text:
Bruce Kingsbury

Bruce Steel Kingsbury, VC (8 January 1918 – 29 August 1942) was an Australian soldier of the Second World War. Serving initially in the Middle East, he later gained renown for his actions during the Battle of Isurava, one of many battles forming the Kokoda Track Campaign in the south-east of the island of New Guinea, then part of the Australian Territory of Papua (now Papua New Guinea). His bravery during the battle was recognised with the Victoria Cross, the highest decoration for gallantry "in the face of the enemy" that can be awarded to members of the British and Commonwealth armed forces. The first serviceman to receive the VC for actions on Australian territory, Kingsbury was a member of the 2/14th Infantry Battalion.

On 29 August 1942, during the Battle of Isurava, Kingsbury was one of the few survivors of a platoon that had been overrun by the Japanese. He immediately volunteered to join a different platoon, which had been ordered to counter-attack. Rushing forward and firing his Bren gun from the hip, he cleared a path through the enemy and inflicted several casualties. Kingsbury was then shot by a sniper and killed instantly. His actions, which delayed the Japanese long enough for the Australians to fortify their positions, were instrumental in saving his battalion's headquarters and he was posthumously awarded the Victoria Cross as a result.

Early life
Born in the Melbourne suburb of Preston on 8 January 1918, Kingsbury was the second son of Philip Blencowe Kingsbury, an estate agent, and his wife Florence Annie (née Steel). Growing up in Prahran, Kingsbury became friends with Alan Richard Avery when he was five years old. The two often raced billy carts down the hilly streets, and would remain lifelong friends. Kingsbury attended Windsor State School as a child, and his results were good enough to earn a scholarship at Melbourne Technical College. Avery began an agricultural course in Longerenong. Although qualified as a printer, Kingsbury began working at his father's real estate business, a job he disliked.

Unhappy in the estate agency, Kingsbury took up the position of caretaker on a farm at Boundary Bend, not far from where Avery was working. After three months, the pair decided that they would go on an adventure—walking through western Victoria and New South Wales. In February 1936, Kingsbury and Avery left their jobs and began travelling north, working on several farms and estates. The pair eventually arrived in Sydney several months later, and returned to Melbourne on the first train back. Kingsbury resumed working as a real estate agent, and Avery worked as a nurseryman. They spent their free time at dances and parties. During this time, Kingsbury and Avery met and became close to sisters Leila Edith Bradbury and Annie Margaret Bradbury. As the war in Europe escalated, Kingsbury and Avery made up their minds to enlist. Despite his parents' disapproval, Kingsbury signed up to the Australian Imperial Force on 29 May 1940.

Middle East
Kingsbury was originally assigned to the 2/2nd Pioneer Battalion, but requested a transfer to the 2/14th Infantry Battalion to join Avery who had, coincidentally, enlisted on the same day at a different recruitment centre. The pair undertook basic training at Puckapunyal, where they were assigned to the same section (7 Section of 9 Platoon) and were given drill instruction, rifle drill and mock battle training. After 7 Section learned they would be sent overseas, Kingsbury informed Avery that he planned to propose to Leila. The pair went to Melbourne to try to organise the wedding. Although Kingsbury gave Leila a wristwatch as an engagement present, they could not arrange a marriage licence before he left, and the marriage never took place.

Kingsbury, along with the rest of the 7th Division, was shipped to the Middle East in late 1940. Spending time in Tel Aviv and the surrounding areas, the 7th Division continued training and awaited further orders. On 9 April, the division was sent forward to Mersa Matruh in Egypt to support the Commonwealth force's defences. It replaced a Scottish unit and took up positions in the garrison. On 23 May, Kingsbury's brigade was sent back to Palestine, en route to battle in Syria and Lebanon. The 2/14th fought against the Vichy French on the Lebanese mountain ranges, as part of a three-pronged attack on Beirut. During this time, the division fought in many towns, including a major battle in Jezzine, where Avery was wounded by a grenade—which drove metal splinters into his spine —and awarded the Military Medal for his "cool courage and devotion". As the war with the Vichy French was winding down, on 11 July Kingsbury and Avery were selected for a contingent to collect and bury the dead. The battalion stayed in Beirut for a few months, until setting up a semi-permanent camp at Hill 69, outside Jerusalem.

On 30 January 1942, the 7th Division left Egypt for Australia, sailing via Bombay, as the division was needed to fight against the Japanese. Kingsbury's battalion made landfall at Adelaide and continued to Melbourne by rail. The battalion arrived on 16 March, and was given a week's leave. After this, the battalion underwent training in Glen Innes, before camping in Yandina, Queensland. On 5 August, the battalion moved north to Brisbane, boarding a ship to Port Moresby to join the fighting in New Guinea, where a force of mostly Militia personnel were engaged in a desperate defensive action.

Kokoda Track Campaign
Following the Battle of the Coral Sea, the Japanese abandoned the attempt to capture Port Moresby from the sea and, on 21 July, landed ground forces at Buna in north-east Papua. After capturing the town of Kokoda for the second time on 9 August, the Japanese began advancing along the Kokoda Track towards Port Moresby. The 2,500-strong Japanese force met the 39th and 53rd Infantry Battalions, at the town of Isurava. As the battle was beginning to develop, on 26 August, members of the 2/14th, including Kingsbury, arrived at Isurava to reinforce the exhausted 39th Battalion.

Battle of Isurava
The two combined battalions began digging in around Isurava. A headquarters had been set up at the top of the hill, which was vital to the defence of the position. While the Australians dug themselves in, the Japanese, led by Japanese Major General Tomitarō Horii, prepared to attack. On 28 August, the Japanese launched their offensive. The Australians, who had initially been outnumbered but were now roughly equal in strength, resisted in the face of heavy machine-gun fire and hand-to-hand combat. On 29 August, the Japanese broke through the right flank, pushing the Australians back with heavy fire, threatening to cut off their headquarters. The Australians began to prepare a counter-offensive, and men volunteered to join an attack party. Kingsbury, one of the few survivors of his platoon, ran down the track with the group. "You could see his Bren gun held out and his big bottom swaying as he went with the momentum he was getting up, followed by Alan Avery. They were cheerful. They were going out on a picnic almost."

- Lieutenant Colonel Phil Rhoden Using a Bren gun he had taken from wounded Corporal Lindsay Bear, Kingsbury, alongside Avery and the rest of the group, engaged the nearby Japanese. The fire was so heavy that the undergrowth was completely destroyed within five minutes. It was then that Kingsbury, firing from his hip, charged straight at the Japanese.

"He came forward with this Bren and he just mowed them down. He was an inspiration to everybody else around him. There were clumps of Japs here and there and he just mowed them down."

- Private Allen Avery

His actions demoralised the Japanese, killing several and forcing others to find cover. The rest of the Australian group, inspired by Kingsbury's actions, forced the Japanese further back into the jungle. Kingsbury was then shot and mortally wounded by a Japanese sniper. The sniper fired one shot before disappearing. Avery, who had been about 6 ft from Kingsbury, briefly chased after the sniper but returned to carry Kingsbury to the regimental aid post; Kingsbury was dead by the time he arrived there.

Legacy
Kingsbury's actions were a turning point in the battle. The Japanese had begun to gather momentum in their attack, and were threatening to overrun the 2/14th's headquarters. His attack inflicted damage to the Japanese force, temporarily halting their advance. This allowed the Australian troops to stabilise their positions, eventually regaining control and defending the battalion's headquarters. His act of bravery served as an inspiration to the troops. The battle ended in defeat for the Australians, elements of the 2/14th breaking during the afternoon of 29 August. The remainder of the battalion was able to withdraw during the night, but suffered heavy casualties and another defeat fighting the next day at positions around the Isurava Guest House.

Authors and military analysts have speculated that had Kingsbury not attacked, the Japanese might have destroyed the battalion. The Japanese had been attacking in waves, and had started to climb a steep hill to outflank the Australians, in an effort to win the battle. The Australians were low on supplies and the Japanese were on the verge of breaking through the Australian line. Had they broken through, they would have been able to isolate the battalion's headquarters from the soldiers on the flanks. This would have prevented the Australians from retreating to Alola, allowing the Japanese to overrun them.

For his actions, Kingsbury was awarded the Victoria Cross, which was gazetted on 9 February 1943. His citation read:

"War Office, 9th February, 1943.

The KING has been graciously pleased to approve the posthumous award of the VICTORIA CROSS to: —

No. VX 19139 Private. Bruce Steel Kingsbury, Australian Military Forces.

In New Guinea, the Battalion to which Private Kingsbury belonged had been holding a position in the Isurava area for two days against continuous and fierce enemy attacks. On the 29th August, 1942, the enemy attacked in such force that they succeeded in breaking through the Battalion's right flank, creating a serious threat both to the rest of the Battalion and to its Headquarters. To avoid the situation becoming more desperate, it was essential to regain immediately the lost ground on the right flank.

Private Kingsbury, who was one of the few survivors of a Platoon which had been overrun and severely cut about by the enemy, immediately volunteered to join a different platoon which had been ordered to counter-attack.

He rushed forward firing his Bren Gun from the hip through terrific machine-gun fire and succeeded in clearing a path through the enemy. Continuing to sweep the enemy positions with his fire and inflicting an extremely high number of casualties on them, Private Kingsbury was then seen to fall to the ground shot dead, by the bullet from a sniper hiding in the wood.

Private Kingsbury displayed a complete disregard for his own safety. His initiative and superb courage made possible the recapture of the position which undoubtedly saved Battalion Headquarters, as well as causing heavy casualties amongst the enemy. His coolness, determination and devotion to duty in the face of great odds was an inspiration to his comrades."

Kingsbury was the first Australian soldier to be awarded the Victoria Cross for actions in the South Pacific and also the first on Australian territory. Kingsbury's section remains the most highly decorated section in the British Empire, its members having received a Victoria Cross, one Distinguished Conduct Medal and four Military Medals by war's end; the platoon also suffered the highest proportional losses in the Kokoda Campaign. Kingsbury's platoon sergeant, Sergeant Robert Thompson, later commented that when he was recommending Kingsbury for the Victoria Cross, he was asked several times would he "please write it up a bit more with a bit more action and such" and

"On the same day or the next day there was another chap named Charlie McCarthy [sic, McCallum], who really did something, probably far more deserving but they were only going to award one VC, so Bruce got it. I'm not decrying it. He was worded up and Charlie unfortunately was worded down …"

Kingsbury's Rock, the rock next to which Kingsbury died, stands within sight of where the 2/14th Battalion's headquarters had been established, and has been incorporated as part of the Isurava Memorial. His body now rests in the Bomana Cemetery, Port Moresby, and his Victoria Cross is on display at the Australian War Memorial, Canberra. The Melbourne suburb of Kingsbury was named in his honour, as was a rest area on the Remembrance Driveway and a street in the Canberra suburb of Gowrie. Kingsbury's story was featured in the History Channel production For Valour.

title: Bruce Kingsbury


text:
Streamium

Streamium was a line of IP-enabled entertainment products by Dutch electronics multi-national Philips Consumer Electronics. Streamium products use Wi-Fi to stream multimedia content from desktop computers or Internet-based services to home entertainment devices. A Streamium device plugged into the local home network will be able to see multimedia files that are in different UPnP-enabled computers, PDAs and other networking devices that run UPnP AV MediaServer software.

Streamium products may also support internet radio, internet photo sharing and movie trailers services directly. Subscriptions to web-based services requiring subscriptions would be managed through the 'Club Philips' portal.

In all cases, using a computer with RSS receiver together with a UPnP AV MediaServer, it is possible to play back audio/video podcast. Some of the popular feeds include BBC live, Geekbrief, Reuters, Metacafe, YouTube. Although in most cases this video podcaster uses codec formats not supported by Streamium, it's still possible by using software codec transcoders on the PC to convert them to MPEG format.

Philips Media Manager, is—since SimpleCenter version 4— a free open source UPnP AV MediaServer for Windows and Macintosh that is bundled with Streamium. Version 3 of SimpleCenter, was initially developed for inclusion with the Streamium line of products. Since Streamium devices also support photos and videos, SimpleCenter ships with video and image support, under the name 'Philips Media Manager' (PMM).

History
In 2000 Philips' consumer electronics division (business unit Audio) invented the Streamium brand for a "Connected Home". A number of products were released between January 2000 and June 2003. In 2003 the "Connected Home" would be broadened to the "Connected Planet" accompanied by an attempt to steer product development and industrialization from Eindhoven and to include other business units. The "Connected Planet" was less successful, leaving a limited number of products.

Products
The FW-i1000, an audio mini-system including a CD-changer and AM/FM radio, and considered to be the precursor to the Streamium product line, first shipped in June 2001. It had been in development by Philips' audio business group in Sunnyvale (CA, USA) since May 2000. At the January 2001 Consumer Electronics Show they announced and demonstrated the first integrated audio device connecting to "over a thousand internet radio stations".

The FW-i1000 was rapidly followed by a slew of other IP-enabled devices. The marketing name "Streamium" and the slogan "Don't dream it, stream-it" was coined and globally registered by Ramon de la Fuente (now at Google) who replaced Tony Cher as a product manager in 2001.

January 2001
 * FW-i1000, with iM-networks service offered by Sonicbox, an aggregator of Internet radio service. A limited number of UPnP compliant prototypes were also made for use in the testing of the UPnP AV specifications.

January 2002
 * The MCi200, with Philips back-end, several internet based services (and my.philips.com user interface extension protected by a number of patents)
 * The iPronto, with WiFi/UPnP, links to security camera and offering a web-based electronic program guide a.k.a. EPG.

January 2003
 * The MCi250, an upgrade to the MCi200 with WiFi and UPnP-compliant

Announced at the same event: Both the Streamium-TV and MX6000i were capable of offering video content hosted by a web-based service, the precursor of net TV.
 * The SL300i and SL400i wireless multi-media adapters
 * The MX6000i, with WiFi/UPnP, video, pictures and photo service, music services, 5 DVD changer
 * The Streamium-TV, a 32" LCD TV offering similar web-based services as the MX6000i

August 2004
 * The SL50i wireless PC audio receiver.

September 2004
 * The SLA5500 wireless multi-media adapter, to connect to both a PC and an audio system.

September 2005
 * The SLA5520 wireless music receiver, the successor of the SLA5500 with access to free Internet radio stations.

June 2006
 * WAK700 wireless multiroom music system, with a 40GB hard disk drive to store up to 750 CDs and 3 different ways to listen to music (Listen to different song in each room, take the music from room to room, Simultaneous playback on all stations)
 * The WAK3300 wireless music station, with 3 ways to listen to music and 3 different alarm modes.

January 2007
 * The WACS7000 wireless multiroom music system, the successor of the WACS700, with a 80GB hard disk drive to store up to 1500 CDs.

June 2007
 * The SLM5500 and SLM5520 wireless multimedia adapters, to stream music from PC as the other Streamium devices but also to view pictures and movies stored on your computer on your TV.

January 2008
 * The WACS7500 multiroom music system, the successor of the WACS7500 with color display and access to free Internet radio stations.

April 2008
 * The WAS6050 wireless music station, with 4 built-in speakers, and access to free Internet Radio stations.

June 2008
 * The NP1100 network music player, to connect to both a PC and an audio system, with wireless access to Internet radio and online music services such as Rhapsody (online music service) or Napster.

August 2008
 * The MCI300 wireless micro hifi system
 * The MCI500H wireless micro hifi system, with a 160GB hard disk drive to store up to 2000 CDs.

November 2008 January 2013
 * The NP2500 network music player, following the same principles as the NP1100 but with color display, the FullSound technology to restore the details in compressed music, and picture streaming
 * The NP2900 network music player, with 4 built-in speakers (no need to connect to an audio system), the LivingSound technology to enjoy immersive music over a wider area and picture streaming.

as of January 2013 Philips have abandoned the streamium line without explanation.

It seems that the Fidelio line is to fill the gap streamium left.

Architecture
Whereas the FW-i1000 used the iM-networks service (then known as "SonicBox"), the end-to-end "Streamium" system designed by Daniel Meirsman, included a Philips owned back-end service (the "ECD-interface").

This back-end service allowed Streamium devices to connect to "any number" of web based content delivery services. The back-end would thereby function as a "switch-board" connecting the content delivery services with individual boxes. Moreover, the back-end service would allow Philips to build out an "after-sales" relationship with their customers through the web-based [UI]-extension and would stimulate some early form of web-based social networking with the streamium cafe web site that was set up by Mark Tuttle.

A navigation tree would be served to the Streamium-device from the Philips back-end, whereas the content itself would be directly streamed from the service to the Streamium-box subject to the site's policy (subject to the compulsory licences...). By manipulating the navigation tree from the front panel of the Streamium-device users could select desired the service, genre, artist, album, track...

From the start, Streamium-devices contained provisions (i.e. an IEEE EUI-64 containing an OUI and a MAC-address, encryption keys, product and software version codes) used to protect streams and support identification mechanisms, as well as allowing downloading of software upgrades (for bug-fixes as well as enabling new features).

In most cases. Streamium functionality was provided by a module (a [PCB]) based on an NXP TriMedia PNX1300. This module implemented:

1. Connectivity to the home network as well as to the Internet (network stack, SAX as opposed to DOM XML-parser, UPnP-stack)

2. Decoding of compressed (audio, image, video) content

A user interface extension was available on the Streamium web-site (my.philips.com) that would allow users to manage their preferences, services and devices.

On the frontpanel or through the on-screen display (OSD) of the Streamium devices, users could mark their favorites or indicate they wanted to learn more about the song being played. The service would then send either an e-mail with more details, or post this info on my.philips.com with a click-through link (i.e. to Amazon.com for purchasing).

Technology Concepts
Under the direction of the Streamium team, Philips CE contributed significantly to both UPnP and Digital Living Network Alliance (DLNA) and other industry efforts.

The Streamiums were extensively used to build advanced concepts, even at other divisions of Philips such as Philips Semiconductors (now NXP Semiconductors), Philips Research and Philips Medical.

Philips Semiconductors would pick up on the vision of Philips Consumer Electronics and task the "advanced system lab" to prototype this vision (first demos end 2004).

Concepts (such as those used in the Connected Home demos) would then be shown by the Streamium team in the "Philips-CE World Tour", an invitation only event at the yearly Consumer Electronics Show in Las Vegas to a selected audience.

 * Demonstration of a portable HDD-based and Wi-Fi enabled UPnP renderer (January 2002) for studies of portable entertainment.
 * Demonstration of a fully-fledged UPnP enabled network (January 2003) with multiple renderers, servers and control points
 * Bridging between UPnP and Zigbee was demonstrated to control lighting from a UPnP control point as well as a GPRS link that bridged to the UPnP network through a web server (January 2003), linking digital entertainment to home automation and "ambiance control".
 * Use cases illustrating the use of RFID in interactive marketing, identification and personalisation (January 2003).
 * Tests with the Rhapsody as a UPnP AV-server streaming to an MCi200 (a bit what Sonos is currently offering) (2003).
 * Running tests of Apple's Rendezvous protocol on the MCi200 (2003).
 * The first demonstration of the NFC smart poster concept with Visa (January 2004).
 * Use cases illustrating interoperable DRM (Streamium was one of the devices used to demonstrate the principles underlying the activities of the Coral consortium (January 2004).
 * Use cases illustrating the use of recommender technology (January 2004)
 * Demonstration (~43 use cases) of a fully connected home including stationary as well as portable devices and mobile phones and executed at the "CES2005 World Tour" by a team of professional actors. (January 2005)
 * Use cases in the area of fitness and well-being (January 2005)
 * Use cases illustrating uses for UPnP printing (January 2005).
 * Experiments with Java-based arcade games

Services
iM-networks was offered on the FW-i1000 from the start.

The Philips Streamium MX6000i provided traditional home entertainment alongside access to audio-video content from a PC, UPnP mediaserver or online entertainment service. Services included music videos, Web movies, and cinema trailers.

The Philips Streamium service partners were:

 * Yahoo LAUNCHcast
 * Yahoo! Movies - trailers only
 * MP3.com
 * Musicmatch Musicmatch Jukebox, Radio MX
 * live365.com
 * Radio Free Virgin
 * Playhouse Radio
 * Andante
 * Bluebeat
 * iFilm - previews and short movies
 * Launch - music videos

There was no need to first download files to PC, or even to turn the PC on, to stream multimedia Internet content. (A broadband Internet connection is required.)

A wide array of Yahoo! services including on-demand music videos, movie trailers and clips and photo services was launched together with the Streamium range extension in Spring 2004.

Out of the box consumers would have access to free services. Additionally, a number of services would offer premium (subscription-based) online services allowing consumers to broaden and personalize their home entertainment experience.

Results
In his press conference during the CES2001, Guy Demuynck, then CEO of Philips CE, expressed his vision that the Internet would become as ubiquitous and accessible as the electric grid to devices other than the PC, and that people would increasingly rely on the Internet for information and entertainment. "The Internet has transformed the way we do business," Demuynck stated, referring not only to communications and promotions but to product design as well. "We intend to put Internet capabilities into many products, making Internet content as accessible as pressing a single button on a TV remote. The Internet dominates all our thinking—it will expand from a browsing activity to an always-on, integral part of daily life," he said.

Innovations
The early Internet audio and Streamium devices had both constant broadband Internet connectivity and a back-end service provided by Philips to aggregate services for its users. In addition, a UI extension was offered (my.philips) that allowed consumers to manage their devices, external service subscriptions, favorites, as well as to add their own streams. The PC-based UI extension was part of the lean-forward/lean-backward approach to this potentially complicated product range: In essence, the Philips service offering was a walled garden; but the fact that consumers could add and access their own favorite streams made it more of an open system. Although never published, Streamium relied on an XML-based API—not unlike the APIs we see today published by Web-service providers (YouTube, eBay,...) -- and implemented XML-based APIs as offered by its service providers.
 * Lean backward functionality was accessible on the device directly
 * Lean forward functionality was relegated to the PC

Commercial impact
Unfortunately the first Streamium generations lacked support for a number of important media formats such as those included in the Windows Media technologies which hampered their commercial success. Philips' legal team had issues with the non-assertion clause that Microsoft required potential licensees to sign without prior opportunity to check the IP involved. Since Philips did and still does own a substantial patent-portfolio, product management was not allowed to risk signing away rights on a substantial number of important patents.

Consumer testing
To some extent consumers were involved in some of the design of the Streamiums. Of course, the classical focus test groups were used to find out what features consumers would deem important. But also after the official announcement, a limited number of pre-production versions of the Streamiums would be made available to a limited number of volunteer beta-testers that could sign up via a Philips web-site.

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

title: Streamium


text:
0-10-2

Under the Whyte notation for the classification of steam locomotives, 0-10-2 represents the wheel arrangement of no leading wheels, ten powered and coupled driving wheels on five axles, and two trailing wheels on one axle (usually in a trailing truck).

Other equivalent classifications are:

UIC classification: E1 (also known as German classification and Italian classification)

French classification: 051

Turkish classification: 56

Swiss classification: 5/6

United States
In the US, this type is known as the Union after the only US railroad to have new locomotives built in this arrangement. These were ten 0-10-2s built for the Union Railroad in the Pittsburgh, Pennsylvania area. They were used as heavy duty transfer locomotives rather than switchers. In Greenville, Pennsylvania, one is on static display lettered for the Duluth Missabe and Iron Range Railway #604 (Upon dieselization, the Union RR sold all of theirs to the DM&IR).

The Chicago & North Western Railway converted two 2-10-2 locomotives formerly owned by subsidiary Chicago, St. Paul, Minneapolis & Omaha into 0-10-2 locomotives in 1944. They were classified J-1 both before and after conversion. One was scrapped in 1950 and the other in 1953.

Europe
In Germany, a number of narrow gauge tank locomotives were built with an 0-10-2 configuration. All used some form of articulated drive that allowed the outer driving axles to move sideways or radially to negotiate curves. An example was a group of locomotives built for the narrow gauge lines of Bosnia that utilised the Klose System for an articulated drive.

title: 0-10-2


text:
National Salvation Committee

The National Salvation Committee (Форум національного порятунку, Russian: Форум национального спасения) was a loose organization in opposition against Ukrainian President Leonid Kuchma led by Yulia Tymoshenko from February 9, 2001; after her dismissal as Deputy Prime Minister for fuel and energy sector in the cabinet of Viktor Yushchenko in January 2001 and during the Ukraine without Kuchma-protests. In November 2001 it merged into the Yulia Tymoshenko Bloc.

title: National Salvation Committee


text:
Home entertainment

Home entertainment refers to media, equipment, and methods used for delivery and enjoyment of various forms of entertainment in the home, and may refer to:

 * Home audio
 * Home cinema
 * Home video
 * Magnetic tape
 * Phonograph record
 * Streaming media
 * Video game
 * Television
 * Film

title: Home entertainment


text: User talk:82.152.54.32

title: User talk:82.152.54.32


text:
Talk:Hœnir

Four spellings
There appear to be at least four spellings of this god's name: Honir, Hönir, Hœnir, and Höner. We ought to pick one and be consistent with it. I'd make the change, but I don't know which is the most accurate (or most representative of the pronunciation, etc.) Jonathan Grynspan 07:18, 30 Nov 2004 (UTC)

 * Hœnir is the standardized spelling. Let's go that. - Haukur Þorgeirsson 22:50, 17 October 2005 (UTC)

African?
Wherefrom comes the notion that Hoenir was an African deity? --Sparviere (talk) 18:19, 28 February 2009 (UTC)

 * ...or that Hönir himself was descended from Africa? I can't find any such information anywhere. Skrofler (talk) 14:16, 6 March 2009 (UTC)

 * Personally I think it would be a very interesting story if Hönir, or any other Norse god, had connection to Africa. Unfortunately, I think this claim is not only wrong, but quite absurd. I have not been able to find any source that can verify it, and I propose a revision here unless the author can bring forth something to substantiate this claim.
 * --Sparviere (talk) 03:42, 9 March 2009 (UTC)

 * From a quick investigation it turns out that the person who wrote this has been reprimanded for vandalism several times. I say is enough reason to go about and edit the article.
 * --Sparviere (talk) 03:49, 9 March 2009 (UTC)

 * Yeah, that's outright vandalism. I didn't notice it before. I've removed it. bloodofox: (talk) 10:07, 9 March 2009 (UTC)

title: Talk:Hœnir


text:
Te Papa

The Museum of New Zealand Te Papa Tongarewa is New Zealand's national museum and is located in Wellington. Usually known as Te Papa (Māori for 'the treasure box'), it opened in 1998 after the merging of the National Museum of New Zealand and the National Art Gallery. An average of more than 1.5 million people visit every year, making it the 26th-most-visited art gallery in the world. Te Papa operates under a bicultural philosophy, and emphasises the living stories behind its cultural treasures.

Colonial Museum
The first predecessor to Te Papa was the Colonial Museum, founded in 1865, with Sir James Hector as founding director. The museum was built on Museum Street, roughly in the location of the present day Defence House Office Building. The museum prioritised scientific collections but also acquired a range of other items, often by donation, including prints and paintings, ethnographic curiosities, and items of antiquity. In 1907, the Colonial Museum was renamed the Dominion Museum and took on a broader focus. The idea of developing a public art gallery in Wellington was gathering support, and the Science and Art Act of 1913 paved the way for a national art gallery in the same building.

Co-location with National Art Gallery
Following the passing of the National Art Gallery and Dominion Museum Act in 1930, the two institutions shared a single board of trustees. In 1934, the National Art Gallery moved into the Dominion Museum building and incorporated the New Zealand Academy of Fine Arts, which sold its land and donated the proceeds to the new organisation together with an initial collection. The early holding consisted largely of donations and bequests, including those from Harold Beauchamp, T. Lindsay Buick, Archdeacon Smythe, N. Chevalier, J. C. Richmond, William Swainson, Bishop Monrad, John Ilott and Rex Nan Kivell. In 1936, a new building to house both the collections opened in Buckle Street as a part of the newly built National War Memorial. In 1985 a temporary exhibition space venue was added to the National Art Gallery. Shed 11 the Temporary/Contemporary was situated on the Wellington waterfront in a converted industrial warehouse built in 1905 and exhibited contemporary art, both local and international, until 1992.

Eru D. Gore was secretary-manager from 1936 until his death in 1948 when Stewart Maclennan was appointed the first director. This was the first appointment in New Zealand of a full-time art gallery director. Other past directors of the gallery include:
 * Stewart Maclennan (1948–68)
 * Melvin Day (1968–78)
 * Luit Bieringa (1979–89)
 * Jenny Harper (1990–92)

Te Papa
Te Papa was established in 1992 by the Museum of New Zealand Te Papa Tongarewa Act 1992. Part of the remit for Te Papa was to explore the national identity of New Zealand. Te Papa Tongarewa translates literally to 'container of treasures' or in full 'container of treasured things and people that spring from mother Earth here in New Zealand'. The official opening took place on 14 February 1998, in a ceremony led by Prime Minister Jenny Shipley, Sir Peter Blake, and two children. Māori traditional instrumentalist Richard Nunns co-led the musicians at a dawn ceremony on opening day. The museum had one million visitors in the first five months of operation, and between 1 and 1.3 million visits have been made in each subsequent year. In 2004, more space was devoted to exhibiting works from the New Zealand art collection in a long-term exhibition called Toi Te Papa: Art of the Nation. Filmmakers Gaylene Preston and Anna Cottrell documented the development of Te Papa in their film Getting to Our Place.

Current building
The main Te Papa building is built on former Wellington Harbour Board land, on the waterfront in Wellington, on Cable Street. The site was previously occupied by a modern five-storey hotel. This was jacked off its foundations onto numerous rail bogies and transported 200 m down and across the road to a new site, where it is now the Museum Hotel.

Te Papa was designed by Jasmax Architects and built by Fletcher Construction. The 36,000 m2 building had cost NZ$300 million by its opening in 1998. Earthquake strengthening of the Cable Street building was achieved through the New Zealand-developed technology of base isolation. The building contains six floors of exhibitions, cafés and gift shops dedicated to New Zealand's culture, history and environment. The museum also incorporates outdoor areas with artificial caves, native bushes and wetlands. A second building on Tory Street is a scientific research facility and storage area, and is not open to the public.

The design process of the building followed bicultural principles based on the Treaty of Waitangi. This process was led by Cliff Whiting working alongside Cheryll Sotheran and Ken Gorbey.

Governance and leadership
The museum is run by a board appointed by the Minister for Arts, Culture and Heritage. Board members have included: Wira Gardiner, Fiona Campbell, Sue Piper, Judith Tizard, John Judge, Miria Pomare, Michael Bassett, Christopher Parkin, Sandra Lee, Ngātata Love, Ron Trotter, Glenys Coughlan, Judith Binney, Philip Carter, Wendy Lai and Api Mahuika.

Directors of the museum include:
 * James Hector (1865–1903)
 * Augustus Hamilton (1903–1913)
 * James Allan Thomson (1914–1928)
 * Walter Oliver (1928–1947)
 * Robert Falla (1947–1966)

CEOs of Te Papa include:

 * Cheryll Sotheran (1992–2002)
 * Cliff Whiting (1995–1999) – joint CEO or Kaihautū
 * Seddon Bennington (2003 – July 2009)
 * Michael Houlihan (Aug 2010 – May 2014)
 * Rick Ellis (Nov 2014 – May 2017)
 * Geraint Martin (May 2017 – 2019)
 * Courtney Johnston (2019–present) and Arapata Hakiwai (Kaihautū, Māori co-leader) (2014–present).

Collections
The History Collection includes many dresses and textiles, the oldest of which date back to the sixteenth century. The History Collection also includes the New Zealand Post Archive with around 20,000 stamps and related objects, and the Pacific Collection with about 13,000 historic and contemporary items from the Pacific Islands.

There are significant collections of fossils and archaeozoology; a herbarium of about 250,000 dried specimens (Index Herbariorum code WELT ); a collection of about 70,000 specimen of New Zealand birds; significant amphibians, reptiles and mammals.

The museum has the world's largest specimen of the rare colossal squid (Mesonychoteuthis hamiltoni). It weighs 495 kg and is 4.2 m long. The squid arrived at the museum in March 2007 after being captured by New Zealand fishers in the Ross Sea off Antarctica. The cultural collections include collections on photography, Māori taonga (cultural treasures), and Pacific cultures.

The Museum of New Zealand is also home to the Elgar Collection, a valuable collection of English and French furniture and paintings, the oldest of which date back to the seventeenth century. In 1946 the Dominion Museum received a bequest of some of Fernside Homestead's finest antiques from Ella Elgar's will. Until 1992 these antiques were displayed in period rooms at the Dominion Museum, and objects from the Elgar Collection are currently exhibited throughout Te Papa.

Archives
The archives are located in a separate building on 169 Tory Street and are open for researchers by appointment. There are two categories of archive collections: the Museum Archive and the Collected Archives.

The Museum Archive goes back to the founding of the Colonial Museum in 1865 and comprises the archives of James Hector. The archives of the National Art Gallery of New Zealand are also part of these archives. The Collected Archives fall into two groups:
 * 1) Art-related records and other archival papers in specialist areas; for instance the archives of Toss Woollaston, Lois White and Leonard Mitchell
 * 2) A wide variety of archival material, that includes the diary of Felton Mathew, Surveyor General at the time of the signing of the Treaty of Waitangi, and battle plans and correspondences related to World War I; for instance the Gallipoli diary of Captain E.P. Cox.

Exhibitions
Te Papa's exhibits range from long-term exhibitions on New Zealand's natural environment and social history, to cultural spaces and touring/temporary exhibitions. Most are hands-on and interactive. The long term exhibitions of cultural objects focus on New Zealand history, Māori culture and New Zealand's natural world. The hands-on and interactive exhibitions focus on engaging young visitors and include out-door areas built and planted for Te Papa. The key cultural space is the Rongomaraeroa marae with unusual whakairo in its wharenui, Te Hono ki Hawaiki.

All permanent exhibitions are free for all visitors. Many of the temporary exhibitions are ticketed, but may have occasional free days.

In 2018, the Mountains to Sea and Awesome Forces exhibits were closed, with Te Taiao Nature taking their place. This new exhibit opened on 11 May 2019, with a 1,400 square-metre exhibition focusing on New Zealand's natural environment. The exhibition retains several features of the old exhibits, such as an earthquake house simulation and a 495 kilogram (1,091 lb) Colossal squid.

In 2022, the Manu Rere Moana exhibition was renewed to reflect the developments in traditional navigation since its initial installation.

A full list of exhibitions can be found here.

Library
Te Aka Matua Library, previously a publicly accessible library, is now open only to researchers by appointment between 10am-5pm, Monday-Friday. The library is a major research and reference resource, with particular strengths in New Zealand, Māori, natural history, art, photography and museum studies. It is located on the fourth floor of the main building.

Mahuki Innovation Accelerator
Mahuki was Te Papa's innovation accelerator. It was an in-residence programme in which 10 teams developed solutions to challenges facing cultural institutions.

Controversies
The museum has sometimes been the centre of controversy. The siting of significant collections at the water's edge on reclaimed land next to one of the world's most active faults has resulted in concern by some people. There has been criticism of the "sideshow" nature of some exhibits, primarily the Time Warp section, which has closed. There has also been criticism that some exhibits were not given due reverence. For example, a major work by Colin McCahon was at one stage juxtaposed with a 1950s refrigerator in a New Zealand culture exhibition.

The Māori name of the museum has caused controversy. In 1989 the Māori iwi Te Āti Awa, located near Wellington, requested that the Ngāti Whakaue iwi grant a name to the museum, which resulted in the Ngāti Whakaue bestowing the name Kuru Tongarerewa, an ancient ceremonial name important to the iwi evoking spiritual, historical, and cultural importance. However, the name eventually adopted by the museum caused offense by being a modification in the form of Te Papa Tongarewa. Meetings between the museum's board and the Ngāti Whakaue led to promises that the name would be changed to Te Papa Kuru Tongererewa, but the change did not occur.

New Zealand art commentator Hamish Keith, a member of the board that set up the Museum of New Zealand and a member of its interim board,  has been a consistent critic of Te Papa at different times referring to it as a "theme park", the "cultural equivalent to a fast-food outlet" and "not even a de facto national gallery", but seemed to moderate his opinion later when making a case for exhibition space on the Auckland waterfront.

Staff restructuring at Te Papa since 2012 has generated significant controversy. In October 2018, Te Papa management promised to review restructuring plans, indicating that plans would be scaled back. In February 2019, the Collection Manager of Fishes Andrew Stewart and the Collection Manager of Molluscs Bruce Marshall were made redundant. Numerous museum experts and scientists in New Zealand and worldwide criticised the move, with researchers including Steve O'Shea advocating a boycott. In March 2019, the redundancies were delayed. In April 2019, the museum reversed the decision for Andrew Stewart, offering him an alternative job. Between April and May 2019, Te Papa advertised a research position for a molluscan curator and awarded the job to an alternative candidate to Bruce Marshall. The advertisement and decision to not offer the job to Bruce Marshall was criticised harshly by outside experts, prompting moa expert Trevor Worthy to end his 30-year research association with the museum in protest.

Virgin Mary artwork controversy
British artist Tania Kovats' exhibition, Pictura Britannica, particularly the piece Virgin in a Condom, infuriated many in the Christian community and sparked protests and counter protests a month after Te Papa opened its doors in 1998. A nationwide petition was circulated calling for the work's removal. Protesters congregated on the forecourt outside, increasing in number after The Christian Action group took out a full-page advertisement in The Dominion newspaper inviting people to join their protest. They threatened to take Te Papa to court on the grounds of "blasphemous libel", a 1961 Crimes Act offence against "religion, morality and public welfare". Te Papa staff also became the target of abusive and threatening phone calls and letters. The exhibit was guarded after being physically attacked, and following that, a guard working at the site was assaulted.

Te Papa responded by refusing to remove the offending artwork. The museum welcomed protestors back, stating that the museum's aim was not to offend, but to stimulate debate as a forum. However, they stipulated that debate would not concern the removal of the artwork, but only its meanings and interpretation, claiming that, "the people of New Zealand would want the museum to take a strong position on this, not to succumb to intimidation as some other museums have". The move sought to align Te Papa with other art museums that have taken the side of artistic freedom in spite of well publicised protest (the statuette was banned in Adelaide, stolen in Sydney, and dropped from its British tour).

The leader of the Christian Heritage Party claimed that the sacrilegious display of the statuette was hypocritical, given that the museum is careful not to offend sensitivities about Māori spirituality. Strangely at no time did any of the protesters complain about the many images of Kovaks' Virgin in a Condom that were published in papers up and down the country. With the help of TV3 Te Papa organised a panel discussion including protesters to try and defuse the situation. Curator Ian Wedde also undertook to consider a more cautious approach with contemporary art exhibitions, ‘In future, we may have to say there's a risk management factor to consider.'

Behind the scenes tour advice for women
Advice for pregnant and menstruating women to avoid a behind-the-scenes tour of some of Te Papa's collections in 2010 had some questioning if this was appropriate inclusiveness for a national museum. A Te Papa spokeswoman at the time said the policy was in place because of Māori beliefs surrounding the taonga collection included in the tour "for their own safety". This generated outrage, with claims that Te Papa was overbearing in terms of political correctness.

William Strutt painting dispute
Taranaki tribal elders raised objections to a 19th-century Te Papa-owned painting that the museum planned to lend to the Govett-Brewster Art Gallery in New Plymouth in 2019. Te Papa said it hoped the piece, View of Mt Egmont, Taranaki, New Zealand, taken from New Plymouth, with Maoris driving off settlers' cattle, painted by William Strutt, would spark a conversation about historical perspectives.

Te Taiao water quality falsification
In 2019, the museum faced criticism from farmers, and National Party MP Todd Muller over a container of brown dyed water which was part of a display in the museum's Te Taiao Nature exhibition. This water was labelled as "water from a typical farm stream" with an image of a cow defecating in a waterway, and was classed as undrinkable. Te Papa spokeswoman Kate Camp also told Stuff that the bottles had been created for display purposes only and were not samples. Camp stated that, "this display is about telling the story of New Zealand waterways. It's based on robust research that shows that many waterways in New Zealand—in urban and rural areas—aren't fit to drink or to swim in".

Exposure of adult content to children
In 2020, several children were exposed to mature content without sufficient warning messages. Te Papa head of art Charlotte Davy said the museum would be making warning signs more obvious and installing new ones.

Te Tiriti o Waitangi exhibition protest
On 11 December 2023, a wooden display panel showing an English version of the Treaty of Waitangi at the museum's Signs of a Nation Te Tiriti o Waitangi exhibition was damaged and partially blacked out with spray paint and an angle grinder by protesters from a group calling itself Te Waka Hourua. The group had demanded the panel's removal from display for allegedly misleading visitors into thinking that it was a translation of the document. Twelve people were arrested. Museum officials said that they acknowledged the group's message and said that they were renewing the display, adding that the damaged panel would remain on display in its current form over the 2023–2024 summer.

title: Te Papa


text:
User talk:Luisgoncalves

Not sure exactly what the purpose of a 'my talk' page is.

However, let me say that I registered on the wikipedia because I think it is an interesting concept, and I hope to be able to contribute.

I am particularly fascinated becasue I believe that there is even a lot more that can be done to disseminate information clearly, and optimally.

What I would really like is some sort of community forum, where someone poses a question, and the community answers it.

I would like this to be done in a manner much more useful than the usual posting thread.

Instead, I envision a single document, similar in some ways to a wikipedia entry. One main difference, I think, would be the way the information is organized.

On most websites, including the wikipedia, hierarchy is not visible. You can create links, and thus navigate from one topic to another, but you can't see 'the big picture', as it were.

One alternative, with which I have been experiment, but which I still don't know how to implement easily for a browser (i.e., as html???) is the concept of a collapsible hierarchy. Emacs and Vim both allow a file to be view with so-called "folding", where entire paragraphs or sections of the text can be "folded" out of view, or opened up for viewing.

The folding mechanism has several advantages:

- an entire topic can be described in one page

- the high level concepts can be easily seen at a glance when everything else is folded away

- it's easy to find specific infomation on any particular part of the topic by opening up the folds

- a sense of scope is provided by seeing the hierarchy

- writing on a topic in a hierarchical fashion encourages logical thought, and clearly written documents

- writing on a topic in a hierarchical fashion delivers information in an optimal fashion, where one can easily read to whatever depth of interest one desires without having to wade through pages and pages

I wonder if such a concept of a folding hierarchy can be incorporated into wiki?

--Luisgoncalves 07:26, 30 Nov 2004 (UTC)

title: User talk:Luisgoncalves


text:
USCGS

USCGS may refer to:
 * An abbreviation for the United States Coast and Geodetic Survey, a former scientific agency of the United States Government
 * US CGS, the United Nations Code for Trade and Transport Locations (UN/LOCODE) for College Park, Maryland, in the United States

title: USCGS


text:
Wikipedia:Articles for deletion/Scartho Top

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

Scartho Top
Lost/widowed VfD nominated by User:Francs2000 on Feb 19. Subject does not appear notable (328 google hits including Wikipedia/mirrors), article is a substub, and it apparently isn't well-tended—judging by the 9 month old delete notice. Cool Hand Luke  07:28, 30 Nov 2004 (UTC)
 * Delete - not notable. --Gene s 09:38, 30 Nov 2004 (UTC)
 * Delete. Not notable.  --Randy 12:09, 30 Nov 2004 (UTC)
 * Delete: Part of our housing estates of Grimsby editor's spree back then. Geogre 16:07, 30 Nov 2004 (UTC)
 * Delete - I forgot I'd nominated that. -- Graham ☺ | Talk 23:37, 30 Nov 2004 (UTC)

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


text:
Lucky Dube

Lucky Philip Dube (pronounced duu-beh; 3 August 1964 – 18 October 2007) was a South African reggae musician and Rastafarian. His record sales across the world earned him the Best Selling African Musician prize at the 1996 World Music Awards. In his lyrics, Dube discussed issues affecting South Africans and Africans in general to a global audience. He recorded 22 albums in a 25-year period and was Africa's best-selling reggae artist of all time. Dube was murdered in the Johannesburg suburb of Rosettenville on the evening of 18 October 2007.

Early life
Lucky Dube was born in Ermelo, Transvaal (now Mpumalanga), on 3 August 1964. His parents separated before his birth, and he was raised by his mother, who named him "Lucky" because she considered his birth fortunate after a number of failed pregnancies. Along with his two siblings, Thandi and Mandla, Dube spent much of his childhood with his grandmother, Sarah, while his mother relocated to work. In a 1999 interview, he described his grandmother as "his greatest love", who "multiplied many things to bring up this responsible individual that I am today".

Musical beginnings
Dube worked as a gardener in his younger years but later decided to go to school in order to improve his economic prospects. There, he joined a choir and with some friends, formed his first musical ensemble, the Skyway Band. While at school, he discovered the Rastafari movement. At the age of eighteen, Dube joined his cousin's band, the Love Brothers, playing Zulu pop music known as mbaqanga. The band signed with Teal Record Company and recorded the album Lucky Dube and the Supersoul, and Dube began to learn English. In 1986, together with his cousin Richard Siluma, Dube released the Afrikaans album Die Kaapse Dans, followed by the EP Help My Krap, the same year, under the name Oom Hansie.

Reggae
On the release of his fifth album, Dave Segal (who became Dube's sound engineer) encouraged him to drop the "Supersoul" element of the name. All subsequent albums were recorded as Lucky Dube. Around this time, the singer noticed that fans were responding positively to some reggae songs he played during concerts. Drawing inspiration from Jimmy Cliff and Peter Tosh, he felt the socio-political messages associated with Jamaican reggae were relevant to a South African audience in an institutionally racist society.

He decided to try the new musical genre, and in 1984, released the mini album Rastas Never Die. The record sold poorly—around 4,000 units—in comparison to the 30,000 units his mbaqanga records would sell. Keen to suppress anti-apartheid activism, the regime banned the album in 1985, because of its critical lyrics, such as in the song "War and Crime". Dube was not discouraged, however, and continued to perform the reggae tracks live and wrote and produced a second reggae album, Think About the Children, in 1985. It achieved Platinum sales status and established Dube as a popular reggae artist in South Africa, in addition to attracting attention outside his homeland.

Commercial and critical success
Dube continued to release commercially successful albums. In 1989, he won four OKTV Awards for Prisoner, one for Captured Live the following year, and another two for House of Exile, the year after. His 1993 album, Victims, sold over one million copies worldwide. In 1995, he earned a worldwide recording contract with Motown. His 1995 album, Trinity, was the first release on Tabu Records after Motown's acquisition of the label.

In 1996, he released the compilation album Serious Reggae Business, which led to him being named the "Best Selling African Recording Artist" at the World Music Awards and the "International Artist of the Year" at the Ghana Music Awards. His next three records each won South African Music Awards. His 2006 album, Respect, earned a European release through a deal with Warner Music. Dube toured internationally, sharing stages with artists such as Sinéad O'Connor, Peter Gabriel, and Sting. He appeared at the 1991 Reggae Sunsplash (uniquely that year, he was invited back onstage for a 25-minute-long encore) and the 2005 Live 8 event in Johannesburg.

In addition to performing music, Dube was a sometime actor, appearing in the feature films Voice in the Dark, Getting Lucky, and Lucky Strikes Back.

Dube took reggae music and used it as a platform to promote racial equality within South Africa during apartheid. He used the musical genre to frame his arguments about colonialism and the African slave trade, and how he felt that Africa should be reclaimed by the black race.

Death
On 18 October 2007, Lucky Dube was killed by armed robbers in Rosettenville, a Johannesburg suburb, shortly after dropping two of his seven children off at their uncle's house. Dube was driving his Chrysler 300C, which the assailants were after. Police reports suggest he was shot dead by carjackers who did not recognise him and believed that he was Nigerian. Five men were arrested in connection with the murder; three were tried and found guilty on 31 March 2009. Two of the men attempted to escape and were caught. Dube's convicted killers were sentenced to life in prison.

Legacy
On 21 October 2008, Rykodisc released a compilation album entitled Retrospective, which featured many of Dube's most influential songs as well as tracks previously not released in the United States. The album celebrated Dube's music and honored the contributions he made to South Africa. The Roots Reggae Library has taken steps to store digital versions of the artist's mbaqanga albums made in the 1980s. Five of the six albums have been retrieved; Ngikwethembe Na has yet to be found. As one of the first artists to bring African reggae to the mainstream, Dube bridged cultural gaps within the African diaspora. What his music did was "[present] a praxis of cross-culturality and visionary possibility". Dube gave Africa a voice and put its culture on the global stage by joining the global reggae community. Through taking Jamaican music back to its roots, he recontextualized the oppression and political struggles that reggae seeps itself in, bringing the basis of the diaspora back in conversation with the diaspora at large to allow for a more pan-African form of cultural expression. Dube's roots reggae brought African people to the table in terms of conversation about the black diaspora by mimicking Caribbean artists' assertions of African authenticity.

On 22 September 2017, Gallo Records South Africa released a 25-track limited-edition commemorative album titled The Times We've Shared. The album features Dube's biggest hits, exclusive performances, and three previously unreleased tracks.

In Australia, Dube's music has found resonance in remote Aboriginal communities, and his popularity has led him to be called "Bigger than the Beatles" throughout much of central and northern Australia.

Mbaqanga

 * Lengane Ngeyethu (1981)
 * Kudala Ngikuncenga (1982)
 * Kukuwe (1983)
 * Abathakathi (1984)
 * Ngikwethembe Na? (1985)
 * Umadakeni (1987)

with Oom Hansie

 * Die Kaapse Dans (1986)
 * Help My Krap (EP, 1986)

Reggae

 * Rastas Never Die (EP, 1984)
 * Remember Me (1994)
 * Think About the Children (1985)
 * Slave (1987)
 * Together as One (1988)
 * Prisoner (1989)
 * Captured Live (1990)
 * House of Exile (1991)
 * Victims (1993)
 * Trinity (1995)
 * Taxman (1997)
 * The Way It Is (1999)
 * Soul Taker (2001)
 * The Other Side (2003)
 * Respect (2006)

Compilations

 * Serious Reggae Business (1996)
 * Live in Jamaica (2000)
 * The Rough Guide to Lucky Dube (2001)
 * Lucky Dube Live in Uganda (2003)
 * Retrospective (2008)
 * The Ultimate Lucky Dube (2011)
 * The Times We've Shared (2017)

Filmography

 * Getting Lucky (1985)
 * Lucky Strikes Back (1987)
 * Voice in the Dark (1990)

title: Lucky Dube


text: Category:Rocksteady musicians

title: Category:Rocksteady musicians


text:
Lillie Hitchcock Coit

Elizabeth Hitchcock Coit (August 23, 1843 – July 22, 1929) was a patron of San Francisco's volunteer firefighters and the benefactor for the construction of the Coit Tower in San Francisco, California.

Life
Born in West Point, New York, in 1843, she moved to California from West Point with her parents—Charles, an Army doctor, and Martha Hitchcock.

"Firebelle Lil" Coit was considered eccentric, smoking cigars and wearing trousers long before it was socially acceptable for women to do so. She was an avid gambler and often dressed like a man in order to gamble in the male-only establishments that dotted North Beach.

Her father was successful and when he died he left a substantial inheritance. As a young woman, she traveled to Europe with her mother. After her return, she married Howard Coit, the "caller" of the San Francisco Stock Exchange during an economic boom. They separated in 1880, and he died in 1885 at age 47.

In 1903, Alexander Garrett, a distant cousin of Mrs. Coit, arrived at her Palace Hotel apartment armed with a gun to settle a business dispute. A friend of Mrs. Coit's, Major McClung, who was present in order to deliver a message to her was shot and killed while reportedly protecting Coit. Toward the end of her life, Coit had a long stay in Europe but returned to San Francisco where she died in 1929.

Firefighting
Coit was fascinated by firefighters from a young age. At age 15, in 1858, she reportedly witnessed the Knickerbocker Engine Co. No. 5 respond to a fire call on Telegraph Hill when they were shorthanded, and helped them get up the hill ahead of other competing engine companies. Sources differ on whether this happened while she was coming home from school or coming from a rehearsal for a wedding. She was thereafter treated as a "mascot" of the firefighters, and after her return from travel in Europe, in October 1863, she was made an honorary member of the engine company. She then rode along with the firefighters when they went to a fire or were in parades, and attended their annual banquets. When volunteer firefighters were ill, she visited the sickbed, and when they died, Coit sent flowers and attended the funerals. She continued this relationship with firefighting throughout her life, and after her death her ashes were placed into a mausoleum with a variety of firefighting-related memorials.

Bequest
Coit left one-third of her estate to the City of San Francisco "to be expended in an appropriate manner for the purpose of adding to the beauty of the city which I have always loved". The city used this bequest to build Coit Tower on Telegraph Hill.

The remainder of her bequest also sponsored another neighborhood landmark, a statue of three firefighters at the northwest corner of Washington Square Park.

title: Lillie Hitchcock Coit


text:
Peta Teanet

Peta Teanet (June 1966 - 13, July 1996) was a South African disco musician of Tsonga descent.

He lived at Thapane village, in Bolobedu south at Ga-Modjadji. He attended high school at Kgwekgwe High School in Moleketla Village, Bolobedu South. He became fluent in Shona and also had a couple of songs he sang in Shona. He was born in South Africa. His debut album, Maxaka (we are relatives) was recorded in 1988. His music was influenced by Paul Ndlovu. He is the third born of Emma Teanet who was also a musician. Peta Teanet was the best and king of Xitsonga Disco Music during his time, he played his music with artists like: Penny Penny who was his friend, Foster Teanet his younger brother, Joe Shirimane and many more. The former ward 11 under Greater Tzaneen Local Municipality, Mopani District, has now changed its name to Peta Teanet ward.

Peta Teanet productions : Emma Teanet (mom) ;Fosta Teanet (Brother);Jeanet Teanet (daughter) ;Vuyelwa (wife) ;Shamila (Wife) ; Ashante ;Girlie Mafurha ;Linah Khama; Samsom Mthombheni ;The BIG T;Wireless Julius Bomba; Luz de Sá na Tinito wa le Mozambique. Peta helped the soul lovers and General Musca ;Penny Penny ;Sunglen Chabalala ; Nurse Matlala and Candy N'wayingwani on how to make music.

Death
Teanet died on 13, July 1996 in Acornhoek after he was shot by a policeman following an argument.

Discography

 * (1988) Maxaka
 * (1989) Divorce Case
 * (1990) More Hits From Peta Teanet
 * (1991) The Gospel Album with The Special Servants
 * (1991) The Real Peta Teanet
 * (1992) Saka Naye Jive
 * (1992) The Heroes Peta Teanet and Paul Ndlovu
 * (1993) Jahman Teanet
 * (1993) Uta ku Tsakisa
 * (1994) Peta Will Excite You
 * (1995) Double Pashash
 * (1996) King Of Shangaan Disco
 * (1996) King Of Shangaan Disco

title: Peta Teanet


text: Category:Johor Bahru

title: Category:Johor Bahru


text:
Prophets of Da City

Prophets of Da City (POC) is a hip hop crew from Cape Town, South Africa. They are composed of about eight members, though the exact membership fluctuates frequently; these include Ishmael Morabe (vocals), Mark Heuvel (dance), Shaheen Ariefdien, Ramone and DJ Ready D. Their style uses elements of hip hop music, reggae and traditional African rhythms. Their albums include Our World (1990), Boom Style (1992), Age of Truth (1993), Phunk Phlow (1994), Universal Souljaz (1995), and Ghetto Code (1997). They are currently signed under the independent record label Ghetto Ruff.

1988-1990: Early years
The group began in late 1988 when Shaheen and Ready D experimented in a small 8-track studio (owned by Shaheen's father, Issy Ariefdien and Lance Stehr the current Ghetoruff CEO) and produced a demo that ultimately became "Our World" (1990), the first South African hip hop release. Although the production value was not exactly stellar it did attempt to interpret hiphop through their unique Cape Town influences and experiences (both musically and lyrically). The album had the first recorded Cape slang (local Afrikaans dialect) hip-hop song called 'Dala Flat' (do it thoroughly). It also consisted of an uptempo goema inspired 'Stop the Violence' and the hip house meets mbaqanga title track. It also featured the Abdullah Ibrahim inspired "Roots" that featured DJ A-ski on the turntables. Although POC was quite a novelty to the South African music scene, record labels were turned off by their social commentary and favoured a more party music approach. Lance, POC manager, set up Ku-shu shu Records and signed a distribution and marketing deal through Teal Trutone (Gallo subsidiary). In 1990 POC was nominated for the OKTV Award for Best New Group. They also embarked on an extensive 80-leg anti-drug school tour that reached an average of 70 000 students.

1991-1992: Boom Style
The second release in late 1991 was Boom Style (referring to the hardhitting punch of a TR-808 drum machine kick drum or self-praise of the way the music is kicking – although often mistaken to mean "tree style" because boom means "tree" in Afrikaans). While the album had a scathing attack on the apartheid regime in the song 'Ons Stem' (meaning our voice – as a response to the apartheid national anthem 'die stem' – the voice) and the innovative Hard Time on Stage, the follow-up to Murder on Stage from Our World, it was less experimental. The lead single, Boom Style, like their first single, Our World, aimed to fuse contemporary US hiphop influenced dance music with mbaqanga styled guitar riffs. While Our World was rather innocent and daring for its time, Boom Style reflected the realities of operating within the music industry and the pressures of the market on POC. The censorship board sent a formal letter to the label to express their displeasure over the use of the Afrikaner national anthem in which POC not only mocked 'Die Stem', but also disrespected Afrikaner and other colonial political icons. Their live shows incorporated all aspects of hip hop culture and not only emceeing. Turntablism, Breakdancing and even aerosol art at times were used to not only present POC but represent hip hop culture and expose to parts of South Africa where people did not know what hip hop was. The video for 'Kicking Non Stop' was censored because members of the crew put a portrait of the then president, P. W. Botha, in a fridge to chill. This year the POC social issues based tour covered another 45 schools.

In 1992 they were invited by Quincy Jones and Caiphus Semenya to perform at the Montreux Jazz Festival in Switzerland. This year they embarked on a Namibian anti-drug campaign, covering 65 schools. They also got increasingly more involved in facilitating workshops on deejaying, b-boying and developing hip hop writing techniques. Leading up to the first democratically held election in South Africa, POC embarked on a national voter education campaign. Although Issy Ariefdien has been involved in group's production since the first album, POC also brought former rival Patrick Hickey a.k.a. Caramel (then an emcee and producer with emcees from U.N.C.L.E.) on board as part of the production team for the Age of Truth album.

1993 and beyond
In late 1993 POC was invited to perform in Denmark at the Visions of Africa music festival and also embarked on a national voter education tour, covering high schools, community centres and universities. The aim was to explain the voting process to youth who never had the opportunity to vote in any national elections. The democratically held election marked an important moment in the history of South Africa, but also the history of hip hop in South Africa, because it was an acknowledgment of the popularity and power of hiphop as a pedagogical tool.

In 1994, POC performed at the inauguration of Nelson Mandela where they sang their song "Excellent, finally black President". The fact that they were invited was extremely important to them. The members of Prophets of Da City grew up during apartheid and this truly meant a lot to the group. Mark Schwartz writes, "Times were good until one day in 1985 when tanks rolled down the main drag of Mitchell's Plain Township, and Ready and his homie Shaheen put down the vinyl and picked up bricks and gasoline bombs to hurl at apartheid's army. For the next nine years, through a state of emergency, political upheaval, and economic turmoil, Ready, Shaheen and their posse Prophets of Da City persevered until finally they got to drop bombs at another revolution, as the only performers at the inauguration of South Africa's president Nelson Mandella". This step for POC was not only major for racial barriers but for rap in South Africa. This has been considered the song that brought hip hop more into the mainstream of South Africa when previously, hip hop had been more of an underground movement whose fans consisted mainly of the poorer class in the urban areas of Cape Town.

In 2006 Sean Drummond and Dylan Valley, two student filmmakers, tracked down the whereabouts of the POC members. The documentary titled Lost Prophets was screened at various film festivals in South Africa.

POC celebrated 20 years since the release of South Africa's first hip hop album, 'Our World' in 2015.

Inspiration
Inspired by the production styles of the Bomb Squad (Public Enemy) and Boogiemen (Ice Cube), Age of Truth is arguably their most militant and musically daring album. This album is generally considered South Africa's first hip hop classic album. Although Age of Truth won album of the year in various publications, the majority of the songs were banned. The 1993 song Understand Where I'm Coming From provides background for some of the struggles about which POC raps by explaining many of the hardships faced in daily life. "The song is about empowering yourself as an individual and moving forward as a community" claims musician Ready D. "Understand Where I'm Coming From" also appeared on the Tommy Boy Planet Rap album which featured 12 hip hop crews from around the world. The album was recorded and mixed at Bop Studios in the then Bantustan, Bophutatswana. The head engineer at Bop Studios worked with POC before and offered them a deal to record an album at an extraordinary reduced rate. POC found out that the aim behind Bop Studios was to entice big music stars to record there to legitimise Bophutatswana as a sovereign state. When the group heard about this while they recorded there, they included the lines "Fuck Mangope (Bophutatswana's head of fake state) even if we record here". The head engineer confiscated all the mixed DATs and confronted the group about certain remarks made on the album. After a heated debate the group left with a 'stolen' backup copy of the mixed album that eventually became the released version.

Lyrical themes
POC's songs were often filled with socio-political messages about the state of South Africa's social and economic issues in the urban areas, which were the most economically depressed. According to the article "Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City", their 1993 song "Understand Where I'm Coming From" was a "lament about poverty and social dislocation in the ghetto, questioning the wisdom of patriotism in a class stratified society", as can be inferred from the opening of the song: "Why should I fight for a country's glory / When it ignores me? / Besides, the township's already a war zone / So why complain or moan?" The song also questions the degree to which this new post-Apartheid South Africa is actually new, since there are still racial and class inequalities throughout the communities. The music created as a result of these types of struggles takes the form of hip hop because "young African and Coloured youth... see hip hop and its subcultures as the art form that best expresses their feelings of economic marginality and social dislocation". Many connections can be seen between POC's style of hip hop and the broader American style of hip hop. In "Understand where I'm Coming From", feelings of rebellion and separation from central government are rapped about just as they might be in politically conscious American hip hop; also, in the POC song "Dallah Flet 2", "negative and misogynistic attitudes towards single mothers" are rapped about, something which author Zine Magubane claims is "ubiquitous in American rap music". POC's gender politics on Age of Truth was first analysed in a 2001 article titled “Black Thing: Hip-Hop Nationalism, ‘Race’ and Gender in Prophets of da City and Brasse vannie Kaap” by Adam Haupt, who argued that some of the gender-based problems on this album could partly be explained by the crew's black nationalist politics. Black nationalism, like other forms of nationalism, tended to privilege patriarchal imperatives and marginalised female subjects. Hip-hop nationalism in the early 90s reflected some of these problems. As Haupt's analysis of Cape hip-hop activism in the book Stealing Empire reveals, POC's work is best compared to black nationalist US hip-hop of the late 80s and late 90s—and not gangsta rap, as suggested by “Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City”. This is particularly significant in the light of their parody of gangsta rap on songs like "Wack MCs" off Phunk Phlow. Stealing Empire contends that the sometimes simplistic cultural imperialism thesis in some scholarship about hip-hop beyond the US is limited when considering the artistic and political agency of activists and artists who hope to use hip-hop as a means to engage youth critically about their lives in South African townships. By way of caution, Magubane's article credits the Black Consciousness song "Black Thing" to Black Noise when it was, in fact, composed and recorded by POC.

Notable co-performances
The group has also performed around famous artists like James Brown, Public Enemy, The Fugees, Ice-T, Quincy Jones and more.

title: Prophets of Da City


text: Category:South African musical groups

title: Category:South African musical groups


text:
Talk:Bill Richardson (disambiguation)

Why is this here?

If we're going to do a real disambiguation page, it should be at Bill Richardson and the article there should go to Bill Richardson (politician). Having (disambiguation) in the title of the disambiguation page defeats the purpose entirely. Bearcat 07:41, 30 Nov 2004 (UTC)

title: Talk:Bill Richardson (disambiguation)


text:
Happy Families (1985 TV series)

Happy Families is a rural comedy drama written by Ben Elton which was a BBC series first broadcast in 1985. It recounts the tale of the dysfunctional Fuddle family. It stars Jennifer Saunders as Granny Fuddle, Dawn French as the Cook and Adrian Edmondson as her imbecilic grandson Guy.

Premise
The series centred on Guy's attempts to find his four sisters – also played by Saunders – for a family reunion.

Main

 * Jennifer Saunders as Granny, Cassie, Madeleine, Joyce and Roxanne Fuddle
 * Adrian Edmondson as Guy Fuddle, Grandpa Harold Fuddle
 * Dawn French as Cook
 * Stephen Fry as Dr. De Quincy
 * Helen Lederer as Flossie

Supporting

 * Jim Broadbent as Dalcroix
 * Hugh Laurie as Jim
 * Una Stubbs as Mother Superior
 * Christine Edmunds as Maxine
 * Ceri Jackson as Sister Ophelia
 * Claudette Williams as Jill
 * Rik Mayall as Nazi pastor
 * Chris Barrie as Sammy

Production and visual style
Each sister's story was shot in a different "style" of film; Cassie's story was shot to make it appear to be a U.S. soap opera, Madelaine's story was shot in soft focus to make it appear to be a French film, Roxanne's story was filmed as though appearing in a gritty BBC documentary, and Joyce's story was filmed like an Ealing comedy.

Introduction (a.k.a. Edith)
The first episode focuses on Edith Fuddle (Saunders), who is told by her doctor De Quincy (Stephen Fry), that she has Corrington's disease, and will die within nine months. Throughout the series de Quincy shows himself to be tactless, forgetful and almost negligent - he constantly forgets to inform Cook that she is pregnant, and at one stage injects himself with a dose of morphine intended for Edith. Although in a bitter feud with her grandson (Ade Edmondson), she enlists his help to go out into the world to find his four sisters, and to bring them back to her for a family reunion before she dies.

Cassie
The second eldest, Cassie, has become a huge star in Hollywood under the name Cassie Epris-Curtis. Pampered by everyone who surrounds her, Cassie has cut off all ties with her British heritage. Although, as Guy arrives, Cassie is revealed to be a stressed, spoiled actress who throws tantrums over tiny flaws, and after ruining a scene of the show where she has gained her fame, she is fired, and reluctantly takes up Guy's offer to return to her grandmother.

Madeleine
In the third episode, the life of Madeleine, the second youngest granddaughter is revealed. Now living in the house of a renowned poet, Dalcroix (Jim Broadbent). Naive, and now with a French accent, Madeleine is loyal to her adopted housefather, unaware that he is a peeping tom. Guy arrives to the town where Dalcroix resides, and finds that the town (made up of Nazis) hates Dalcroix, and all that he stands for. Their anger finally bubbles over, after a postcard featuring Madeleine in a suggestive pose finds Guy, and led by their local priest (Rik Mayall) the town revolts and burns Dalcroix at the stake. Now, without purpose, Madeleine agrees with Guy's proposals to return to her childhood home.

Joyce
Episode 4 sees the life of Joyce, the eldest, who is now a Catholic nun, after a miracle featuring the Madonna Mary, a tree and a conker. Joyce, who has been a novice for 19 years, is regularly punished by the sadistic Sister Prudence. Although she fancies herself as a jolly, upbeat joker, everyone who encounters Joyce finds her irritating and thick. However, Joyce proves to be a brilliant sleuth (unintentionally) and foils the Mother Superior's (Una Stubbs) plan to take over England, and reinstate the Catholic Monarchy, with the help of Guy, who fools Joyce into leaving the nunnery and return home, disguised as the angel Gabriel. Joyce announces her plans to vacate the convent to all the other nuns, much to their delight.

Roxanne
The penultimate episode focuses on the youngest sister, Roxanne, who at 20 years old, is now in HMP Long Mangley serving 50 years for contributory negligence. Obsessed with the documentary On the Mangle, which focuses on the inmates of Long Mangley, Guy hatches a plan to spring Roxanne by using a giant chocolate box, which, surprisingly, works, although all the prisoners are released for a "stroll". An emotional Guy and a bewildered Roxanne are finally able to go home.

Reunion
The final episode reunites all of the family together back in Fuddlewich—the four granddaughters return by various means of transport to their childhood home, and they all encounter one sister, although none of them recognise the other.

Joyce returns by train, and has a brief meeting with Madeleine, and they both leave the train station, neither recognising the other. Cassie has caught a cab from America, which is breaking down by the time it nears Fuddlewich. Roxanne, who has walked from her prison, is stopped by Cassie who notes that it is a coincidence that they both have double syllable Christian names (despite Roxanne stating that her name is Fuddle, the same as Cassie).

The granddaughters return to the home of their grandparents, and are placed in the dining room, and starved until Edith is ready to see them. They are then brought into the billiard room, where they all conference, and Edith tells them why she has brought them back together. Edith reveals that she has not brought them back out of love (as Guy first thought), she hates them all deeply. She reveals that Harold (her husband, who died nine months before), was a pervert and "loved" his granddaughters deeply. Not wanting to lose her husband, Edith called social services and reported the incident, which allowed Edith to get rid of the girls. She also reveals the fate of their mother, who died destitute in a ditch of a broken-heart, after being hit by a car (presumably driven by Edith).

Edith was left with her husband and Guy, who was hated even as a child. She also tells the girls that on the same day that Guy began his search, she had been told that she was suffering from Corrington's Disease, which kills the victim in nine months. She reveals this as the reason she has brought the girls back. She tells her granddaughters, that the only cure is to get one organ from four donors of the same bloodline and gender, and offers to give them all one quarter of her entire estate, in order to get her vital operation. All of them agree, however just as the operation is about to begin, Flossy the maid barges in to tell them that Cook has died after turning blue (a symptom of Corringtons). Doctor De Quincy comes to the conclusion that he must have mixed up the urine samples, and that Edith must be pregnant (at nearly 80 years of age). Edith suddenly goes into labour, and shortly afterwards gives birth to a baby boy. Still bitter and resentful, she dismisses the girls to return to their pathetic existence. Cassie, however, challenges her, saying they still have the documents and want their inheritance now. Edith reluctantly agrees and also offers to give them her newborn as well. None of the girls want him but offer their grandmother a £50 per week allowance for the sake of their newborn uncle. The episode ends with Edith left in an empty house with Guy who is to be wed to Flossy.

title: Happy Families (1985 TV series)