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Marshall University – South Charleston Campus

Marshall University – South Charleston Campus is a non-residential branch campus of Marshall University located in South Charleston, West Virginia, which is primarily focused on extension graduate programs.

The institution traces its roots to extension graduate programs offered by both Marshall University and West Virginia University throughout West Virginia, and particularly in the metropolitan Charleston, West Virginia area prior to 1969.

In that year, the state reorganized its extension graduate system. WVU was limited to, except in a few subjects, offering extension programs in the northern part of the state, MU was limited to the four counties surrounding the main campus in Huntington, and a graduate only College of Graduate Studies (sometimes incorrectly called "The West Virginia College of Graduate Studies") was founded. The college had no campus of its own, and almost no faculty. It had some offices at West Virginia State College and offered classes on that campus and at locations throughout the rest of southern West Virginia, drawing its faculty from those of West Virginia State College, Concord College, Bluefield State College, Glenville State College and other institutions. The college also utilized adjunct faculty drawn from industry in the Kanawha Valley.

The name, which lacked a geographic identifier, as well as the "impact" of a well-known college, was later briefly changed first to The University of West Virginia College of Graduate Studies and then to the West Virginia Graduate College.

In 1992 the school got a campus of its own, moving to land donated by the Union Carbide Corporation near its research facility. The next year, the state again reorganized its graduate education system, merging the West Virginia Graduate College and the on-campus graduate programs of Marshall University under the name Marshall University Graduate College.

In 2010 the state authorized Marshall to begin offering extension undergraduate programs at the South Charleston location, and the facility was renamed the "Marshall University - South Charleston Campus", and commonly now known as "Marshall-South Charleston".


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CHYC-FM

CHYC-FM is a Canadian radio station, which broadcasts at 98.9 FM in Sudbury, Ontario. It broadcasts a francophone hot adult contemporary format for the city's Franco-Ontarian community. It is owned by Le5 Communications, and branded as Le Loup 98.9.

CHYC and its sister stations CHYK-FM in Timmins and CHYQ-FM in West Nipissing are the only francophone commercial stations programmed entirely in Ontario. Apart from commercials and local weather updates, the three stations now simulcast the same programming at virtually all times; although all three stations formerly produced their own individual morning shows and then each hosted a later daypart within a shared broadcast schedule for the remainder of the day, all of the stations are now programmed from Sudbury.

History
The station first aired on December 8, 1957 as 550 AM CFBR, a sister station to CHNO and a private affiliate of Radio-Canada. CHNO had previously been a bilingual station; when CFBR went to air, CHNO became full-time English. The "FBR" in the station's callsign stood for F. Baxter Ricard, who owned the stations with his wife Alma Ricard. The licensing of CFBR, which took over the Radio-Canada affiliation from CHNO, made Ricard the first commercial broadcaster in Canada licensed to operate two AM radio stations in the same city.

In 1969, CFBR and CHNO swapped frequencies. CHNO took over the 550 AM signal, and CFBR moved to 900. CFBR remained a Radio-Canada affiliate until the launch of CBON in 1978, and adopted a pop standards format thereafter. After losing the Radio-Canada affiliation, for a time the station's remaining audience was so small that its co-ownership with CHNO, the city's dominant English radio station at the time, was the only thing keeping it afloat.

In 1985, Ricard sold CFBR, CHNO and CJMX to Mid-Canada Radio, although as a minority shareholder in that company he retained a partial ownership stake.

The station adopted its current call sign and format in 1990, after the three stations were acquired by Pelmorex Radio Network. Pelmorex sold the stations in 1998, when Telemedia acquired CJMX, and 1999, when Haliburton Broadcasting Group acquired CHYC and CHNO. Haliburton subsequently converted both stations to FM after receiving approval from the CRTC on August 31, 1999. In 2000, the stations first aired on FM and discontinued their old AM signals. CHYC moved to 98.9 FM in early 2000 and simulcast on AM 900, until it left the air on March 31 of that year after the licensee resolved a technical problem relating to the implementation of the new FM transmitter.

During CHYC's (formerly CFBR) existence on AM 900, the station had suffered some co-channel interference during the nighttime hours from 900 CHML Hamilton, making it unlistenable in the areas of Greater Sudbury including the outlying areas. CHYC never applied for any signal upgrades or frequency changes on the AM band until its move to FM 98.9 in 2000.

Haliburton subsequently sold CHNO to Newcap Broadcasting in 2001. Despite no longer having common ownership, CHYC and CHNO continued to operate from the same studio facility at 493 Barrydowne Road in Sudbury.

In 2008, Haliburton announced a deal to sell the CHYC stations to Le5 Communications, a firm owned by Sudbury lawyer Paul Lefebvre. This deal was approved by the CRTC on October 31, 2008.

Le5 Communications rebranded the station as Le Loup 98.9 in early 2009, and moved the station to new studios at 100 Brian McKee Lane in downtown Sudbury. Musician and actor Stéphane Paquette also joined the station as an afternoon host. He has since been succeeded in the afternoon slot by Dayv Poulin, his former bandmate in Les Chaizes Muzikales.

In 2011, Le5 Communications filed an application to change the station's authorized signal contours by increasing the effective radiated power from 1,400 to 4,620 watts (from class A to class B1) and by increasing the effective height of the antenna above average terrain from 165.3 to 181.9 metres). The CRTC approved Le5's application on September 28, 2011.

The company also purchased Sudbury's existing francophone community newspaper Le Voyageur in 2011.

Undated, CHYC-FM moved into their new studios at 336 Pine Street in Sudbury.

Rebroadcasters
A community group in Chapleau, Formation Plus, holds an independent license to rebroadcast the signal of CHYC. This transmitter operates on 95.9 FM in Chapleau with the call sign CHAP-FM.

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

title: CHYC-FM


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User talk:Leofan7~enwiki

Please specify source
Hi. Thanks for uploading an image. It would be appreciated if you specify the source (where you got it from) for. Thank you. -[[User:Frazzydee|Frazzydee|✍]] 02:57, 4 Dec 2004 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called Leofan7. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Leofan7~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:19, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 15:23, 22 April 2015 (UTC)

title: User talk:Leofan7~enwiki


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CHYK-FM

CHYK-FM is a Canadian radio station, which broadcasts at 104.1 FM in Timmins, Ontario. It broadcasts a francophone hot adult contemporary format for the city's Franco-Ontarian community. It is owned by Le5 Communications, and branded as Le Loup 104.1.

CHYK and its sister stations CHYC-FM in Sudbury and CHYQ-FM in West Nipissing are the only francophone commercial stations programmed entirely in Ontario. Apart from commercials and local weather updates, the three stations now simulcast the same programming at virtually all times; although all three stations formerly produced their own individual morning shows and then each hosted a later daypart within a shared broadcast schedule for the remainder of the day, all of the stations are now programmed from Sudbury.

History
The station was originally established on December 23, 1951 by J. Conrad Lavigne, with the callsign CFCL at 580 kHz. CFCL was Ontario's first french language radio station. It operated as a private affiliate of Radio-Canada's French radio network. CFLH in Hearst began broadcasting the same year. In 1956, Lavigne also established CFCL-TV, a private CBC Television affiliate, in the city.

In 1957, CFLK began broadcasting at 1230 kHz in Kapuskasing. In 1960, CFCL in Timmins moved from 580 kHz to 620 kHz.

On July 28, 1975, Lavigne was denied an application to change CFCL's frequency from 620 to 850 kHz with an increase in night-time power from 5,000 to 10,000 watts, with daytime power remaining at 10,000 watts. The station would have switched from different day and night patterns to directional at night only, to protect Class-A clear-channel station KOA in Denver. The partner application to use the 620 kHz frequency in Sudbury with 10,000 watts day and 5,000 watts night (single directional pattern) was also denied.

In 1979, Lavigne again attempted to change CFCL's frequency and launch a new station in Sudbury. The application, which was identical to the one filed in 1975, was yet again denied. That year, competing broadcasters CKAP Kapuskasing (which had proposed a rebroadcast station in Timmins on 1450 kHz with 10,000 watts day and 5,000 watts at night) and Lavigne and Cambrian Broadcasting (competing for a license for a new AM station at 730 kHz with 10,000 watts in North Bay) also had their applications denied on April 12, 1979.

In 1980, Lavigne's broadcast holdings were eventually merged into the Mid-Canada Communications system. When that company acquired several other radio stations in 1985, CFCL became a commercial station as part of the Mid-Canada Radio network, and disaffiliated from Radio-Canada.

Mid-Canada Radio was sold to the Pelmorex Radio Network in 1990. Because the radio and television station no longer had common ownership, the radio station's callsign was subsequently changed to CKOY. CFLH (1340 kHz) in Hearst later adopted the call sign CHOH, and was converted to 92.9 MHz in 1995, while CFLK in Kapuskasing adopted the call sign CHYK.

Pelmorex, in turn, sold its stations to the Haliburton Broadcasting Group in 1999. CKOY was converted to 104.1 FM, and took over the CHYK callsign from its rebroadcaster in Kapuskasing. The Kapuskasing (AM 1230 kHz) rebroadcaster was in turn converted to FM 93.7 MHz in 2003 and later adopted its current callsign CHYX-FM.

In 2008, Haliburton announced a deal to sell the CHYC stations to Le5 Communications, a firm owned by Sudbury lawyer Paul Lefebvre. This deal was approved by the CRTC on October 31, 2008. Le5 Communications rebranded the station as Le Loup in early 2009.

In 2010, Le5 Communications also launched the weekly community newspaper L'Express de Timmins.

On March 2, 2012, Le5 Communications received approval from the CRTC to change the authorized contours of the station's rebroadcaster in Hearst, by changing the antenna radiation pattern from directional to non-directional, increasing the average effective radiated power (ERP) from 140 to 172 watts (maximum ERP from 140 to 221 watts), decreasing the effective height of antenna above average terrain from 56.6 to 43 metres and relocating the antenna site.

In 2016, Le5 Communications announced that it was closing the station's transmitters in Hearst and Kapuskasing.

A historical plaque in the city's Mattagami Park commemorates the station's historic role in the local Franco-Ontarian community.

Former Transmitters
Former rebroadcasters of CHYK-FM Timmins that were shut down in 2016.

title: CHYK-FM


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Wikipedia:Articles for deletion/Nick Stevens

Nick Stevens
ESPN's Dream job contestant non notable. — Sortior 02:59, Dec 4, 2004 (UTC)
 * Delete: Being a contestant on that show, or "Jeopardy!," is not notability. Geogre 05:18, 4 Dec 2004 (UTC)
 * Keep - Being on national TV is most definately notability! -- Crevaner 21:44, 4 Dec 2004 (UTC)
 * It is a sad day when being on TV makes you notable... Sortior 23:21, Dec 4, 2004 (UTC)
 * Don't be ridiculous, I've been on national TV, that doesn't make me notable. DeleteAverage Earthman 22:18, 5 Dec 2004 (UTC)
 * I'll be creating an article about myself, then. I've been on national TV several times -- just in the background, it is true -- but I've been there! ;) --Carnildo 00:48, 8 Dec 2004 (UTC)
 * Delete - Not notable. Spangineer 23:39, Dec 4, 2004 (UTC)
 * Delete Wyss 00:57, 6 Dec 2004 (UTC)
 * Delete. Non notable game show contestant. --MPerel 16:22, Dec 6, 2004 (UTC)
 * Delete. Comcat
 * Delete [[User:GRider|GRider\talk]] 18:40, 8 Dec 2004 (UTC)
 * Delete. Not notable. --Improv 19:37, 8 Dec 2004 (UTC)


text: User talk:66.8.214.153

title: User talk:66.8.214.153


text: User talk:131.107.71.94

title: User talk:131.107.71.94


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Talk:Masque

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 03:34, 17 January 2022 (UTC)

Headline text
Any way in which the editor of this article could include a short and succint summary of the dramatic style at the beginning to help those searching for a quick definition of it? I searched it on Wikipedia to aid me with an interpretation of "The Tempest" by Shakespeare given by my English Literature teacher (I am studying it at A-level) and had to read the whole article to properly attain a understanding of masque.

Clean Up
This page as it stands has a lot of useful information, but is confusingly written, and doesn't really explore the development of the masque. I also think that it needs some examples of masques cited; although the lengthy diatrible below is clearly too much.

Masque of Blackness
I have removed this huge interpolation from the page:
 * Masque of Blackness
 * this might be suitable as its own entry, i have submitted it before and no one has been willing to edit. i still believe it should stay in.
 * It is important for people today to know what a Masque was and what it became because it is an art form that we are not used to seeing these days.
 * “The Masque was similar in all important respects to the Italian intermezzo, being an allegorical story designed to honor a particular person or occasion through fanciful comparison with mythological characters or situations (Brockett 191).” Brockett explains the most important roles were the courtier-dancers, who were members of the nobility, but they were not given speaking roles, all the speaking roles went to professional actors (191).  One important distinction between the Masque and the dancing was that the celebrating, also known as the revels, was comprised of the courtiers’ dancing and singing, whereas the Masque was the actual story presented.  In looking at the people most closely involved in the Masque, the resulting partnerships, the Masque itself, the politics behind the production, and the subsequent changes to the literary and technical aspects of theatre, it is clear that Ben Jonson’s The Masque of Blackness is very important to theatre history.

 * It is important to know a little about Ben Jonson, as the writer of The Masque of Blackness, and his interesting and turbulent life. Jonson was born in Westminster one month after his father’s death in the year 1574(Cornwall x).  His mother remarried soon thereafter to a bricklayer, and when Ben was unable to remain at University he returned to his mother’s home where he was required to work for his stepfather (xi).  Ben was unable to endure this, so he volunteered in the army (xi).  Ben left the army after serving in a few battles when he felt he was underappreciated (xi).  He returned home at around the age of nineteen, and he took the stage (xi).  Cornwall suggests that Jonson got his start at The Green Curtain in Shoreditch (xi-xii).  A few years into his acting career, another actor challenged him to a sword fight; the other man had brought a sword longer than Ben’s, and a fight ensued in which Jonson’s arm was cut badly and the other party’s life was lost (xiii).  This offence landed Jonson in jail, and despite the possibility of a death sentence, he was released without a trial (xii).  After his release from jail, his first play Every Man in His Humor was first performed, and he became a popular playwright with many plays being produced, including one with William Shakespeare in the company (xiv).  After a successful career, he died at the age of 63, leaving one wife and no children [both of his children died at very young ages] (xiii).  His body was placed at Westminster Abbey with a plain concrete marker inscribed, “O Rare Ben Jonson! (xxviii).”  As the designer of the Masque, Inigo Jones, also referred to as Indigo Jones, was instrumental to the blooming art form of the Masque; The Masque of Blackness was his first court Masque.  He was born to a cloth maker in 1573 (Royal Institute).  The Royal Institute’s biography states that he wandered from England through France and Germany and into Italy from 1598 to 1603.  While there, he studied the architecture of, “…Roman antiquity [,] Andrea Palladio (1508-80) and Vicenzo Scamozzi (1552-1616)…”  (Royal Institute).  The Royal Institutes biography also states that he received no formal training in architecture, so his travels appear to have been of great importance in his education as an architect.  Jones soon returned to England and in 1604 he began designing Court Masques [Jonson’s Masque of Blackness] (Nagler 141).  As the commissioner of The Masque of Blackness, Queen Anne was key to its conception--it was actually at her request the story became what it was.  Anne was married to King James IV of Scotland in 1589, and then James succeeded to the English crown in 1603 as James I (Expanded Columbia Electronic Encyclopedia “James I”).  The Queen did not get along with her husband so well, and as some critics noted, “It is true that some years after they did not much keep company together…yet they love as well as man and wife could do, not conversing together (Aasand).”  Obviously if these three had not gotten together, the Masque would not have become what it was.

 * Many incredibly productive partnerships were created with the production of The Masque of Blackness. The Queen of England chose Jonson for some reason, and I haven’t the support for the connection I hoped to make.  However, I do have ample reason to believe that Jonson was the Queen’s choice, and that presented with the chance to write a Masque for Her Majesty, only a fool would turn her down.  It was my intention to prove that the Queen and Jonson were involved in some secret society of Catholics and that she was doing him a favor by allowing him this position.  The best reason I can find that she would pick him above of all the other inexperienced [Jonson had written no Masques before] writers of the day stems from the fact that Jonson was granted an apprenticeship with the royal writers, and most of his assignments were writing entertainments for the queen (Miles 85-90).  Between the summers of 1603-1604, they let him write four formal welcomes (Miles 85).  The first of these was the welcome for Anne and Prince Henry- a conventional welcome, a simple pastoral (Miles 86).  I am going to suggest than Anne had been traveling for weeks, and when she finally arrived she was greeted by this simple, fun, entertaining play; and thereby Jonson got his first “in” with the queen.  His second assignment was not quite as important in the scale of future production value to Jonson; he wrote a simple pageant, but he did prove himself a skilled wordwright (Miles 87-88).  Jonson’s last apprentice production was a private party for the king and queen (Miles 90).  It is probable this was the second formal time the queen had ever seen Mr. Jonson’s work, and was where I believe he finally gained her attention.  At this point in time the queen, I assume, remembered him from the time he met her arrival, and how much she enjoyed that entertainment he presented.  When the queen chose to have him be the final night’s entertainment in a multi-night tradition, I believe she knew exactly what she wanted to happen, and the Jonson/Jones combination went greatly beyond her expectations.  Inigo Jones and Ben Jonson were very fruitful in their partnership starting in 1605, and they created many entertainments for the aristocracy before they parted ways in 1618 .  In the book Ben Jonson and Theatre, Cave realizes the dilemma that soon began to undermine their partnership.  “Jonson’s Masques were elegantly witty conceits that created contexts in which to foreground the performers’ artistry, personal skill and physical perfection; for Jones the performers were the syntax necessary to shape the rhetorical flourishes of his grand statement, the means to his chosen ends (Cave et al. 73).”  At this point, it becomes clear that the spectacle of the piece had begun to overshadow the text, and Wickham proposes that problems like these are what created such artistic differences, and the final collapsing of Jonson and Jones (Wickham 268-9).  As Jonson, I would be delighted to see so many people ecstatic about my work but Jones had gained so much popularity for his scene design, Rosalind Miles explains that the “seeds of discourse had been planted (Miles 96).”  Interpreting Miles and other critics, I feel that Jonson thought that he was the great collaborator, and that he was willing to share the fame with Jones, but he was not ready to take second place on the list of successes.  This ultimately ended up in a splitting of the great team, and Jonson went on to produce shows outside the court, while Inigo kept his position at court as Surveyor-General (Ross).  Jones continued working for the Royal family long after he and Jonson had ceased working together because of artistic differences; he was involved in replacing the old, crumbling Banqueting House with his own impressive design in 1619(Ross).  This new Banqueting hall, patterned after the Roman Basilica, was stunning inside and outside [see Appendix A for Photograph of Interior] (Ross).

 * Now we turn our attention to the text of Blackness, which begins with Jonson’s description of the place and people in the Masque. He explains to the reader that the set is a huge backdrop of an ocean with waves “that seem to move” and in front of that a huge shell that held the princesses [the Queen and her ladies] on their journey (Jonson 544-5).  In front of all this, was a front curtain with a painted “landtschap (landscape)”- with a small woods and “here and there a void place”- that fell to reveal the ocean scene, the Masquers, and the actors (Jonson 544-545).  Jonson sets the scene with the following:

This cavalcade “induces” the masquers, who are twelve nymphs, negroes and daughters of Niger, attended by twelve Oceaniae, who are their lightbearers. The masquers are all placed in “a great concave Shell, like mother of pearl, curiously made to move on those waters and rise with the billow”; the torch-bearing Oceaniae are on the backs of “six huge sea-monsters,” disposed round the great shell. Cunningly placed lights raise the whole elaborate show to the highest point of brilliance. The “lines of prospective” of this show were planned with exact reference to the state [The king] at the upper end of the hall (Cambridge History of English and American Literature)

 * The Cambridge History of English and American Literature continues its summary:
 * ….Oceanus enquires of Niger why he is far out of his course here in the west. Niger explains that his daughters, having heard the fable of Phaeton, are discontented with their blackness, and have seen a vision which ordered them to seek a land whose name ends in the syllables “tania.” They have tried Mauritania and Lusitania and Aquitania; can Oceanus help them to any other? Oceanus answers that they have arrived at Albion, named after his own son; but, at this point, a vision of the moon, “discovered in the upper part of the house,” as a beautiful queen on a throne, makes Niger “interrupt Oceanus with this present passion”: “O see, our silver star,” he begins. The Aethiopians, of course, worshipped the moon as Aethiopia; and this is Aethiopia herself come to tell them that this is the land they are seeking. It is ruled by a sun

Whose beams shine day and night and are of force, To blanch an Aethiop and revive a corse.

King James is the sun: His light sciential is, and, past mere nature, Can salve the rude defects of every creature.

 * Then comes the main dance of the masquers. When it is finished, and the masquers are about “to make choice of their men, one from the sea was heard to call them with this Charm, sung by a tenor voice.” The song very aptly bids the sirens of the sea beware of the sirens of the land. After the measures and corantos with the men, which are “the revels [The party part of the masque],” the ladies “were again accited to sea with a song of two trebles whose cadences were iterated by a double echo from several parts of the land.” The echo song over, Aethiopia gives a receipt for removing “this veil the sun has cast Above your blood”; and the masquers “in a dance returned to sea where they took their Shell, and with this full song went out(Cambridge History of English and American Literature).

 * The production was obviously one on a large scale, and it would have been amazing to see.

The Masque of Blackness, even being as grandiose as it was, did have some underlying political tension. Anne was always more of a “rival sovereign” than a wife; she performed well as a queen, but was constantly at battle with the king (Aasand). In a short study into King James’s life, it is easy to notice that he had some problems with attachment; when he was attached, he was serious, but if you angered him, it was very difficult to recover his love or escape his anger. The queen was probably making a political statement against the monarchy when she requested Jonson write this story for her. She was dissatisfied with the way her husband ruled her and their people (Aasand). The solution, it appears, was to have Jonson write a court Masque with her and her ladies as Ethiopian princesses, which intended to make a mockery of the status quo, or at least shock the court. I believe Anne had specifically requested that Jonson write a Masque about Ethiopians, knowing that to have the queen and her court appear in blackface or scantily clad would offend the sensibility of their aristocratic audience. “Still the unconventional (in England) bodily presence of the women in the context of performance, even if it is the rarefied, special space of the court, was signaled particularly unambiguously when, as it is suggested by designs [see Appendix A for image of Princess Costume Design] drawn by Inigo Jones, costumes exposed women performers’ breasts…(Cave, et al. 173).” Aasand states “Within the Masque, Queen Anne [alters] the typical allegorical representation of royalty into a grotesque mockery of [traditional] ideology that threatens the conventional image of beauty and dominance.”  I am suggesting that it was by her design, but whether or not it was, the appearance of the queen and her ladies painted in black with “un-courtly” amounts of body showing was certainly shocking. Aasand notes a critic of the time who did not like the presentation of the queen in such a manner: Unlike the enclosed body of Elizabethan entertainments, which presents a figure of chastity, absoluteness, and separateness from the contagion of physical defilement, Anne presents the grotesque and all its implications, and Carleton's excoriation of her and her ladies is thereby a reasonable response for his courtly milieu: she is a royal grotesquerie, a figure blackened by heat and latent with an ethnic sexuality ("Curtizan-like") that disturbs established social and political order (Aasand).

 * Walravens and Weidner explain in their paper the reasoning and responses to the images of “blackness.” They explain that, as we have already seen, the request to present the queen as a black person was her decision, one that may have been made for many different reasons.  Whilst the blackness was used as a shock mechanism, it is essential to recognize Jonson’s use of blackness as a central element of the story.  Jonson endorses blackness’s superiority to whiteness when he states that the daughters of Niger’s beauty is everlasting, Walravens and Weidner sum it up by saying “Unlike white people, who are subject to ugly alterations of color after death,” the Ethiopians remain unchanged.  For many other reasons Walravens and Weidner, conclude that Jonson was showing the white people that Africans have a certain relation to divinity.  Jonson explains that he had pearls put on the masquers because the black skin sets them off- that pearls are more beautiful on black skin than on white skin (Walravens and Weidner).  Walravens and Weidner also suggest that Jonson tries to explain why Africans are black, and Jonson does this by using the mythological story of “...Phaëton, that fired the world,/ and that, before his heedless flames were hurl’d/ About the globe, the Æthiops were fair/ as other dames; Now black with black despair…(Jonson 545).”  Jonson suggests that even though black might be a beautiful color, these Ethiopians are in great despair, and that is the reason they are seeking a sun that can return them to their original pureness (Walravens and Weidner).  Their journey is complete when they find the place to restore their purity; they found their purity in the sun (son) of Bri-tania: the King of England (Walravens and Weidner).  The show, apparently, is full of references, as noted by Walravens and Weidner, to the events of the day, including the shift in power from a weak female monarch to James I, “The King’s central authority owing to the unification of England, Scotland, and Wales ,” and the Strength of the future of the monarchy  (Walravens and Weidner).  It would seem that to make the piece more shocking, the queen requested sexual undertones added to the piece.  The Queen’s character in the play is Euphoris, whose picture/symbol was a golden tree laden with fruit (Kay 84).  It is important to note that Queen Anne had to be 6 months pregnant at the performance of the play; I would like to suggest that the pregnancy, the blackness, and the costume of this Queen and her ladies was a very intriguingly sexual experience (Herford Qtd. Aasand).  I would also like to suggest that maybe the Queen’s character’s name was planned out by her; it is obvious that she would have know she was pregnant when the masque was being written, and the name Euphoris and the symbol of her character(a tree bearing much fruit) are both indicative of the Queen herself.  I imagine that the Queen was very happy to be producing this Masque for the court, and that she naturally would be optimistic of this child and its ability to stabilize her marriage.  Although I believe she hoped this would be the beginning of a new life, it turned out quite the opposite; James took this child away from her, and the powers that be began to silence her (Aasand).  Therefore, she retired to her summer homes  where she died soon thereafter.  As we have discovered, Jonson met the challenge to present to the court an entertainment that suited the queen, but also proved acceptable to the king.  I am going to guess that Jonson’s biggest challenge was pleasing the king, or at least not angering the king.  He did so, in my belief, by including the images of a powerful state that showed the king as the Lord Sovereign, thereby honoring the king.

 * The style of Masque during Elizabeth’s reign, like the Masque of the previous year, Vision of Twelve Goddesses, “an allegorical procession with long explanatory speeches,” had begun to fall out of favor (Orgel 3). There is no doubt that Ben Jonson had a distinct style; this can be seen in the observations of critics, like Stephen Orgel, in his introduction, who discusses the impact that Jonson made in the way the Masque form was respected as literature (2).  Orgel states things like “Jonson treated the form seriously as literature,” and “if it [were] not for Ben Jonson, the court Masque would hardly find a place in the history of literature,” all ideas which seem to be well received by his peers and predecessors (2).  I have read that Jonson worked hard at his art; he took all the literary forms, and he was able to put his own spin on them.  He had the ability to take old styles of drama, and add literary goodness to them; the court Masque is a good example: he was able to fit an old style and still revolutionized the art by adding his own unique form, and color .  Jonson took the form seriously; many people thought that Court Masques were extraordinarily expensive, outrageous processions of the royals and their court, with little actual merit.  These people weren’t wrong the costs were outrageous: most of the sources I find estimate the cost of production at ~£3,000, which I still think is a little expensive for this first Masque.  Rosalind Miles says this production cost £3,000, and she compares this with the price of a nice house at Stratford ~£60 (96).  James was known for his exorbitant spending, and Brocket says James spent £4,000 on a Masque in 1618, and he explains that this is greater than the amount he paid to professional performers at court over his entire reign (190).  Inigo Jones, much like Jonson, was very innovative in his art.  Even though many of the ideas he brought with him to England were directly stolen from his Italian mentors, he succeeded in implementing them and changing the history of theatre.  It is easy to over-praise Inigo Jones for his additions to the Court Masque, but I believe they are important.  Miles also give us her thoughts on Jones’ innovation; she explains the change in setting of the theatre space just as Wickham does.  She explains that the Masque of the previous year used “medieval staging principle,” in that it used multiple sets placed around the hall, with all the settings being visible at the same time (96).  This change is the biggest innovation Inigo Jones brought to the Court Masque.  I cannot find any document that shows any significant use of the proscenium or perspective settings in Court Masque, or the theatre of England before the set of Blackness.  The Masque, Vision of Twelve Goddesses, produced in the same Banqueting hall in 1604, and we know that the set did not have a proscenium arch, whereas Blackness did indeed implement one(Wickham 268-269).  Wickham provides a reconstruction that shows what the settings most likely looked like [figures 1a, 1b Appendix A.].  With the innovation of Jones’ single setting having the focus in one and only one place, Miles goes as far as to say that in that moment the old system went out of fashion (96).  She gives credit, though, as credit is actually due; Jones stole that idea straight from Serlio, who in 1545 published his Architettura that explained perspective concepts [Which inherently have a proscenium stage] (96).  Jones also brought perspective scenic elements to the design of the English theatre; even though it does not show itself greatly in this production, subsequent shows are very heavily influenced .  Because of this inclusion of perspective, he made one seat in the house the best seat in the house.  With perspective seating you have a landscape that is set up to force your eyes into thinking that what you are seeing is larger or smaller than it actually is[depending on the artists intention] and for this to function properly the audience must view from angles that are very sharply regulated(Wickham 253).  The designer must calculate the perspective to appear as he desires, and as he does so, he will have to calculate those measurements from a certain seat (253).  Jonson notes in his introduction to the Masque  that this scene did have a seat that was best, and this seat was the King’s seat (Loxley, 118).  Jones also produced for this show the “machine” which carried the Princesses on their search for the purifying sun (Nagler 143).  This machine was a large replica of a shell complete with motion (143).  Between the two innovators, they managed to create something fresh, which made an impact on theatre.

 * Obviously, after examining the people most closely involved in the Masque, the resulting partnerships, the Masque itself, the politics behind the production, and the subsequent changes to the literary and technical aspect of theatre, it is apparent that Ben Jonson’s The Masque of Blackness is, indeed, very important to theatre history. In an examination of this play, I see ties to American theatre today.  We have such diversification in our production of theatre, we have scenic designers who are trying to be as innovative as possible, and we have our producers spending a great deal of money, as well as artists who are writing high quality texts.  It is a fair assumption, if productions and relationships like those of Jones and Jonson weren’t created in that production; the theatre of today could be a totally different art form.

< >

This really belongs in its own article, The Masque of Blackness, which I don't have the energy to create at the moment. I suggest that the anon contributor create the article and wikify the text in conformance with the standards of Wikipedia. The general article on masque is not the place for a massively detailed description of a single example of the form. Antandrus 03:00, 4 Dec 2004 (UTC)
 * The relevance of The Masque of Blackness to the genre still needs to be expressed here, embodying a link. There is as yet no mention of The Masque of Blacknesse and the above text has not been taken account of in that article --20:44, 15 December 2006 (UTC)

Pictures
I would love to see some sort of illustration of masque costume(s) in the article. It would really help the article to look more appealing to the average reader.

Peter Isotalo 13:19, 10 August 2005 (UTC)

Edits
I edited in material from the stub Stuart Masque and set paragraphs mopre in chronological order, after the opening explication. I think the list of masques should have their dates, in parentheses. --Wetman 04:30, 7 March 2007 (UTC)

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title: Talk:Masque


text:
File:Kansas - Drastic Measures.jpg

Cover for album Drastic Measures by Kansas.

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

title: File:Kansas - Drastic Measures.jpg


text:
Heidenreich

Heidenreich is a German surname which may be translated as "Land of the Heathen," or "Power of the Heathens," or "Realm of the Heathens". Notable people with the surname include: The original germanic meaning was: a person of power and wealth, see also: http://wiki-de.genealogy.net/Heidenreich_(Familienname)
 * Heidenreich of Chełmno, first bishop of the Bishopric of Chełmno, 1245–1263
 * Adolf Heidenreich (1897–1958), German politician (SPD)
 * Carl Heidenreich, German painter
 * David Elias Heidenreich (1638–1688), German writer
 * Elke Heidenreich (born 1943), German TV journalist and presenter, novelist, librettist, literary critic
 * Fritz Heidenreich (1895–1966), German sculptor
 * Gert Heidenreich (born 1944), German writer
 * Gustav Heidenreich (1819–1855), German painter
 * Hans-Jürgen Heidenreich (born 1967), German footballer
 * Herbert Heidenreich (born 1954), German footballer
 * Jakub Heidenreich, Czech footballer
 * Jon Heidenreich (born 1972), American professional wrestler
 * Kaspar Heidenreich (1510–1586), German reformer
 * Ludwig Heidenreich von Callenberg (died 1637), German officer
 * Maximilian Heidenreich (born 1967), German footballer
 * Walter Heidenreich (born 1949), German preacher

Heydenreich is a variation of the name. Notable people include:

 * Gustav Heinrich Heydenreich († 1897), German entomologist
 * Karl Heinrich Heydenreich (1764–1801), German philosopher
 * Ludwig Heinrich Heydenreich (1903–1978), German art historian
 * Michał Heydenreich (1831–1886), Polish general

title: Heidenreich


text:
Drastic Measures

Drastic Measures is the ninth studio album by American rock band Kansas, released in 1983.

The shift in direction that Kansas took with Vinyl Confessions took its toll before recording began on this album. After hearing that Christian fans of Kansas were using lyrics from Vinyl Confessions in religious tracts and handing them out prior to the band's live appearances, violinist Robby Steinhardt grew tired of Kansas' new Christian affiliation and quit the band at the end of the 1982 tour.

Despite the success of Vinyl Confessions, both among mainstream and Christian audiences, the album was criticized in some quarters — especially by Rolling Stone — for being too repetitive of Kansas' prior efforts. Drastic Measures was new lead singer John Elefante's attempt to change that perception, and his compositions dominate the album, with Kansas co-founder Kerry Livgren only contributing three tracks. Because the sound of Drastic Measures is more akin to the successful records that Loverboy and Foreigner were putting out at the time, Livgren was greatly displeased. This is bluntly expressed in his lyrics for "Mainstream", which are as much a criticism of the band's new direction as they are a slam at the music industry in general.

With the exception of the last three songs on the record, any Christian lyrical content was mostly indirect and oblique, although this was primarily due to Livgren holding back a number of songs for his future projects. Combined with a strange choice for an album cover, the new Kansas presented on Drastic Measures confused long-time fans and disappointed Christian listeners. The album was the band's lowest-charting record since their debut in 1974 and the tensions within the band eventually became too much. Kansas officially disbanded after giving a New Year's Eve concert at the end of their 1983 tour, although Ehart, Williams, and Elefante stayed to record the song "Perfect Lover" for The Best of Kansas compilation album.

Livgren and Dave Hope left the band to found AD, while Elefante went on to become a successful producer of contemporary Christian music bands like Petra as well as a popular CCM performer in his own right; as of 2021 he has never performed with Kansas again.

One of the first rock videos (along with "Beat It" and "New Frontier") to be shot on 35-mm film and exhibited in movie theaters as a trailer, the music video for "Fight Fire with Fire", directed by Dominic Orlando, was released theatrically across the U.S. in 1983 as a short subject with Francis Ford Coppola's Rumble Fish. The song reached No. 3 on the Billboard Mainstream Rock Chart and No. 58 on the Hot 100. The song also appeared on Kansas: Small Anthology and on every version of The Awesome Kansas Mix.

The album was re-released on CD in remastered form in February 1996 on Legacy/Epic Records, then again in 2011 on Rock Candy Records.

Personnel

 * Kansas
 * John Elefante – keyboards, lead vocals
 * Kerry Livgren – guitar, keyboards, Synclavier II programming
 * Rich Williams – guitar
 * Dave Hope – bass guitar
 * Phil Ehart – drums

 * Additional musicians
 * Jim Vest - steel guitar on tracks 4 and 7
 * David Pack, Terry Brock, Kyle Henderson – background vocals

 * Production
 * Neil Kernon – producer, engineer, mixing at Bullet Recording, Nashville, Tennessee
 * Cliff Bonnell, Guy Charbonneau - Le Mobile engineers
 * Danny Mundhenk - Bullet Recording engineer
 * Howie Weinberg - mastering at Masterdisk, New York
 * Drennon Studio - art direction
 * Glen Wexler - photography

title: Drastic Measures


text:
Talk:Pretty Good Privacy/to do

 * Split article into:
 * History and license.
 * Clean tech article.

 * Add a screenshot of some PGP GUI
 * Explain that a public-key fingerprint in PGP terms is like a 'hash' of the public key, useful for verifying you have the correct public key without having to read the entire public key over the phone(etc).

title: Talk:Pretty Good Privacy/to do


text:
Talk:Drastic Measures

Untitled
"Because the sound of Drastic Measures is closer to the successful records that Loverboy and Foreigner were putting out at the time, Livgren was greatly displeased"...

Interesting. In an interview Livgren did for the People of the South Wind list (Kansas fan email list) about 1995 or 96, he said Drastic Measures had become his favorite of the three early 80s albums. I just tried searching for the interview but it looks like the old POTSW forum archives have been taken down -- but if I find it I'll add this to the article. Dragomiloff 00:25, 10 July 2006 (UTC)

An examination of the lyrics to "Incident On A Bridge" would lead one to believe Livgren was saying "Good Bye" with the song. It is reflective of his time with the band and the journey they had traveled. While it was sad to see them break up, as Livgren suggests... "And I know, for each life there is a reason And I know, for each time there is a season". Kansas was a unique band; a group of gifted musicians and genius songwriters... definitely the true definition of "classical music merged with rock". — Preceding unsigned comment added by 74.87.167.230 (talk) 14:18, 24 June 2016 (UTC)

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text:
Wikipedia:Articles for deletion/Grant Thompson

Grant Thompson
Another Espn's Dream Job contestent. We don't need them all. Non notable. — Sortior 03:03, Dec 4, 2004 (UTC)
 * Delete: Just a contestant. Geogre 05:18, 4 Dec 2004 (UTC)
 * Delete Not notable. Spangineer 23:40, Dec 4, 2004 (UTC)
 * Delete. Not separately notable from the television programme, and not notable anyway. Average Earthman 22:19, 5 Dec 2004 (UTC)
 * Delete. Non notable game show contestant. --MPerel 16:22, Dec 6, 2004 (UTC)
 * Delete. Not notable. --Improv 19:37, 8 Dec 2004 (UTC)


text:
Infolepsy

The Infolepsy EP was released in 2004 on Coredump Records by breakcore artist Venetian Snares. It consists of 5 tracks, three on the A side and two on the B side. It was also released on CD. The first track samples almost exclusively from the Sesame Street segment Pinball Number Count, while the second track, "Where's Bill?", samples heavily from the Quentin Tarantino film Kill Bill. The track "Americanized" samples a pamphlet by conspiracy theorist Francis E. Dec from a spoken word recording made of it by Boyd "Doc" Britton (now "Doc on the Roq" for the radio station KROQ-FM). Punishing2004 is a remix of Punishing The Atoms from printf("shiver in eternal darkness/n");.

The EP was reissued on May 26, 2013 as a digital download on Bandcamp.

Track listing

 * 1) "Twelve"  – 2:20
 * 2) "Where's Bill?"  – 5:08
 * 3) "Absolute Smakatrosmic"  – 3:31
 * 4) "Americanized"  – 5:39
 * 5) "Punishing2004"  – 4:22 featuring MC SKM

2013 reissue bonus track

 * 1) "Ibanchivapalk" – 2:55

title: Infolepsy


text:
Latin influence in English

Although English is a Germanic language, it has Latin influences. Its grammar and core vocabulary are inherited from Proto-Germanic, but a significant portion of the English vocabulary comes from Romance and Latinate sources. A portion of these borrowings come directly from Latin, or through one of the Romance languages, particularly Anglo-Norman and French, but some also from Italian, Portuguese, and Spanish; or from other languages (such as Gothic, Frankish or Greek) into Latin and then into English. The influence of Latin in English, therefore, is primarily lexical in nature, being confined mainly to words derived from Latin and Greek roots.

Early Middle Ages
The Germanic tribes who later gave rise to the English language traded and fought with the Latin speaking Roman Empire. Many words for common objects entered the vocabulary of these Germanic people from Latin even before the tribes reached Britain: anchor, butter, camp, cheese, chest, cook, copper, devil, dish, fork, gem, inch, kitchen, mile, mill, mint (coin), noon, pillow, pound (unit of weight), punt (boat), sack, street, wall, wine.

Christian missionaries coming to Britain in the 6th or and 7th century brought with them Latin religious terms. Some of these words are ultimately of Greek origin, as much of the technical language of Christianity developed from the Greek of the New Testament and the works of those Fathers of the Church who wrote in Greek.

During this time, the Catholic monks mainly wrote or copied text in Latin, the prevalent Medieval Lingua Franca of Europe. When monks occasionally wrote in the vernacular, Latin words were translated by finding suitable Old English equivalents. Often, a Germanic word was adopted and given a new shade of meaning in the process. Such was the case with Old English gōdspell ("gospel") for Latin Evangelium. Previously, the Old English word simply meant "good news", but its meaning was extended in Old English to fit a religious context. The same occurred for the Old Germanic pagan word blētsian, which meant "to sacrifice, consecrate by shedding blood". It was adapted by Old English scribes and christened to become the word bless. Similarly fullwiht (literally, "full-being") and the verb fullian came to mean "baptism" and "to baptise" respectively, but probably originally referred to some kind of rite of passage.

Whenever a suitable Old English substitute could not be found, a Latin word could be chosen instead, and many Latin words entered the Old English lexicon in this way. Such words include: biscop "bishop" from Latin episcopus, Old English tepid "carpet" from Latin tapetum, and Old English sigel "brooch" from Latin sigillum, culcer and læfel "spoon" from Latin coclearium and labellum beside Old English spōn and hlædel (Modern English ladle); Old English forca from Latin furca "fork" next to Old English gafol; Old English scamol "chair, stool" from Latin scamellum beside native stōl, benc and setl. All told, approximately 600 words were borrowed from Latin during the Old English period. Often, the Latin word was tightly restricted in sense, and was not widespread in use among the general populace. Latin words tended to be literary or scholarly terms and were not very common. The majority of them did not survive into the Middle English Period.

Middle Ages
The Norman Conquest of 1066 gave England a two-tiered society with an aristocracy which spoke Anglo-Norman and a lower class which spoke English. From 1066 until Henry IV of England ascended the throne in 1399, the royal court of England spoke a Norman language that became progressively Gallicised through contact with Old French. The Norman rulers did not try to suppress the English language, apart from not using it at all in their courts. In 1204, the Anglo-Normans lost their continental territories in Normandy and became wholly English. By the time Middle English arose as the dominant language in the late 14th century, the Normans had contributed roughly ten thousand words to English, three-quarters of which survive. Continued use of Latin by the Church and centres of learning brought a steady, though dramatically reduced, influx of new Latin lexical borrowings.

Renaissance
During the English Renaissance, from around 1500–1650, some 10,000 to 12,000 words entered the English lexicon, including the word lexicon. Some examples include aberration, allusion, anachronism, democratic, dexterity, enthusiasm, imaginary, juvenile, pernicious, sophisticated. Many of these words were borrowed directly from Latin, both in its classical and medieval forms. In turn, Late Latin also included borrowings from Greek.

Consequences for English
In addition to a large number of historical borrowings and coinages, today Latinate words continue to be coined in English – see classical compounds – particularly in technical contexts. A number of more subtle consequences include: numerous doublets – two or more cognate terms from both a Germanic and Latinate source (or Latinate sources), such as cow/beef; numerous cases of etymologically unrelated terms for closely related concepts, notably Germanic nouns with a Latin adjective, such as bird/avian or hand/manual; complicated etymologies due to indirect borrowings (via Romance) or multiple borrowings; and usage controversies over the perceived complexity of Latinate terms.

Noun/adjective doublets
As with Germanic/Latinate doublets from the Norman period, the use of Latinate words in the sciences gives us pairs with a native Germanic noun and a Latinate adjective:
 * animals: ant/formic, bee/apian, bird/avian, crow/corvine, cod/gadoid, carp/cyprine, fish/piscine, gull/larine, wasp/vespine, butterfly/papilionaceous, worm/vermian, spider/arachnid, snake/anguine, tortoise (or turtle)/testudinal, cat/feline, rabbit/cunicular, hare/leporine, dog/canine, deer/cervine, reindeer/rangiferine, fox/vulpine, wolf/lupine, goat/caprine, sheep/ovine, swan/cygnean, duck/anatine, starling/sturnine, goose/anserine, ostrich/struthious, horse/equine, chicken/gallinaceous, ox/bovine, pig/porcine, whale/cetacean, ape/simian, bear/ursine, human/hominine (gender specific: man/masculine, woman/feminine); these Germanic nouns can be made into adjectives by adding "-like".
 * physiology: head/capital, body/corporal, ear/aural, tooth/dental, tongue/lingual, lips/labial, neck/cervical, finger/digital, hand/manual, arm/brachial, foot/pedal, sole of the foot/plantar, leg/crural, eye/ocular or visual, mouth/oral, chest/pectoral, nipple/papillary, brain/cerebral, mind/mental, nail/ungual, hair/pilar, lung/pulmonary, kidney/renal, blood/sanguine, heart/cardiac.
 * astronomy: moon/lunar, sun/solar, earth/terrestrial, star/stellar.
 * sociology: son or daughter/filial, mother/maternal, father/paternal, brother/fraternal, sister/sororal, wife/uxorial.
 * other: book/literary, edge/marginal, fire/igneous, water/aquatic, wind/vental, ice/glacial, boat/naval, house/domestic, door/portal, town/urban, sight/visual, tree/arboreal, marsh/paludal, sword/gladiate, king/regal, fighter/military, bell/tintinnabulary, clothes/sartorial.

Thus Latin constitutes a linguistic superstratum for English just as Japanese has a Chinese superstratum and Hindustani has a Persian superstratum.

Indirect influence
It is not always easy to tell at what point a word entered English, or in what form. Some words have come into English from Latin more than once, through French or another Romance language at one time and directly from Latin at another. Thus there are pairs like fragile/frail, army/armada, corona/crown, ratio/reason, and rotund/round. The first word in each pair came directly from Latin, while the second entered English from French (or Spanish, in the case of armada). In addition, some words have entered English twice from French, with the result that they have the same source, but different pronunciations reflecting changing pronunciation in French, for example, chief/chef (the former a Middle English borrowing and the latter modern). Multiple borrowings explain other word pairs and groups with similar roots but different meanings and/or pronunciations: canal/channel, poor/pauper, coy/quiet, disc/disk/dish/desk/dais/discus.

Sociolinguistical consequences
David Corson in The Lexical Bar (1985) defended the thesis that academic English, due to its large portion of Greco-Latinate words, explains the difficulties of working class children in the educational system. When exposed at home mainly to colloquial English (the easier, shorter, Anglo-Saxon words), the differences with children who have more access to academic words (longer, more difficult, Greco-Latinate) tend not to become less by education but worse, impeding their access to academic or social careers. In various experiments and comparative studies Corson measured fewer differences between 12 year olds than 15 year olds due to their unfamiliarity with Greco-Latinate words in English and the way teachers deal with them. Corson's views were not always represented correctly. In his totally revised Using English Words (1995) the linguistic, historical, psychological and educational aspects have been integrated better.

title: Latin influence in English


text:
List of canal engineers

A canal engineer is a civil engineer responsible for planning (architectural and otherwise) related to the construction of a canal.

Canal engineers include:

China

 * Yu the Great (c.2200BCE-c.2100BCE), first Dynast of China, founder of the first dynasty, who dedicated his life establishing flood control structures across the Chinese Hegemony, including canals, establishing the new hegemony in the process, across flood ruined competing kingdoms.
 * Ximen Bao
 * Li Bing (c. 3rd century BC), Dujiangyan

France

 * Louis Maurice Adolphe Linant de Bellefonds (1799-1883), Suez Canal
 * Ferdinand de Lesseps (1805-1894), Suez Canal and the failed first attempt at a canal in Panama

Hungary

 * István Türr (1825-1908), Corinth Canal

United Kingdom

 * James Brindley
 * James Dadford
 * John Dadford
 * Thomas Dadford
 * Thomas Dadford, Jr.
 * Hugh Henshall
 * John Hore
 * Josias Jessop
 * William Jessop
 * Benjamin Outram
 * John Rennie the Elder
 * Thomas Sheasby
 * John Smeaton
 * William Smith
 * Thomas Telford

United States

 * James Geddes, Ohio and Erie Canal
 * John B. Jervis, Delaware and Hudson Canal
 * Loammi Baldwin, Middlesex Canal to Boston
 * Orlando Metcalfe Poe, Poe Lock at Soo Locks
 * William Weston
 * Benjamin Wright, Erie Canal and the Chesapeake and Ohio Canal

title: List of canal engineers


text:
Strength training

Strength training, also known as weight training or resistance training, involves the performance of physical exercises that are designed to improve strength and endurance. It is often associated with the lifting of weights. It can also incorporate a variety of training techniques such as bodyweight exercises, isometrics, and plyometrics.

Training works by progressively increasing the force output of the muscles and uses a variety of exercises and types of equipment. Strength training is primarily an anaerobic activity, although circuit training also is a form of aerobic exercise.

Strength training can increase muscle, tendon, and ligament strength as well as bone density, metabolism, and the lactate threshold; improve joint and cardiac function; and reduce the risk of injury in athletes and the elderly. For many sports and physical activities, strength training is central or is used as part of their training regimen.

Principles and training methods
The basic principles of strength training involve repeatedly overloading a group of muscles. This is typically done by contracting the muscles against heavy resistance and then returning to the starting position for several repetitions until failure. The basic method of resistance training uses the principle of progressive overload, in which the muscles are overloaded by working against as high resistance as they are capable of. They respond by growing larger and stronger. Beginning strength-trainers are in the process of training the neurological aspects of strength, the ability of the brain to generate a rate of neuronal action potentials that will produce a muscular contraction that is close to the maximum of the muscle's potential.

Proper form
Strength training also requires the use of proper or 'good form', performing the movements with the appropriate muscle group, and not transferring the weight to different body parts in order to move greater weight (called 'cheating'). Failure to use good form during a training set can result in injury or a failure to meet training goals. If the desired muscle group is not challenged sufficiently, the threshold of overload is never reached and the muscle does not gain in strength. At a particularly advanced level, however, "cheating" can be used to break through strength plateaus and encourage neurological and muscular adaptation.

Maintaining proper form is one of the many steps in order to perfectly perform a certain technique. Correct form in weight training improves strength, muscle tone, and maintaining a healthy weight. Improper form can lead to strains and fractures.

Stretching and warm-up
Weight trainers often spend time warming up before starting a workout, and it is recommended by the NCSA. A warm up may include cardiovascular activity such as light stationary biking (a "pulse raiser"), flexibility and joint mobility exercises, static and/or dynamic stretching, "passive warm up" such as applying heat pads or taking a hot shower, and workout-specific warm up, such as rehearsal of the intended exercise with no weights or light weights. The intended purpose of warming up is to enhance exercise effectiveness and reduce the risk of injury.

Evidence is limited regarding whether warming up reduces injuries during strength training. As of 2015, no articles existed on the effects of warm up for upper body injury prevention. For the lower limbs, several programs significantly reduce injuries in sports and military training, but no universal injury prevention program has emerged, and it is unclear if warm ups designed for these areas will also be applicable to strength training. Static stretching can increase the risk of injury due to its analgesic effect and cellular damage caused by it.

The effects of warming up on exercise effectiveness are clearer. For 1RM trials, an exercise rehearsal has significant benefits. For submaximal strength training (3 sets of 80% of 1RM to failure), exercise rehearsal does not provide any benefits regarding fatigue or total repetitions for exercises such as bench press, squats, and arm curl, compared to no warm-up. Dynamic warm-ups (performed with greater than 20% of maximal effort) enhance strength and power in upper-body exercises. When properly warmed up the lifter will have more strength and stamina since the blood has begun to flow to the muscle groups. Pulse raisers do not have any effect on either 1RM or submaximal training. Static stretching induces strength loss, and should therefore probably not be performed before strength training. Resistance training functions as an active form of flexibility training, with similar increases in range of motion when compared to performing a static stretching protocol. Static stretching, performed either before or after exercise, also does not reduce muscle soreness in healthy adults.

Breathing
In weight training, as with most forms of exercise, there is a tendency for the breathing pattern to deepen. This helps to meet increased oxygen requirements. One approach to breathing during weight training consists of avoiding holding one’s breath and breathing shallowly. The benefits of this include protecting against a lack of oxygen, passing out, and increased blood pressure. The general procedure of this method is to inhale when lowering the weight (the eccentric portion) and exhale when lifting the weight (the concentric portion). However, the reverse, inhaling when lifting and exhaling when lowering, may also be recommended. There is little difference between the two techniques in terms of their influence on heart rate and blood pressure.

On the other hand, for people working with extremely heavy loads (such as powerlifters), breathing à la the Valsalva maneuver is often used. This involves deeply inhaling and then bracing down with the abdominal and lower back muscles as the air is held in during the entire rep. Air is then expelled once the rep is done, or after a number of reps is done. The Valsalva maneuver leads to an increase in intrathoracic and intra-abdominal pressure. This enhances the structural integrity of the torso—protecting against excessive spinal flexion or extension and providing a secure base to lift heavy weights effectively and securely. However, as the Valsalva maneuver increases blood pressure, lowers heart rate, and restricts breathing, it can be a dangerous method for those with hypertension or for those who faint easily.

Training volume
Training volume is commonly defined as sets × reps × load. That is, an individual moves a certain load for some number of repetitions, rests, and repeats this for some number of sets, and the volume is the product of these numbers. For non-weightlifting exercises, the load may be replaced with intensity, the amount of work required to achieve the activity. Training volume is one of the most critical variables in the effectiveness of strength training. There is a positive relationship between volume and hypertrophy.

The load or intensity is often normalized as the percentage of an individual's one-repetition maximum (1RM). Due to muscle failure, the intensity limits the maximum number of repetitions that can be carried out in one set, and is correlated with the repetition ranges chosen. Depending on the goal, different loads and repetition amounts may be appropriate:

 * Strength development (1RM performance): Gains may be achieved with a variety of loads. However, training efficiency is maximized by using heavy loads (80% to 100% of 1RM). The number of repetitions is secondary and may be 1 to 5 repetitions per set.
 * Muscle growth (hypertrophy): Hypertrophy can be maximized by taking sets to failure or close to failure. Any load 30% of 1RM or greater may be used. The NCSA recommends "medium" loads of 8 to 12 repetitions per set with 60% to 80% of 1RM.
 * Endurance: Endurance may be trained by performing many repetitions, such as 15 or more per set. The NCSA recommends "light" loads below 60% of 1RM, but some studies have found conflicting results suggesting that "moderate" 15-20RM loads may work better when performed to failure.

Training to muscle failure is not necessary for increasing muscle strength and muscle mass, but it also is not harmful.

Movement tempo
The speed or pace at which each repetition is performed is also an important factor in strength and muscle gain. The emerging format for expressing this is as a 4-number tempo code such as 3/1/4/2, meaning an eccentric phase lasting 3 seconds, a pause of 1 second, a concentric phase of 4 seconds, and another pause of 2 seconds. The letter X in a tempo code represents a voluntary explosive action whereby the actual velocity and duration is not controlled and may be involuntarily extended as fatigue manifests, while the letter V implies volitional freedom "at your own pace". A phase's tempo may also be measured as the average movement velocity. Less precise but commonly used characterizations of tempo include the total time for the repetition or a qualitative characterization such as fast, moderate, or slow. The ACSM recommends a moderate or slower tempo of movement for novice- and intermediate-trained individuals, but a combination of slow, moderate, and fast tempos for advanced training.

Intentionally slowing down the movement tempo of each repetition can increase muscle activation for a given number of repetitions. However, the maximum number of repetitions and the maximum possible load for a given number of repetitions decreases as the tempo is slowed. Some trainers calculate training volume using the time under tension (TUT), namely the time of each rep times the number of reps, rather than simply the number of reps. However, hypertrophy is similar for a fixed number of repetitions and each repetition's duration varying from 0.5 s - 8 s. There is however a marked decrease in hypertrophy for "very slow" durations greater than 10 s. There are similar hypertrophic effects for 50-60% 1RM loads with a slower 3/0/3/0 tempo and 80-90% 1RM loads with a faster 1/1/1/0 tempo. It may be beneficial for both hypertrophy and strength to use fast, short concentric phases and slower, longer eccentric phases. Research has not yet isolated the effects of concentric and eccentric durations, or tested a wide variety of exercises and populations.

Weekly frequency
In general, for muscular strength, more training sessions per week results in greater increases. However, when training volume was equated, training frequency had no effect on muscle strength. Additionally, single-joint exercises did not show a significant effect of increased frequency. There may be a fatigue recovery effect where splitting the same volume of training across multiple days improves gains, but this must be verified by future research.

For muscle growth, a training frequency of two sessions per week had greater effects than once per week. Whether training a muscle group three times per week is superior to a twice-per-week protocol remains to be determined.

Rest period
The rest period is defined as the time dedicated to recovery between sets and exercises. Exercise causes metabolic stress, such as the buildup of lactic acid and the depletion of adenosine triphosphate and phosphocreatine. Resting 3–5 minutes between sets allows for significantly greater repetitions in the next set versus resting 1–2 minutes.

For untrained individuals (no previous resistance training experience), the effect of resting on muscular strength development is small and other factors such as volitional fatigue and discomfort, cardiac stress, and the time available for training may be more important. Moderate rest intervals (60-160s) are better than short (20-40 s), but long rest intervals (3–4 minutes) have no significant difference from moderate.

For trained individuals, rest of 2–4 minutes is sufficient to maximize strength gain, compared to shorter intervals 20s-60s and longer intervals of 5 minutes. Intervals of greater than 5 minutes have not been studied. Starting at 2 minutes and progressively decreasing the rest interval over the course of a few weeks to 30s can produce similar strength gains to a constant 2 minutes.

Regarding older individuals, a 1 minute rest is sufficient in females.

Order
The largest increases in strength happen for the exercises in the beginning of a session.

Supersets are defined as a pair of different exercise sets performed without rest, followed by a normal rest period. Common superset configurations are two exercises for the same muscle group, agonist-antagonist muscles, or alternating upper and lower body muscle groups. Exercises for the same muscle group (flat bench press followed by the incline bench press) result in a significantly lower training volume than a traditional exercise format with rests. However, agonist–antagonist supersets result in a significantly higher training volume when compared to a traditional exercise format. Similarly, holding training volume constant but performing upper–lower body supersets and tri-sets reduce elapsed time but increased perceived exertion rate. These results suggest that specific exercise orders may allow more intense, more time-efficient workouts with results similar to longer workouts.

Periodization
Periodization refers to the organization of training into sequential phases and cyclical periods, and the change in training over time. The simplest strength training periodization involves keeping a fixed schedule of sets and reps (e.g. 2 sets of 12 reps of bicep curls every 2 days), and steadily increasing the intensity on a weekly basis. This is conceptually a parallel model, as several exercises are done each day and thus multiple muscles are developed simultaneously. It is also sometimes called linear periodization, but this designation is considered a misnomer.

Sequential or block periodization concentrates training into periods ("blocks"). For example, for athletes, performance can be optimized for specific events based on the competition schedule. An annual training plan may be divided hierarchically into several levels, from training phases down to individual sessions. Traditional periodization can be viewed as repeating one weekly block over and over. Block periodization has the advantage of focusing on specific motor abilities and muscle groups. Because only a few abilities are worked on at a time, the effects of fatigue are minimized. With careful goal selection and ordering, there may be synergistic effects. A traditional block consists of high-volume, low-intensity exercises, transitioning to low-volume, high-intensity exercises. However, to maximize progress to specific goals, individual programs may require different manipulations, such as decreasing the intensity and increasing volume.

Undulating periodization is an extension of block periodization to frequent changes in volume and intensity, usually daily or weekly. Because of the rapid changes, it is theorized that there will be more stress on the neuromuscular system and better training effects. Undulating periodization yields better strength improvements on 1RM than non-periodized training. For hypertrophy, it appears that daily undulating periodization has similar effect to more traditional models.

Training splits
A training split refers to how the trainee divides and schedules their training volume, or in other words which muscles are trained on a given day over a period of time (usually a week). Popular training splits include full body, upper/lower, push/pull/legs, and the "bro" split. Some training programs may alternate splits weekly.

Exercise selection
Exercise selection depends on the goals of the strength training program. If a specific sport or activity is targeted, the focus will be on specific muscle groups used in that sport. Various exercises may target improvements in strength, speed, agility, or endurance. For other populations such as older individuals, there is little information to guide exercise selection, but exercises can be selected on the basis of specific functional capabilities as well as the safety and efficiency of the exercises.

For strength and power training in able-bodied individuals, the NCSA recommends emphasizing integrated or compound movements (multi-joint exercises), such as with free weights, over exercises isolating a muscle (single-joint exercises), such as with machines. This is due to the fact that only the compound movements improve gross motor coordination and proprioceptive stabilizing mechanisms. However, single-joint exercises can result in greater muscle growth in the targeted muscles, and are more suitable for injury prevention and rehabilitation. Low variation in exercise selection or targeted muscle groups, combined with a high volume of training, is likely to lead to overtraining and training maladaptation. Many exercises such as the squat have several variations. Some studies have analyzed the differing muscle activation patterns, which can aid in exercise selection.

Equipment
Commonly used equipment for resistance training include free weights—including dumbbells, barbells, and kettlebells—weight machines, and resistance bands.

Resistance can also be generated by inertia in flywheel training instead of by gravity from weights, facilitating variable resistance throughout the range of motion and eccentric overload.

Some bodyweight exercises do not require any equipment, and others may be performed with equipment such as suspension trainers or pull-up bars.

Aerobic exercise versus anaerobic exercise
Strength training exercise is primarily anaerobic. Even while training at a lower intensity (training loads of ~20-RM), anaerobic glycolysis is still the major source of power, although aerobic metabolism makes a small contribution. Weight training is commonly perceived as anaerobic exercise, because one of the more common goals is to increase strength by lifting heavy weights. Other goals such as rehabilitation, weight loss, body shaping, and bodybuilding often use lower weights, adding aerobic character to the exercise.

Except in the extremes, a muscle will fire fibres of both the aerobic or anaerobic types on any given exercise, in varying ratio depending on the load on the intensity of the contraction. This is known as the energy system continuum. At higher loads, the muscle will recruit all muscle fibres possible, both anaerobic ("fast-twitch") and aerobic ("slow-twitch"), to generate the most force. However, at maximum load, the anaerobic processes contract so forcefully that the aerobic fibers are completely shut out, and all work is done by the anaerobic processes. Because the anaerobic muscle fibre uses its fuel faster than the blood and intracellular restorative cycles can resupply it, the maximum number of repetitions is limited. In the aerobic regime, the blood and intracellular processes can maintain a supply of fuel and oxygen, and continual repetition of the motion will not cause the muscle to fail.

Circuit weight training is a form of exercise that uses a number of weight training exercise sets separated by short intervals. The cardiovascular effort to recover from each set serves a function similar to an aerobic exercise, but this is not the same as saying that a weight training set is itself an aerobic process.

Strength training is typically associated with the production of lactate, which is a limiting factor of exercise performance. Regular endurance exercise leads to adaptations in skeletal muscle which can prevent lactate levels from rising during strength training. This is mediated via activation of PGC-1alpha which alter the LDH (lactate dehydrogenase) isoenzyme complex composition and decreases the activity of the lactate generating enzyme LDHA, while increasing the activity of the lactate metabolizing enzyme LDHB.

Nutrition and supplementation
Supplementation of protein in the diet of healthy adults increases the size and strength of muscles during prolonged resistance exercise training (RET); protein intakes of greater than 1.62 grams per kilogram of body weight a day did not additionally increase fat–free mass (FFM), muscle size, or strength, with the caveat that "Increasing age reduces… the efficacy of protein supplementation during RET."

It is not known how much carbohydrate is necessary to maximize muscle hypertrophy. Strength adaptations may not be hindered by a low-carbohydrate diet.

A light, balanced meal prior to the workout (usually one to two hours beforehand) ensures that adequate energy and amino acids are available for the intense bout of exercise. The type of nutrients consumed affects the response of the body, and nutrient timing whereby protein and carbohydrates are consumed prior to and after workout has a beneficial impact on muscle growth. Water is consumed throughout the course of the workout to prevent poor performance due to dehydration. A protein shake is often consumed immediately following the workout. However, the anabolic window is not particularly narrow and protein can also be consumed before or hours after the exercise with similar effects. Glucose (or another simple sugar) is often consumed as well since this quickly replenishes any glycogen lost during the exercise period. If consuming recovery drink after a workout, to maximize muscle protein anabolism, it is suggested that the recovery drink contain glucose (dextrose), protein (usually whey) hydrolysate containing mainly dipeptides and tripeptides, and leucine.

Some weight trainers also take ergogenic aids such as creatine or anabolic steroids to aid muscle growth. In a meta-analysis study that investigated the effects of creatine supplementation on repeated sprint ability, it was discovered that creatine increased body mass and mean power output. The creatine-induced increase in body mass was a result of fluid retention. The increase in mean power output was attributed to creatine's ability to counteract the lack of intramuscular phosphocreatine. Creatine does not have an effect on fatigue or maximum power output.

Hydration
As with other sports, weight trainers should avoid dehydration throughout the workout by drinking sufficient water. This is particularly true in hot environments, or for those older than 65.

Some athletic trainers advise athletes to drink about 7 impfloz every 15 minutes while exercising, and about 80 impfloz throughout the day.

However, a much more accurate determination of how much fluid is necessary can be made by performing appropriate weight measurements before and after a typical exercise session, to determine how much fluid is lost during the workout. The greatest source of fluid loss during exercise is through perspiration, but as long as fluid intake is roughly equivalent to the rate of perspiration, hydration levels will be maintained.

Under most circumstances, sports drinks do not offer a physiological benefit over water during weight training.

Insufficient hydration may cause lethargy, soreness or muscle cramps. The urine of well-hydrated persons should be nearly colorless, while an intense yellow color is normally a sign of insufficient hydration.

Effects
The effects of strength training include greater muscular strength, improved muscle tone and appearance, increased endurance, cardiovascular health, and enhanced bone density.

Bones, joints, frailty, posture and in people at risk
Strength training also provides functional benefits. Stronger muscles improve posture, provide better support for joints, and reduce the risk of injury from everyday activities.

Progressive resistance training may improve function, quality of life and reduce pain in people at risk of fracture, with rare adverse effects. Weight-bearing exercise also helps to prevent osteoporosis and to improve bone strength in those with osteoporosis. For many people in rehabilitation or with an acquired disability, such as following stroke or orthopaedic surgery, strength training for weak muscles is a key factor to optimise recovery.

Mortality, longevity, muscle and body composition
Strength training appears to be associated with a "10–17% lower risk of all-cause mortality, cardiovascular disease (CVD), total cancer, diabetes and lung cancer". Two key outcomes of strength training are muscle hypertrophy and muscular strength gain which are associated with reduced all-cause mortality.

Strength training causes endocrine responses that could have positive effects. It also reduces blood pressure (SBP and DBP) and alters body composition, reducing body fat percentage, body fat mass and visceral fat, which is usually beneficial as obesity predisposes towards several chronic diseases and e.g. body fat distribution is one predictor of insulin resistance and related complications.

Neurobiological effects
Strength training also leads to various beneficial neurobiological effects – likely including functional brain changes, lower white matter atrophy, neuroplasticity (including some degree of BDNF expression), and white matter-related structural and functional changes in neuroanatomy. Although resistance training has been less studied for its effect on depression than aerobic exercise, it has shown benefits compared to no intervention.

Lipid and inflammatory outcomes
Moreover, it also promotes decreases in total cholesterol (TC), triglycerides (TG), low-density lipoprotein (LDL), and C-reactive protein (CRP) as well as increases in high-density lipoprotein (HDL) and adiponectin concentrations.

Sports performance
Stronger muscles improve performance in a variety of sports. Sport-specific training routines are used by many competitors. These often specify that the speed of muscle contraction during weight training should be the same as that of the particular sport. Strength training can substantially prevent sports injuries, increase jump height and improve change of direction.

History
The genealogy of lifting can be traced back to the beginning of recorded history where humanity's fascination with physical abilities can be found among numerous ancient writings. In many prehistoric tribes, they would have a big rock they would try to lift, and the first one to lift it would inscribe their name into the stone. Such rocks have been found in Greek and Scottish castles. Progressive resistance training dates back at least to Ancient Greece, when legend has it that wrestler Milo of Croton trained by carrying a newborn calf on his back every day until it was fully grown. Another Greek, the physician Galen, described strength training exercises using the halteres (an early form of dumbbell) in the 2nd century.

Ancient Greek sculptures also depict lifting feats. The weights were generally stones, but later gave way to dumbbells. The dumbbell was joined by the barbell in the later half of the 19th century. Early barbells had hollow globes that could be filled with sand or lead shot, but by the end of the century these were replaced by the plate-loading barbell commonly used today.

Weightlifting was first introduced in the Olympics in the 1896 Athens Olympic Games as a part of track and field, and was officially recognized as its own event in 1914.

The 1960s saw the gradual introduction of exercise machines into the still-rare strength training gyms of the time. Weight training became increasingly popular in the 1970s, following the release of the bodybuilding movie Pumping Iron, and the subsequent popularity of Arnold Schwarzenegger. Since the late 1990s, increasing numbers of women have taken up weight training; currently, nearly one in five U.S. women engage in weight training on a regular basis.

Sex differences
Men and women have similar reactions to resistance training with comparable effect sizes for hypertrophy and lower body strength, although some studies have found that women experience a greater relative increase in upper-body strength. Because of their greater starting strength and muscle mass, absolute gains are higher in men. In older adults, women experienced a larger increase in lower-body strength.

Safety concerns related to children
Orthopaedic specialists used to recommend that children avoid weight training because the growth plates on their bones might be at risk. The very rare reports of growth plate fractures in children who trained with weights occurred as a result of inadequate supervision, improper form or excess weight, and there have been no reports of injuries to growth plates in youth training programs that followed established guidelines. The position of the National Strength and Conditioning Association is that strength training is safe for children if properly designed and supervised. Younger children are at greater risk of injury than adults if they drop a weight on themselves or perform an exercise incorrectly; further, they may lack understanding of, or ignore the safety precautions around weight training equipment. As a result, supervision of minors is considered vital to ensuring the safety of any youth engaging in strength training.

Older adults
Aging is associated with sarcopenia, a decrease in muscle mass and strength. Resistance training can mitigate this effect, and even the oldest old (those above age 85) can increase their muscle mass with a resistance training program, although to a lesser degree than younger individuals. With more strength older adults have better health, better quality of life, better physical function and fewer falls. Resistance training can improve physical functioning in older people, including the performance of activities of daily living. Resistance training programs are safe for older adults, can be adapted for mobility and disability limitations, and may be used in assisted living settings. Resistance training at lower intensities such as 45% of 1RM can still result in increased muscular strength.

title: Strength training


text:
Wikipedia:Articles for deletion/Joe Voyticky

Joe Voyticky
Another Dream Job Contestant. Non Notable —Sortior 03:06, Dec 4, 2004 (UTC)
 * Delete: Just a contestant (you know he got teased with that name growing up, though). Geogre 05:19, 4 Dec 2004 (UTC)
 * Delete. Gross. Wyss 00:56, 6 Dec 2004 (UTC)
 * Delete: a contestant only! Somesh
 * Delete. Non notable game show contestant. --MPerel 16:23, Dec 6, 2004 (UTC)
 * Delete. Yeah, I wrote it, but he sucked anyway. Mike Hackney 16:57, 6 Dec 2004 (UTC)
 * Delete. Yet another entry in Who's NOT who. --Improv 19:37, 8 Dec 2004 (UTC)


text:
Talk:RMS Niagara

Photo requests
I apologise for posting so many photo requests. Most are for the "Gold salvage" section, which has a lot of text but no images. Motacilla (talk) 10:31, 19 December 2020 (UTC)

Untitled
FWIW, my dad was stationed at Bream Head in 1940, and was on watch when the ship started to go down. He raised the alarm, but it took him some time to convince his superiors that he wasn't drunk and hallucinating. 03:08, 4 Dec 2004 (UTC)

Possible source
HIGH SEAS: Super Salvage TIME, March 09, 1942. Retrieved July 9, 2013 --220  of  Borg 04:55, 9 July 2013 (UTC)

Spanish flu
An interesting comment in George Warren Russell:

 * As Minister of Public Health, he was responsible for the decision to allow the Niagara to dock in Auckland in 1918, and was blamed for the resulting Spanish Flu epidemic which killed at least 8000 New Zealanders.

Not sure quite what the story is here, but would definitely be interesting to include in the article if it can be dug up. Andrew Gray (talk) 15:58, 20 October 2013 (UTC)

FYI: For anyone interested in researching this further it is discussed in the book Deep Water Gold by Keith Gordon - the conclusion the book reached was that the Spanish Flu was already in NZ at the time the Niagara docked. — Preceding unsigned comment added by 121.72.175.40 (talk) 07:47, 13 April 2014 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20091216020451/http://www.theshipslist.com/ships/lines/cunard.html to http://www.theshipslist.com/ships/lines/cunard.html

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"Queen of the Pacific"?
Modern accounts claim that Niagara was nicknamed the "Queen of the Pacific". However, I have yet to find a source published when she was in service that used that nickname. I have not deleted the nickname, but I have tagged it as "unsourced" as I have no idea what source those modern accounts are citing. Motacilla (talk) 11:02, 19 December 2020 (UTC)

Claymore
The salvage ship Claymore seems like it can support an article, SS Claymore -- 65.92.247.66 (talk) 11:33, 3 January 2024 (UTC)

title: Talk:RMS Niagara


text:
USS Preble (DD-12)

The third USS Preble was a Bainbridge-class destroyer in commission in the United States Navy from 1903 to 1919. She was named for Commodore Edward Preble. She saw service in World War I.

Construction and commissioning
Preble was laid down by the Union Iron Works at San Francisco, California, on 21 April 1899. She was launched on 2 March 1901, sponsored by Miss Ethel Preble, and commissioned on 14 December 1903.

1903–1917
Preble was assigned to the United States Pacific Fleet and operated with the 4th and 2nd Torpedo Flotillas off the west coast of North America from Washington to the Panama Canal Zone until 1908, making a cruise to Hawaii and American Samoa from 24 August to November 1908. On returning, she operated along the United States West Coast until 4 February 1909, when she arrived at Mare Island Navy Yard on Mare Island in Vallejo, California, for inactivation. She was in reserve on 23 February 1909.

Reactivated on 17 September 1909, Preble was reassigned to the Pacific Torpedo Flotilla and operated with it until 1913. Placed in reserve again on 19 June 1913, she remained at Mare Island until resuming operations with the torpedo flotilla on 23 April 1914. She observed the Mexican Revolution′s Topolobampo Campaign between Mexican Huertista and Constitutionalist forces in the Gulf of California and was present at the Fourth Battle of Topolobampo, the final naval action of the campaign.

Torpedo practice, gunnery exercises, and minesweeping operations followed. During the summer of 1915, Preble participated in a cruise to Alaskan waters to gather logistic information. She began another period in reserve on 25 October 1916.

World War I
With entry of the United States into World War I looming, Preble was reactivated on 3 April 1917. On 6 April, the United States entered the war.

Preble departed San Diego, California, on 30 April 1917 for the United States East Coast. She arrived at Norfolk, Virginia, on 13 July 1917 and began coastwise convoy duty in the Atlantic Ocean along the mid-Atlantic coast of the United States.

Preble was involved in a friendly fire incident in July 1918. She was one of the escorts of a convoy of five troop transports carrying U.S. troops to Europe which departed New York City on 21 July. In the predawn hours of 23 July, the U.S. Navy submarine USS N-3 (SS-55) was on the surface in the Atlantic Ocean, charging her batteries in calm, hazy weather with bright moonlight, when she suddenly sighted one of the ships of the convoy at 02:55 at a range of only 1,800 yd. The British armed transport SS Minnekahda (1917), carrying 3,800 U.S. troops, soon also appeared, headed straight at N-3 and only about 200 yd away. N-3 immediately made a preliminary recognition signal by firing a green flare, then sent a recognition signal by blinker light. Minnekahda did not respond except to blow her steam whistle. N-3′s crew heard someone aboard Minnekahda order "Fire!" As N-3 continued to flash the recognition signal by blinker light, N-3′s commanding officer hailed Minnekahda, calling out "Don't fire, this is an American submarine!" At that instant, one of Minnekahda′s guns fired a 6 in or 7.5 in round (according to different sources), and the shell hit N-3 forward at the waterline, failing to explode but inflicting considerable damage and causing leaks. Minnekahda closed to a range of 50 yd, close enough for N-3′s crew to see men aboard Minnekahda and hear them receive an order to load. As N-3 continued to flash the recognition signal, several men on N3′s deck yelled "Don't fire!" and "Don't shoot, this is the N-3!" Finally, someone on Minnekahda asked where N-3′s flag was. N-3′s crew immediately brought a United States flag on deck and shined a light on it. Minnekahda promptly ceased fire. Preble then approached at flank speed as if to ram N-3, and N-3 made recognition signals and backed at full speed, avoiding a collision with Preble by only a few feet. N-3 hailed Preble, which stopped and sent a boat to N-3 to assess her damage. N-3 had suffered no crew casualties, but Minnekahda′s unexploded shell was found in N-3′s forward superstructure, and N-3′s torpedo compartment was partially flooded. After pumping 2,800 USgal of diesel fuel overboard to lighten herself forward, N-3 proceeded to port on the surface under her own power.

Preble continued her convoy escort operations off the Mid-Atlantic coast of the United States through 11 November 1918, when the armistice with Germany brought World War I to a close.

Decommissioning and disposal
Remaining on the U.S. East Coast after World War I, Preble was decommissioned at New York City on 11 July 1919. Her name was struck from the Navy List on 15 September 1919, and she was sold on 3 January 1920 to Henry A. Hitner's Sons Company of Philadelphia, Pennsylvania, for scrapping.

Honors and awards

 * Mexican Service Medal ribbon.svg Mexican Service Medal
 * World War I Victory Medal ribbon.svg World War I Victory Medal

Preble received the Mexican Service Medal for service from 2 May to 16 August 1914, from 19 to 20 Apr 1916, and from 18 July to 22 August 1916 and the World War I Victory Medal for service from 10 May to 9 November 1918.

Noteworthy commanding officer

 * Lieutenant (later Commodore) Harry Adrian McClure (3 May 1916–November 1916)

title: USS Preble (DD-12)