Until Dark (1966)
 * How Now, Dow Jones (1967)
 * Love in E-Flat (1967)
 * The Boys in the Band (1968)
 * Hair (1968)
 * Plaza Suite (1968)
 * Promises, Promises (1968)
 * Play It Again, Sam (1969)
 * Applause (1970)
 * Company (1970)
 * Follies (1971)
 * The Prisoner of Second Avenue (1971)
 * The Sunshine Boys (1972)
 * Seesaw (1973)
 * A Chorus Line (1975)
 * Checking Out (1976)
 * Annie (1977)
 * Chapter Two (1977)
 * 42nd Street (1980)
 * Little Shop of Horrors (1982)
 * Strawhead (1982)
 * Mama, I Want to Sing! (1983)
 * Brighton Beach Memoirs (1983)
 * Falsettos (1992)
 * My Favorite Year (1992)
 * The Goodbye Girl (1993)
 * Rent (1996)
 * The Life (1997)
 * Ragtime (1998)
 * The Capeman (1998)
 * Bright Lights, Big City (1999)
 * Saturday Night Fever (1999)
 * The Wild Party (2000)
 * The Wild Party (2000)
 * The Last Five Years (2001)
 * The Producers (2001)
 * Thoroughly Modern Millie (2002)
 * Avenue Q (2003)
 * Doubt (2005)
 * [title of show] (musical) (2008)
 * In the Heights (2008)
 * The Addams Family (2009)
 * Elf (2010)
 * Love Never Dies (2010)
 * Ordinary Days (2010)
 * Newsies (2012)
 * If/Then (2014)
 * The Lightning Thief (2014)
 * Hamilton (2015)
 * A Bronx Tale (2016)
 * Paradise Square (2022)
 * New York, New York (2023)


text: User talk:130.245.208.132

title: User talk:130.245.208.132


text:
List of books set in New York City

This article provides an incomplete list of fiction books set in New York City. Included is the date of first publication.

1800s

 * A History of New York – Washington Irving (1809)

1820s

 * Brother Jonathan – John Neal (1825)

1860s

 * Ragged Dick – Horatio Alger (1868)

1880s

 * Washington Square – Henry James (1880)
 * A Hazard of New Fortunes – William Dean Howells (1889)

1890s

 * Maggie: A Girl of the Streets – Stephen Crane (1893)
 * Yekl: A Tale of the New York Ghetto – Abraham Cahan (1896)

1900s

 * The House of Mirth – Edith Wharton (1905)
 * The Melting Pot – Israel Zangwill (1908)
 * Ashes of Roses  – Mary Jane Auch (1911)
 * The Custom of the Country – Edith Wharton (1913)
 * The Rise of David Levinsky – Abraham Cahan (1917)

1920s

 * The Age of Innocence – Edith Wharton (1920)
 * The Beautiful and Damned – F. Scott Fitzgerald (1922)
 * Old New York – Edith Wharton (1924)
 * Bread Givers – Anzia Yezierska (1925)
 * The Great Gatsby – F. Scott Fitzgerald (1925)
 * Manhattan Transfer – John Dos Passos (1925)
 * The Island Within – Ludwig Lewisohn (1928)
 * Plum Bun – Jessie Redmon Fauset (1929)

1930s

 * Jews Without Money – Michael Gold (1930)
 * Doc Savage pulp fiction series – Kenneth Robeson (1933–1949)
 * Miss Lonelyhearts – Nathanael West (1933)
 * Call It Sleep – Henry Roth (1934)
 * The Thin Man – Dashiell Hammett (1934)
 * Fer-de-Lance – Rex Stout (1934)
 * Turn, Magic Wheel – Dawn Powell (1936)

1940s

 * The Fountainhead – Ayn Rand (1943)
 * Laura – Vera Caspary (1943)
 * A Tree Grows in Brooklyn – Betty Smith (1943)
 * The Big Clock – Kenneth Fearing (1946)
 * The Deadly Percheron – John Franklin Bardin (1946)
 * The Street – Ann Petry (1946)
 * Three Bedrooms in Manhattan – Georges Simenon (1946)
 * East Side, West Side – Marcia Davenport (1947)
 * I, the Jury – Mickey Spillane (1947)
 * The Last of Phillip Banter – John Franklin Bardin (1947)
 * The Victim – Saul Bellow (1947)
 * Consider Her Ways – Frederick Philip Grove (1948)

1950s

 * The Caine Mutiny – Herman Wouk (1951)
 * The Catcher in the Rye – J. D. Salinger (1951)
 * A Walker in the City – Alfred Kazin (1951)
 * Go – John Clellon Holmes (1952)
 * Invisible Man – Ralph Ellison (1952)
 * The Caves of Steel – Isaac Asimov (1953)
 * Go Tell It On The Mountain –  James Baldwin  (1953)
 * Cities in Flight (series) – James Blish (1955– 1962)
 * Marjorie Morningstar – Herman Wouk (1955)
 * Atlas Shrugged – Ayn Rand (1957)
 * Bunny Lake Is Missing – Merriam Modell (writing as Evelyn Piper) (1957)
 * Breakfast at Tiffany's – Truman Capote (1958)
 * Brown Girl, Brownstones – Paule Marshall (1959)

1960s

 * Franny and Zooey – J. D. Salinger (1961)
 * Another Country – James Baldwin (1962)
 * The Bell Jar – Sylvia Plath (1963)
 * The Group – Mary McCarthy (1963)
 * Joy in the Morning – Betty Smith (1963)
 * Raise High the Roof Beam, Carpenters and Seymour: An Introduction – J. D. Salinger (1963)
 * Joe Gould's Secret – Joseph Mitchell (1964)
 * Last Exit to Brooklyn – Hubert Selby (1964)
 * Brendan Behan's New York – Brendan Behan (1964)
 * A Singular Man – J. P. Donleavy (1964)
 * An American Dream – Norman Mailer (1964)
 *  The Warriors (Yurick novel) – Sol Yurick (1965)
 * The Doorbell Rang – Rex Stout (1965)
 * The Fortunate Pilgrim – Mario Puzo (1965)
 * Make Room! Make Room! – Harry Harrison (1966)
 * A Queer Kind of Death – George Baxt (1966)
 * The Butterfly Kid – Chester Anderson (1967)
 * The Chosen – Chaim Potok (1967)
 * Rosemary's Baby – Ira Levin (1967)
 * Swing Low, Sweet Harriet – George Baxt (1967)
 * Tell Me How Long the Train's Been Gone – James Baldwin (1968)
 * My Sister Eileen – Ruth McKenney (1968)
 * The Godfather – Mario Puzo (1969)
 * Topsy and Evil – George Baxt (1969)

1970s

 * Desperate Characters – Paula Fox (1970)
 * Mr. Sammler's Planet – Saul Bellow (1970)
 * Time and Again – Jack Finney (1970)
 * Enemies – Isaac Bashevis Singer (1972)
 * Umbrella Steps – Julie Goldsmith Gilbert (1972)
 * A Bomb Built in Hell – Andrew Vachss (1973)
 * A Fairytale of New York – J. P. Donleavy (1973)
 * Great Jones Street – Don DeLillo (1973)
 * Sheila Levine Is Dead and Living in New York – Gail Parent (1973)
 * The Taking of Pelham One Two Three – Morton Freedgood (1973)
 * If Beale Street Could Talk James Baldwin (1974)
 * Looking for Mr. Goodbar – Judith Rossner (1975)
 * Sophie's Choice – William Styron (1976)
 * Players – Don DeLillo (1977)
 * A Contract with God – Will Eisner (1978)
 * Dancer from the Dance – Andrew Holleran (1978)
 * Faggots – Larry Kramer (1978)
 * Happy All the Time – Laurie Colwin (1978)
 * The Stand – Stephen King (1978)

1980s

 * L is for Lion: an italian bronx butch freedom memoir – Annie Lanzillotto (1981)
 * The Dark Tower: The Gunslinger – Stephen King (1982)
 * Last Angry Man – Gerald Green (1983)
 * Winter's Tale – Mark Helprin (1983)
 * Bright Lights, Big City – Jay McInerney (1984)
 * Duplicate Keys – Jane Smiley (1984)
 * Banana Fish (manga series) – Akimi Yoshida (1985–1994)
 * Blood Music – Greg Bear (1985)
 * Flood – Andrew Vachss (1985)
 * The New York Trilogy – Paul Auster (1985–86)
 * The Bachelor's Bride – Stephen Koch (1986)
 * Dreams of an Average Man – Dyan Sheldon (1986)
 * Money – Martin Amis (1986)
 * Social Disease – Paul Rudnick (1986)
 * War Cries Over Avenue C – Jerome Charyn (1986)
 * The Bonfire of the Vanities – Tom Wolfe (1987)
 * The Dark Tower II: The Drawing of the Three – Stephen King (1987)
 * Ice and Fire – Andrea Dworkin (1987)
 * Knight Life – Peter David (1987)
 * Paradise Man – Jerome Charyn (1987)
 * Stars and Bars – William Boyd (1987)
 * Strega – Andrew Vachss (1987)
 * The Year of Silence – Madison Smartt Bell (1987)
 * Blue Belle – Andrew Vachss (1988)
 * People Like Us – Dominick Dunne (1988)
 * The Crazy Kill – Chester Himes (1989)
 * Emma Who Saved My Life – Wilton Barnhardt (1989)
 * Hard Candy – Andrew Vachss (1989)
 * I Pass Like Night – Jonathan Ames (1989)

1990s

 * Billy Bathgate – E. L. Doctorow (1990)
 * Children of the Night – Mercedes Lackey (1990)
 * A Home at the End of the World – Michael Cunningham (1990)
 * The Mambo Kings Play Songs of Love – Oscar Hijuelos (1990)
 * Moon Palace – Paul Auster (1990)
 * Our House in the Last World – Oscar Hijuelos (1990)
 * Skinny Legs and All – Tom Robbins (1990)
 * Aftershock – Chuck Scarborough (1991)
 * American Psycho – Bret Easton Ellis (1991)
 * Day of Atonement – Faye Kellerman (1991)
 * Sacrifice – Andrew Vachss (1991)
 * Sliver – Ira Levin (1991)
 * The Blindfold – Siri Hustvedt (1992)
 * The First Wives Club – Olivia Goldsmith (1992)
 * Good Fairies of New York – Martin Millar (1992)
 * Sweet Liar – Jude Deveraux (1992)
 * The Kaisho – Eric Lustbader (1993)
 * A Mother's Love – Mary Morris (1993)
 * Nude Men – Amanda Filipacchi (1993)
 * Closing Time – Joseph Heller (1994)
 * Down in the Zero – Andrew Vachss (1994)
 * A Feather on the Breath of God – Sigrid Nunez (1994)
 * Just Like That – Lily Brett (1994)
 * The Alienist – Caleb Carr (1995)
 * Footsteps of the Hawk – Andrew Vachss (1995)
 * Full Stop – Joan Smith (1995)
 * The Lady Who Liked Clean Restrooms – J. P. Donleavy (1995)
 * One Coffee With – Margaret Maron (1995)
 * World's Fair – E. L. Doctorow (1996)
 * The Book of Night with Moon – Diane Duane (1997)
 * A History of Violence – John Wagner (1997)
 * Lives of the Monster Dogs – Kirsten Bakis (1997)
 * Martin Dressler: The Tale of an American Dreamer – Steven Millhauser (1997)
 * Sewer, Gas and Electric – Matt Ruff (1997)
 * Sex and the City – Candace Bushnell (1997)
 * Snow in August – Pete Hamill (1997)
 * Underworld – Don DeLillo (1997)
 * The Waterworks – E. L. Doctorow (1997)
 * Always Hiding – Sophia G. Romero (1998)
 * Bringing Out The Dead – Joe Connelly (1998)
 * The Extra Man – Jonathan Ames (1998)
 * The Hours – Michael Cunningham (1998)
 * Last Days of Summer – Steve Kluger (1998)
 * Of Kings and Planets – Ethan Canin (1998)
 * Safe House – Andrew Vachss (1998)
 * The Willow Tree – Hubert Selby Jr. (1998)
 * Wrong Information is being Given Out at Princeton – J. P. Donleavy (1998)
 * The Broken Hearts Club – Ethan Black (1999)
 * Choice of Evil – Andrew Vachss (1999)
 * Downsiders – Neal Shusterman (1999)
 * Glamorama – Bret Easton Ellis (1999)
 * Liberty Falling – Nevada Barr (1999)
 * Morningside Heights – Cheryl Mendelson (1999)
 * Motherless Brooklyn – Jonathan Lethem (1999)
 * The Silk Code – Paul Levinson (1999)
 * Vapor – Amanda Filipacchi (1999)
 * Murder on Astor Place (Gaslight Mystery series) – Victoria Thompson (1999)

2000s

 * The 25th Hour – David Benioff (2000)
 * The Amazing Adventures of Kavalier & Clay – Michael Chabon (2000)
 * Bodega Dreams – Ernesto Quiñonez (2000)
 * City of God – E. L. Doctorow (2000)
 * Killing Time – Caleb Carr (2000)
 * Minor Miracles – Will Eisner (2000)
 * Murder in Central Park – Michael Jahn (2000)
 * The Night Inspector – Frederick Busch (2000)
 * The Princess Diaries (series) – Meg Cabot (2000)
 * Redemption Song – Bertice Berry (2000)
 * The Toy Collector – James Gunn (2000)
 * About the Author – John Colapinto (2001)
 * Bad Connection – Michael Ledwidge (2001)
 * Black Water Transit – Carsten Stroud (2001)
 * Borrowed Tides – Paul Levinson (2001)
 * Box Office Poison – Alex Robinson (2001)
 * Clara Callan – Richard B. Wright (2001)
 * The Corrections – Jonathan Franzen (2001)
 * Fixer Chao – Han Ong (2001)
 * The Foreigner – Meg Castaldo (2001)
 * The Fourth Angel – Suzanne Chazin (2001)
 * Going, Going, Gone – Jack Womack (2001)
 * The Good People of New York – Thisbe Nissen (2001)
 * The Grand Complication – Allen Kurzweil (2001)
 * The Haunting of Hip Hop – Bertice Berry (2001)
 * Hell's Kitchen – Chris Niles (2001)
 * High Maintenance – Jennifer Belle (2001)
 * The Hum Bug – Harold Schechter (2001)
 * Jeremy Thrane – Kate Christensen (2001)
 * Kissing in Manhattan – David Schickler (2001)
 * Look at Me – Jennifer Egan (2001)
 * Lucky Us – Joan Silber (2001)
 * The Manhattan Hunt Club – John Saul (2001)
 * Murphy's Law – Rhys Bowen (2001)
 * Rivington Street – Meredith Tax (2001)
 * Saturn's Return to New York – Sara Gran (2001)
 * Shooting Dr. Jack – Norman Green (2001)
 * Absolute Rage – Robert K. Tanenbaum (2002)
 * The Consciousness Plague – Paul Levinson (2002)
 * Death of Riley – Rhys Bowen (2002)
 * Disturbing the Peace – Nancy Newman (2002)
 * Dreamland – Kevin Baker (2002)
 * The Nanny Diaries – Emma McLaughlin and Nicola Kraus (2002)
 * The Navigator of New York – Wayne Johnston (2002)
 * Only Child – Andrew Vachss (2002)
 * Paradise Alley – Kevin Baker (2002)
 * Pipsqueak – Brian Wiprud (2002)
 * Save Karyn – Karyn Bosnak (2002)
 * Shopaholic Takes Manhattan – Sophie Kinsella (2002)
 * The Tea Rose – Jennifer Donally (2002)
 * Three Junes – Julia Glass (2002)
 * The Anniversary – Amy Gutman (2003)
 * The Fortress Of Solitude Jonathan Lethem  (2003)
 * Carrie Pilby – Caren Lissner (2003)
 * Cosmopolis – Don DeLillo (2003)
 * Dead for Life – Ethan Black (2003)
 * The Devil Wears Prada – Lauren Weisberger (2003)
 * For the Love of Mike – Rhys Bowen (2003)
 * For Matrimonial Purposes – Kavita Daswani (2003)
 * Forever – Pete Hamill (2003)
 * The Furies – Fernanda Eberstadt (2003)
 * Hex – Maggie Estep (2003)
 * Imitation in Death – J.D. Robb (2003)
 * A Killing Gift – Leslie Glass (2003)
 * Kunma – Frank Corsaro (2003)
 * The Last Good Day – Peter Blauner (2003)
 * Love Me – Garrison Keillor (2003)
 * Lucia, Lucia – Adriana Trigiani (2003)
 * Moral Hazard – Kate Jennings (2003)
 * The Name of the Game – Will Eisner (2003)
 * Oracle Night – Paul Auster (2003)
 * Pattern Recognition – William Ford Gibson (2003)
 * The Pixel Eye – Paul Levinson (2003)
 * The Quality of Life Report – Meghan Daum (2003)
 * Sheet Music – M. J. Rose (2003)
 * Shopaholic Ties the Knot – Sophie Kinsella (2003)
 * Small Town – Lawrence Block (2003)
 * What I Loved – Siri Hustvedt (2003)
 * Absent Friends – S. J. Rozan (2004)
 * An Almost Perfect Moment – Binnie Kirshenbaum (2004)
 * Bergdorf Blondes – Plum Sykes (2004)
 * Between Two Rivers – Nicholas Rinaldi (2004)
 * East Side Story – Louis Auchincloss (2004)
 * Down Here – Andrew Vachss (2004)
 * The Green and the Gray – Timothy Zahn (2004)
 * In the Shadow of No Towers – Art Spiegelman (2004)
 * Joy Comes in the Morning – Jonathan Rosen (2004)
 * Love Monkey – Kyle Smith (2004)
 * Matzo Ball Heiress – Laurie Gwen Shapiro (2004)
 * Monster Island – David Wellington (August 2004)
 * Nellie's Promise – Valerie Tripp (2004)
 * Oh, Play That Thing – Roddy Doyle (2004)
 * The Outside World – Tova Mirvis (2004)
 * Solos – Kitty Burns Florey (2004)
 * The Dark Tower VI: Song of Susannah – Stephen King (2004)
 * Under the Manhattan Bridge – Irene Marcuse (2004)
 * The White Rose – Jean Hanff Korelitz (2004)
 * The Brooklyn Follies – Paul Auster (2005)
 * The Curse of Ravenscourt: A Samantha Mystery – Sarah Masters Buckey & Jean-Paul Tibbles (2005)
 * Everyone Worth Knowing – Lauren Weisberger (2005)
 * Extremely Loud and Incredibly Close – Jonathan Safran Foer (2005)
 * The History of Love – Nicole Krauss (2005)
 * In Like Flynn – Rhys Bowen (2005)
 * Love Creeps – Amanda Filipacchi (2005)
 * Summer Crossing – Truman Capote (2005; posthumously)
 * Metropolis – Elizabeth Gaffney (2005)
 * Pinkerton's Sister – Peter Rushforth (2005)
 * The Year of Magical Thinking – Joan Didion (2005)
 * Beautiful Lies – Lisa Unger (2006)
 * Oh Danny Boy – Rhys Bowen (2006)
 * Nightlife – Rob Thurman (2006)
 * The Emperor's Children – Claire Messud (2006)
 * Mask Market – Andrew Vachss (2006)
 * The Plot to Save Socrates – Paul Levinson (2006)
 * The Righteous Men – Sam Bourne (2006)
 * Rise and Shine – Anna Quindlen (2006)
 * Size 12 Is Not Fat – Meg Cabot (2006)
 * Size 14 Is Not Fat Either – Meg Cabot (2006)
 * Tyrell – Coe Booth (2006)
 * The Year of Endless Sorrows – Adam Rapp (2006)
 * Big Boned – Meg Cabot (2007)
 * Exit Ghost – Philip Roth (2007)
 * Moonshine – Rob Thurman (2007)
 * Queen of Babble in the Big City – Meg Cabot (2007)
 * The Invention of Everything Else – Samantha Hunt (2008)
 * Lush Life – Richard Price (2008)
 * Madhouse – Rob Thurman (2008)
 * Netherland – Joseph O'Neill (2008)
 * The Associate – John Grisham (2009)
 * Chronic City – Jonathan Lethem (2009)
 * Deathwish – Rob Thurman (2009)
 * Let the Great World Spin – Colum McCann (2009)
 * New York – Edward Rutherfurd (2009)

2010s

 * The Thieves of Manhattan – Adam Langer (2010)
 * A Manhã do Mundo, The Morning of the World – Pedro Guilherme-Moreira (2011)
 * Tabloid City: A Novel – Pete Hamill (2011)
 * Open City – Teju Cole (2012)
 * The Gods of Gotham – Lyndsay Faye (2012)
 * The Man Who Wouldn't Stand Up – Jacob M. Appel (2012)
 * The Submission – Amy Waldman (2012)
 * The Biology of Luck – Jacob M. Appel (2013)
 * Bleeding Edge – Thomas Pynchon (2013)
 * The Goldfinch – Donna Tartt (2013)
 * The Interestings: A Novel – Meg Wolitzer (2013)
 * Modern Lovers – Emma Staub (2016)
 * A Little Life – Hanya Yanagihara (2016)
 * An Absolutely Remarkable Thing – Hank Green (2018)
 * My Year of Rest and Relaxation – Ottessa Moshfegh (2018)
 * The Outlaws of Maroon – John Curl (2019)
 * Luster – Raven Leilani (2020)

1870s

 * Eight Cousins – Louisa May Alcott (1874)
 * Rose in Bloom (sequel to Eight Cousins) – Louisa May Alcott (c. 1876)

1930s

 * Roller Skates – Ruth Sawyer (1936)

1940s

 * The Matchlock Gun – Walter D. Edmonds (1941)
 * The Saturdays – Elizabeth Enright (1941)
 * Stuart Little – E. B. White (1945)

1950s

 * All-of-a-Kind Family – Sydney Taylor (1951)
 * Camilla – Madeleine L'Engle (1951)
 * Eloise – Kay Thompson (1955)

1960s

 * The Cricket in Times Square – George Selden (1960)
 * It's Like This, Cat – Emily Cheney Neville (1963)
 * Harriet the Spy – Louise Fitzhugh (1964)
 * The Pushcart War – Jean Merrill (1964)
 * The Long Secret – Louise Fitzhugh (1965)
 * The Jazz Man – Mary Hays Weik (1966)
 * The Contender – Robert Lipsyte (1967)
 * From the Mixed-Up Files of Mrs. Basil E. Frankweiler – E. L. Konigsburg (1967)
 * Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth – E. L. Konigsburg (1967)
 * The Young Unicorns – Madeleine L'Engle (1968)

1970s

 * The Planet of Junior Brown – Virginia Hamilton (1971)
 * Freaky Friday – Mary Rodgers (1972)
 * Tales of a Fourth Grade Nothing – Judy Blume (1972)
 * The Genie of Sutton Place – George Selden (1973)
 * Nobody's Family is Going to Change – Louise Fitzhugh (1974)
 * A Billion for Boris (alt. title: ESP TV) – Mary Rodgers (1976)
 * Alan and Naomi – Myron Levoy (1977)

1980s

 * Sarah Bishop – Scott O'Dell (1980)
 * Superfudge – Judy Blume (1980)
 * Annie on my Mind – Nancy Garden (1982)
 * Sometimes I Think I Hear My Name – Avi (1982)
 * Summer Switch – Mary Rodgers (1982)
 * The One Hundredth Thing About Caroline – Lois Lowry (1983)
 * So You Want to Be a Wizard – Diane Duane (1983)
 * In the Year of the Boar and Jackie Robinson – Bette Bao Lord (1984)
 * Motown and Didi – Walter Dean Myers (1984)
 * The Bronze King – Suzy McKee Charnas (1985)
 * The Cave Under the City – Harry Mazer (1986)
 * A Rat's Tale – Tor Seidler (1986)
 * Slake's Limbo – Felice Holman (1986)
 * Charley Skedaddle – Patricia Beatty (1987)
 * Remember Me to Harold Square – Paula Danziger (1987)
 * Scorpions – Walter Dean Myers (1988)
 * Silver Days – Sonia Levitin (1989)

1990s

 * Babyface – Norma Fox Mazer (1990)
 * Berts vidare betraktelser – Anders Jacobsson and Sören Olsson (1990)
 * Caperucita en Manhattan – Carmen Martín Gaite (1990)
 * The Mouse Rap – Walter Dean Myers (1990)
 * Voices After Midnight – Richard Peck (1990)
 * Monkey Island – Paula Fox (1991)
 * Nothing To Fear – Jackie French Koller (1991)
 * The Pigman and Me – Paul Zindel (1991)
 * Amy Elizabeth Explores Bloomingdale's – E. L. Konigsburg (1992)
 * Jumper – Steven Gould (1992)
 * Letters from Rifka – Karen Hesse (1992)
 * Who Was That Masked Man, Anyway? – Avi (1992)
 * Amy Dunn Quits School – Susan Richards Shreve (1993)
 * City of Light, City of Dark – Avi (1993)
 * The Kingdom of Kevin Malone – Suzy McKee Charnas (1993)
 * Missing Angel Juan – Francesca Lia Block (1993)
 * Scooter – Vera B. Williams (1993)
 * Behind the Lines – Isabelle Holland (1994)
 * Brooklyn Doesn't Rhyme – Joan W. Blos (1994)
 * Rite of Passage – Richard Wright (1994)
 * 2095 – Jon Scieszka (1995)
 * Adam Zigzag – Barbara Barrie (1995)
 * Lost In Cyberspace – Richard Peck (1995)
 * The Thief from Five Points – Louise Fitzhugh (1995)
 * Another Way to Dance – Martha Southgate (1996)
 * No-Thanks Thanksgiving – Ilene Cooper (1996)
 * Lily's Crossing – Patricia Reilly Giff (1997)
 * Where You Belong – Mary Ann McGuigan (1997)
 * Berts Babyface – Anders Jacobsson and Sören Olsson (1998)
 * Jazmin's Notebook – Nikki Grimes (1998)
 * The Kidnappers – Willo Davis Roberts (1998)
 * The Other Shepards – Adele Griffin (1998)
 * Dave at Night – Gail Carson Levine (1999)
 * Downsiders – Neal Shusterman (1999)
 * In the Forests of the Night – Amelia Atwater-Rhodes (1999)
 * Paperboy – Isabelle Holland (1999)
 * Rats – Paul Zindel (1999)

2000s

 * Love and Other Four-Letter Words – Carolyn Mackler (2000)
 * Miracle's Boys – Jacqueline Woodson (2000)
 * Over the Wall – John H. Ritter (2000)
 * Princess Diaries (series) – Meg Cabot (2000)
 * When I Dream of Heaven: Angelina's Story – Steven Kroll (2000)
 * 6-321 – Michael Laser (2001)
 * All The Way Home – Patricia Reilly Giff (2001)
 * Chipper – James Lincoln Collier (2001)
 * Don't You Know There's A War On? – Avi (2001)
 * The Revenge of Randall Reese-Rat – Tor Seidler (2001)
 * The School Story – Andrew Clements (2001)
 * Secret in St. Something – Barbara Brooks Wallace (2001)
 * Spellbound – Janet McDonald (2001)
 * Ashes of Roses – Mary Jane Auch (2002)
 * Bluish – Virginia Hamilton (2002)
 * Boy Next Door – Meg Cabot (2002)
 * Chill Wind – Janet McDonald (2002)
 * Frog King – Adam Davies (2002)
 * Gossip Girl – Cecily von Ziegesar (2002)
 * Hey Kid, Want to Buy a Bridge? – Jon Scieszka (2002)
 * Micawber – John Lithgow (2002)
 * My Heartbeat – Garret Freymann-Weyr (2002)
 * Twelve – Nick McDonell (2002)
 * Vampire State Building – Elizabeth Levy (2002)
 * The World of Henry Orient – Nora Johnson (2002)
 * Gregor the Overlander (series) – Suzanne Collins (2003)
 *  Pattie's Best Deal – Dawn Dittmar (2003)
 * A House of Tailors – Patricia Reilly Giff (2004)
 * It Can't Rain This Hard Forever – Dawn Dittmar (2004)
 * City of Bones – Cassandra Clare (2005)
 * Percy Jackson & the Olympians series – Rick Riordan (2005)
 * Brookland – Emily Barton (2006)
 * Missing You – Meg Cabot (2006)
 * Jinx – Meg Cabot (2007)
 * The Night Tourist – Katherine Marsh (2007)
 * Mine All Mine – Adam Davies (2008)
 * When You Reach Me – Rebecca Stead (2009)

2010s
2020s
 * Lowboy – John Wray (2010)
 * The Murderer's Daughters – Randy Susan Meyers (2010)
 * TimeRiders – Alex Scarrow (2010)
 * TimeRiders: Day of the Predator – Alex Scarrow (2010)
 * Open City – Teju Cole (2011)
 * Bunheads – Sophie Flack (2011)
 * TimeRiders: The Doomsday Code – Alex Scarrow (2011)
 * TimeRiders: The Eternal War – Alex Scarrow (2011)
 * TimeRiders: Gates of Rome – Alex Scarrow (2012)
 * New York Stories – Renald Iacovelli (2013)
 * City On Fire – Garth Risk Hallberg (2015)
 * Modern Lovers – Emma Straub (2016)
 * The City We Became – N. K. Jemisin (2020)

title: List of books set in New York City


text:
User talk:Dippit

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title: User talk:Dippit


text:
Category:California State Beaches

These beaches fall under the jurisdiction of the California Department of Parks and Recreation.

title: Category:California State Beaches


text: User talk:203.177.104.195

title: User talk:203.177.104.195


text:
User:JesseW/monobook.js

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