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Rate of fire

Rate of fire is the frequency at which a specific weapon can fire or launch its projectiles. This can be influenced by several factors, including operator training level, mechanical limitations, ammunition availability, and weapon condition. In modern weaponry, it is usually measured in rounds per minute (RPM or round/min) or rounds per second (RPS or round/s).

There are three different measurements for the rate of fire: cyclic, sustained, and rapid. Cyclic is the maximum rate of fire given only mechanical function, not taking into account degradation of function due to heat, wear, or ammunition constraints. Sustained is the maximum efficient rate of fire given the time taken to load the weapon and keep it cool enough to operate. Finally, rapid is the maximum reasonable rate of fire in an emergency when the rate of fire need not be upheld for long periods.

Overview
For manually operated weapons such as bolt-action rifles or artillery pieces, the rate of fire is governed primarily by the training of the operator or crew, within some mechanical limitations. Rate of fire may also be affected by ergonomic factors. For rifles, ease-of-use features such as the design of the bolt or magazine release can affect the rate of fire.

For artillery pieces, a gun on a towed mount can usually achieve a higher rate of fire than the same weapon mounted within the cramped confines of a tank or self-propelled gun. This is because the crew operating in the open can move more freely and can stack ammunition where it is most convenient. Inside a vehicle, ammunition storage may not be optimized for fast handling due to other design constraints, and crew movement may be constricted. Artillery rates of fire were increased in the late 19th century by innovations including breech-loading and quick-firing guns.

For automatic weapons such as machine guns, the rate of fire is primarily a mechanical property. A high cyclic firing rate is advantageous for use against targets that are exposed to a machine gun for a limited time span, like aircraft or targets that minimize their exposure time by quickly moving from cover to cover. For targets that can be fired on by a machine gun for longer periods than just a few seconds the cyclic firing rate becomes less important.

For a third hybrid class of weapons, common in handguns and rifles, known as a semi-automatic firearm, the rate of fire is primarily governed by the ability of the operator to actively pull the trigger and, for aimed fire, the operator's shot-to-shot recovery time. No other factors significantly contribute to the rate of fire. Generally, a semi-automatic firearm automatically chambers a round using blowback energy, but does not fire the new round until the trigger is released to a reset point and actively pulled again. A semi-automatic's rate of fire is significantly different from and should not be confused with a full-automatic's rate of fire. Many full-automatic small arms have a selective fire feature that 'downgrades' them to semi-automatic mode by changing a switch.

Over time, weapons have attained higher rates of fire. A small infantry unit armed with modern rifles and machine guns can generate more firepower than much larger units equipped with older weapons. Over the 20th century, this increased firepower was due almost entirely to the higher rate of fire of modern weapons.

An example of increase in rate of fire is the Maxim machine gun that was developed in 1884 and used until World War I ended in 1918. Its performance was improved during that time mainly by advances in the field of cooling.

Measurement
There are diverse measurements of rate of fire. The speed of the fire will vary depending on the type of automatic weapon.

Cyclic rate
This measures how quickly an automatic or semi-automatic firearm can fire a single cartridge. At the end of a cycle, the weapon should be ready to fire or begin firing another round. In an open bolt simple blowback weapon, this starts with pulling the trigger to release the bolt. The bolt pushes a cartridge into the barrel from a magazine and fires it. The energy propelling the bullet also pushes the bolt rearward against the recoil spring. After the bolt is stopped by either the spring or the rear of the receiver, it is pushed forward to either fire again or catch on the sear. Typical cyclic rates of fire are 600–1100 rpm for assault rifles, 400–1400 rpm for submachine guns and machine pistols, and 600–1,500 rpm for machine guns. M134 Miniguns mounted on attack helicopters and other combat vehicles can achieve rates of fire of over 100 rounds per second (6,000 rpm).

Effective rate
This is the duration of firing that a weapon could be expected to realistically withstand or output in a realistic environment. On paper, the M134 is capable of firing up to 6,000 rpm. Realistically, firing the weapon for a continuous sixty seconds would likely melt parts of the weapon. Sustained rate-of-fire depends on several factors, including reloading, aiming, barrel changes, cartridge fired, and user expertise. Knowing the effective rate of fire for a weapon can be useful for determining ammunition reserve and resupply requirements. Machine guns are typically fired in short bursts to preserve ammunition and barrel life, reserving long strings of fire for emergencies. Sustained rate-of-fire also applies to box magazine fed assault rifles and semi-automatic rifles, although these weapons rarely expend ammunition at the same rate as light machine guns.

Sustained or rapid rate
Rapid or sustained rate of fire may be considered a weapon's absolute maximum firing rate. The term sustained refers to firing a fully-automatic weapon continuously, while rapid is limited to semi-automatic or manually operated firearms. Rapid and sustained fire are usually reserved for close-range defense against ambushes or human wave attacks. Such scenarios trade control, ammunition, and even aiming for sheer volume of fire. These fire rates push weapons and soldiers to their physical limits and cannot be sustained for long periods.

Technical limitations
The major limitation in higher rates of fire arises due to the problem of heat. Even a manually operated rifle generates heat as rounds are fired. A machine gun builds up heat so rapidly that steps must be taken to prevent overheating. Solutions include making barrels heavier so that they heat up more slowly, making barrels rapidly replaceable by the crews, or using water jackets around the barrel to cool the weapon. A modern machine gun team will carry at least one spare barrel for their weapon, which can be swapped out within a few seconds by a trained crew. Problems with overheating can range from ammunition firing unintentionally (cook-off), or, what is much worse in combat, failure to fire, or even explosion of the weapon.

Water-cooled weapons can achieve very high effective rates of fire (approaching their cyclic rate) but are very heavy and vulnerable to damage. A well-known example is the M1917 Browning machine gun, a heavy machine gun designed by John Browning and used by US forces during WWI. It became the basis of the much more common Browning M1919 machine gun, used by US forces throughout World War II, as well as the Browning M2 .50 caliber heavy machine gun, which is still in service, as well as many adaptions, such as the Japanese Ho-103 aircraft machine gun during World War II. Another legendarily reliable heavy machine gun is the British Vickers machine gun, based on the Maxim machine gun design, which saw service both on the air and ground during World War I and World War II. Due to their disadvantages, water-cooled weapons have gradually been replaced by much lighter air-cooled weapons. For weapons mounted on aircraft, no cooling device is necessary due to the outside air cooling the weapon as the aircraft is moving. Consequently, aircraft-mounted machine guns, autocannon or Gatling-type guns can sustain fire far longer than ground-based counterparts, firing close to their cyclic rate of fire. However, due to the weight of the ammunition, sustained fire is constrained by ammunition payload, as many aircraft cannons only carry enough ammunition for a few seconds' worth of firing; for example, the F-16 Falcon and its variants carry 511 rounds of 20mm ammunition, and the F-22 Raptor carries a similar amount at 480 rounds, which equates to roughly five seconds of firing at the M61 Vulcan's 6000 rpm (100 rounds per second) cyclic rate. (Some aircraft, due to the purpose of the design, do carry more, such as the GAU-8 Avenger mounted on the A-10 Thunderbolt, which carries 1,150 rounds of ammunition sufficient for 17 seconds of firing).

Another factor influencing rate of fire is the supply of ammunition. At 50 rps (3,000 rpm), a five-second burst from an M134 Minigun would use approximately 6.3 kg of 7.62 mm ammunition; this alone would make it an impractical weapon for infantry who have to carry a reasonable supply of ammunition with them. For this and other reasons, weapons with such high rates of fire are typically only found on vehicles or fixed emplacements.

title: Rate of fire


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Talk:Dan Harrington

Old talk
Is he genuinely related to Padraig Harrington? I thought that was the football quarterback Joey Harrington who is Padraig's cousin.

 * You should sign your comments using ~ next time. Yes, he is related to him.  He has, in print and on TV, recounted the tale of his WSOP win saying that Padraig's victory in a tournament that year was considered more important by some members of his family, despite the fact that Dan's winnings were something like 10x the amount of Padraig's. CryptoDerk 23:09, Dec 16, 2004 (UTC)

How do you cheat at Roulette? I know there were some MIT teams cheating at Blackjack... Evercat 11:20, 22 Jun 2005 (UTC)

 * I've heard about an MIT team that cheated at roulette by using laser scanners to find the ball's speed and quickly calculating which quadrant or so the ball will come to rest in, giving good enough odds to show a profit. Now, I am a) not certain I believe this, and b) have not heard that Dan Harrington was involved, but at the very least it seems possible. --Zarvok | Talk 13:31, 22 July 2005 (UTC)

 * Another way of "cheating" (which in my opinion isn't cheating, merely using information to your advantage) is to watch the wheel and keep statistics over which numbers come up more often than others. Due to the old handmade roulette wheels not being 100% circular some numbers are likely to win more often than others. Knowing which numbers win more often will give you a statistical advantage. I know this trick has been done both in Europe and in North America. But I also know laser technology (which is in fact cheating) has been used. I don't know which the MIT team used. JesperLærke 11:31, 21 July 2006 (UTC)

Does anyone have a reference for the part about cheating at roulette? Couldn't find anything with google. Dze27 08:45, July 22, 2005 (UTC)

I don't know that Harrington was involved, but I have a book that describes the roulette cheating thing. It's called The Eudaemonic Pie. You can find it on amazon. The book isn't as exciting as one would think. Most of it describes the preparation, training, etc. I don't recall them using lasers, just computers in their toes and some infrared communication from one person to another. They set parameters relating to the wheel speed, tilt, etc. and after their parameters were set, they'd do quadrant betting. When they finally get around to talking about actually USING the thing in actual casinos it's almost the end of the book. Anyway, I don't have the book on me right now, but I can't recall it making any mention of Harrington. CryptoDerk 14:30, July 22, 2005 (UTC)

 * Found this page which corroborates the roulette story: http://www.fastcompany.com/magazine/02/poker.html. In part:

He joined forces with a small "Mission Impossible" team that relied on MIT-derived mathematical formulas to generate precise calculations for winning at roulette. They enjoyed a 40% edge on each spin -- until the Sands Hotel Casino in Atlantic City caught them.
 * And, on the general subject of cheating at roulette, there was this crew who took a UK casino for over a million pounds last year: http://news.bbc.co.uk/1/hi/uk/4069629.stm Dze27 23:08, July 24, 2005 (UTC)

I was observing all of Harringtons WSOP final tables and got the impression from the interviews that he might have some form of high-functioning autism or Asperger's syndrome... just something I got from comparing those I know in my personal life with those conditions to how Harrington acted. Is that something someone could look into? -AKMask 18:48, 6 March 2006 (UTC)

 * I've no idea how anyone could prove it unless something has been said in interviews. Essexmutant 20:55, 6 March 2006 (UTC)

Date and place of birth
Dan Harrington's dob, [] give the date and place [] gives the year and place

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 07:57, 10 November 2007 (UTC)

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

title: Talk:Dan Harrington


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Long-running musical theatre productions

This is a selected list of the longest-running musical theatre productions in history divided into two sections. The first section lists all Broadway and West End productions of musicals that have exceeded 2,500 performances, in order of greatest number of performances in either market. The second section lists, in alphabetical order, musicals that have broken historical long run records for musical theatre on Broadway, in the West End or Off-Broadway, since 1866, in alphabetical order.

 * Legend:
 * m = music, l = lyrics, b = book
 * (Noteworthy trivia appear in parentheses)
 * (5,678) = number of performances (in original Broadway production if not specified)
 * > denotes shows that are still in production. The number of Broadway performances is updated per Playbill.com as of November 2023.  The number of West End performances is updated per officiallondontheatre.com as of October 2023, and sporadically as information becomes available.
 * "Tony Award winner" denotes winner of Tony for Best Musical
 * "Olivier Award winner" denotes winner of award for Best New Musical

Longest-running musicals on Broadway and the West End
The following is a list of musical theatre productions that have exceeded 2,500 performances in a single run in a Broadway or West End theatre.

Other historic long runs
The following is an annotated alphabetical list of other musicals that set records for long runs.

 * Annie Get Your Gun, 1946 Broadway, 1947 London, ml Irving Berlin, b Herbert and Dorothy Fields (1,147: 1,304 in London) (Berlin wrote the songs when Jerome Kern died suddenly)
 * The Belle of New York 1898, m Gustave Kerker, lb Hugh Morton (697 in London) (After New York run, transferred to London in 1898, where it ran for an almost unprecedented 697 performances and became the first American musical to run for over a year in London.
 * The Black Crook, 1866, m George Bickwell and others, l by Theodore Kennick and others, and b by Charles M. Barras (474). This piece is often cited as the first long-running "musical", in that an original book was combined with songs and dancing.  Its 474 performances were a record for the day.
 * The Boy Friend, 1953 London, 1954 Broadway, mlb Sandy Wilson (2,078 in London; briefly the third longest-running musical in history, after Chu Chin Chow and Oklahoma!, until demoted by Salad Days) (Julie Andrews' American debut)
 * Carousel, 1945 Broadway, 1950 London, m Richard Rodgers, b Oscar Hammerstein II (899) (the authors' favorite of their musicals) (one of the longest-running Broadway shows up to that time)
 * The Chimes of Normandy (adapted from the French Les Cloches de Corneville), 1878, m Robert Planquette, lb H. B. Farnie and R. Reece (705) (the longest-running piece of musical theatre in history until Dorothy broke its record in 1886)
 * A Chinese Honeymoon, 1901, m Howard Talbot and Ivan Caryll, l Harry Greenbank, and lb George Dance (1,075) (The first musical to run for more than 1,000 performances)
 * Chu Chin Chow, 1916, m Frederic Norton, b Oscar Asche (2,238 in London) (longest-running musical in history from 1916 until Salad Days in 1954, and one of the World War I smash hits that defined the music of the era. See also The Maid of the Mountains).
 * Dorothy, 1886, m Alfred Cellier, lb B. C. Stephenson (931) (one of the first "modern" musicals, and the longest-running piece of musical theatre in history until A Chinese Honeymoon in 1901.
 * The Fantasticks, 1960, m Harvey Schmidt, l Tom Jones (17,162) Longest-running musical in history.
 * Florodora, 1899, m Leslie Stuart and Paul Rubens, l Edward Boyd-Jones and Rubens, b Owen Hall (552) (second longest-running Broadway musical (after A Trip to Chinatown) until Irene in 1919 pushed it down to third; it was first very successful in London (455 performances) and achieved international success in Europe and elsewhere, including Broadway in 1900. It was the first instance of a British production achieving such a long initial Broadway run.)
 * Forbidden Broadway, 1982, m arranged in part and written in part by Gerard Alessandrini, lb Gerard Alessandrini (2,332) (briefly the third longest-running off-broadway production; this spoof of current musicals ran almost continuously from 1982 to 2010 in various versions)
 * The Geisha, 1896, m Sidney Jones and Lionel Monckton, l Harry Greenbank, b Owen Hall (760 in London) (The second longest-running piece of musical theatre (after Dorothy) until it was edged out by San Toy in 1899. It was one of a series of highly successful musicals at Daly's Theatre in London.)
 * Hellzapoppin (revue), 1938, ml Sammy Fain and Charles Tobias, b John "Ole" Olsen and Harold "Chic" Johnson (1,404, the longest-running Broadway musical, until beaten by Oklahoma! Its opening scene was Hitler speaking in a Yiddish accent, and it included audience participation.)
 * H.M.S. Pinafore, 1878, m Arthur Sullivan, lb W. S. Gilbert (571 in London) (first G&S smash hit and second longest-running piece of musical theatre in history until it was edged out by Gilbert and Sullivan's Patience in 1881. One of the most frequently produced pieces of musical theatre in the world)
 * I Love You, You're Perfect, Now Change, 1996, m Jimmy Roberts, lb Joe DiPietro (5003) (2nd longest-running Off Broadway musical in history)
 * Irene, 1919, m Harry Tierney, l Joseph McCarthy (lyricist), b James Montgomery (670) (longest-running Broadway show up to that time (though London had already had many longer-running shows ) until Hellzapoppin in 1938)
 * Little Shop of Horrors, 1982, m Alan Menken, lb Howard Ashman (2,209) (the highest-grossing production in off-Broadway history; revived successfully on Broadway)
 * The Maid of the Mountains, 1917, m Harold Fraser-Simson, l Harry Graham, b Frederick Lonsdale ((1,352 in London) (second longest-running musical (see Chu Chin Chow) and one of the World War I smash hits that defined the music of the era)
 * The Mikado, 1885, m Arthur Sullivan, lb W. S. Gilbert (672 in London) (longest-running G&S piece and second longest-running piece of musical theatre in history until Dorothy in 1886. Probably the most frequently produced piece of musical theatre in the world)
 * No, No, Nanette, 1925, m Vincent Youmans, l Irving Caesar, lb Otto Harbach, b Frank Mandel (665 London; 321 Broadway, one of the longest-running interwar shows with international success)
 * Nunsense, 1985, mlb Dan Goggin (3,672) (2nd longest-running Off-Broadway musical until surpassed by I Love You, You're Perfect, Now Change)
 * Oklahoma!, 1943 Broadway, 1947 London, m Richard Rodgers, lb Oscar Hammerstein II, (2,212, the longest-running Broadway show in history, until My Fair Lady)
 * Salad Days, 1954, mlb Julian Slade, l Dorothy Reynolds (2,283 in London, finally breaking the long-held record of Chu Chin Chow for longest-running musical. It held the record until My Fair Lady)
 * San Toy, 1899, m Sidney Jones, l Harry Greenbank and Adrian Ross, b Edward Morton (768 in London) (It edged out The Geisha as the second longest-running piece of musical theatre (after Dorothy) and held that record until it was thrashed by A Chinese Honeymoon in 1901. It was one of a series of highly successful musicals at Daly's Theatre in London.)
 * The Shop Girl, 1894, m Ivan Caryll and Lionel Monckton, l Adrian Ross, lb H. J. W. Dam (546 in London) (one of the first of the innovative Gaiety Theatre, London musicals produced by George Edwardes in the 1890s)
 * The Sound of Music, 1959 Broadway, 1961 London, m Richard Rodgers, l Oscar Hammerstein II, b Howard Lindsay and Russel Crouse (2,385 in London, the second-longest-running musical in West End history at that time, after Oliver!; 1,442 on Broadway) (1960 Tony Award winner) (1965 film became one of the most popular movie musicals)
 * South Pacific, 1949 Broadway, 1951 London, m Richard Rodgers, lb Oscar Hammerstein II, b Joshua Logan (1,925, the second longest-running Broadway musical up to that time) (1950 Tony Award winner)
 * The Threepenny Opera, 1954, m Kurt Weill lb Marc Blitzstein (from the German of Bertolt Brecht) (2,707) (longest-running off-Broadway musical until The Fantasticks)
 * A Trip to Chinatown, 1891, m Percy Gaunt, lb Charles H. Hoyt (657) (first Broadway musical to exceed 500 performances, although London had already had a few longer-running musical theatre pieces. It held the Broadway record until Irene in 1919)


text: User talk:216.15.87.53

title: User talk:216.15.87.53


text: Category:Kansas City Cowboys

title: Category:Kansas City Cowboys


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Wikipedia:Articles for deletion/Amos Farquhar

Amos Farquhar
Not notable. --fvw *  23:04, 2004 Dec 16 (UTC)

 * 'Weak delete. At least it isn't vanity or an ad! P Ingerson 23:42, 16 Dec 2004 (UTC)
 * Delete. Note that the author of this article just created another article called Liar!! (which I have marked for speedy deletion) in which he says:
 * Go to Amos Farquhar in Wikipedia(tm) The free search encyclopedia and you will find complete lies! Lies I tell you! Lies!!! Muahahahaha!!!! If you know real facts on Amos Farquhar, please contact Liar!! at smorsbord.comboobnpoopmongler.comhtlm kssbsjdb
 * I'm not sure what this guy's point is, but apparently he thinks Wikipedia is a trademark and can't seem to even trust himself. [[User:Livajo|Ливай | ☺]] 23:54, 16 Dec 2004 (UTC)
 * Delete: Vandalism or genealogy. Geogre 01:58, 17 Dec 2004 (UTC)
 * Delete - Wikipedia is not a genealogical dictionary - Andre Engels 02:47, 17 Dec 2004 (UTC)
 * Speedy, prank. Wyss 03:43, 17 Dec 2004 (UTC)
 * del. Mikkalai
 * Delete. [[User:MacGyverMagic|Mgm|(talk)]] 08:29, Dec 17, 2004 (UTC)
 * Delete because Wikipedia is not a genealogical database. Wyss, what is your evidence that supports calling this a speedy?  Rossami (talk) 21:40, 17 Dec 2004 (UTC)
 * It's not genealogy, it's fiction, which on wiki equals nonsense. It's also a prank, which is vandalism. Wyss 02:07, 18 Dec 2004 (UTC)
 * Again, what is your evidence ? Are you basing your judgment solely on the comment above?  (By the way, please don't interweave your comments into the comments of others.  It makes the prior comments harder to understand.)  Rossami (talk) 21:34, 18 Dec 2004 (UTC)
 * It's standard practice on VfD to respond to individuals in this indented manner. --Dante Alighieri | Talk 18:51, Dec 21, 2004 (UTC)
 * Clarification: Indentation is good.  Separating your signature from your comment is bad. Rossami (talk)
 * Delete. Not speedy, in fact it might even be worth archiving this (together with its talk page and this discussion, but out of the article namespace) as an example of the admitted exposure of Wikipedia to vandalism. This is a fact, and we can't fix it. If we don't deny it, then nobody will need to prove it, which won't eliminate these attacks (some people really do have nothing better to do) but it will minimise them IMO. See also Votes for deletion/Dux, CA. Andrewa 00:06, 18 Dec 2004 (UTC)
 * Fantastic idea. Apparently, there are way too many folks out there who think this is some sort of chalkboard.  This guy's weirder than most.  Add a few recreational drugs to the mix and voilá!  Instant @$$h0le.  At least the B-Movie Bandit was factual.  Lies couched in Wikipedia formatting are still lies, only more insidious. - Lucky 6.9 02:10, 18 Dec 2004 (UTC)

 * Delete. Go to Talk:Amos Farquhar and you'll see that it's obviously a prank. Somebody in the WWW 09:21, 18 Dec 2004 (UTC)


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Original Sound

Original Sound is a Los Angeles, California-based record label. It was founded in the early 1950s by KPOP deejay Art Laboe. It began as a small label that specialized in compiling and re-releasing "oldies" R&B and rock 'n' roll songs.

History
The label pioneered the concept of reissuing older pop and rock hits, and sold millions of records on his Oldies But Goodies compilation albums, several of which made the national Billboard album charts. All 15 volumes of this series were later reissued on a best-selling CD series in the 1980s and 1990s, although track listings on each CD volume varied widely from the original LP issues with identical numbers, and some volumes contained none of the same songs as their original issues. Later on, the Double Shot Records catalog got bought out by Original Sound in ca. 1972.

The label's biggest self-recorded hit as a single was "Teen Beat" by drummer Sandy Nelson, reaching number four on Billboard in 1959. Other successful Original Sound artists included:

 * Preston Epps ("Bongo Rock" and "Bongo, Bongo, Bongo")
 * The Music Machine ("Talk Talk" and "The People In Me")
 * Dyke & the Blazers ("Funky Broadway")
 * Bobby Mac ("Walkin' Together" b/w "Keep On", OS-68)

The first few "Oldies But Goodies" LPs were hugely successful (Volume 1 reached #12 on the Billboard Album charts and stayed on the chart for 183 weeks). Their success influenced other labels to put out compilations of their hits and near-hits, as well as helped validate the standing of songs like The Five Satins' "In the Still of the Night", which only reached #24 on the pop charts in 1956.

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Taverham

Taverham is a large village and civil parish in Norfolk, in England. It is approximately 5 miles (8 km) north-west of Norwich. Taverham sits on the River Wensum. Taverham forms part the wider Norwich Built-up area.

In 2001, Taverham had a population of 10,233. It has seen recent population growth with the building of Thorpe Marriott, a new residential development that straddles the boundary with the neighbouring village of Drayton. The patron saint of Taverham is St Walstan who according to legend lived and worked in the village in the 11th century. By 2013, the area of Taverham had an approximate population of 14,121.

Amenities
Taverham has two state run infant schools: Ghost Hill Infant and Nursery School, and Nightingale First School, and a public (privately owned) prep school: Taverham Hall School. Taverham Junior School (formerly St Edmund's Middle School and Taverham Middle School) educates children between the ages of 7 and 11 years. Taverham High School, as well as serving Taverham, has a catchment area that includes the adjoining villages of Felthorpe and Ringland.

There are a variety of small shops in Taverham, and the Taverham Nursery Centre has a large selection of shops (such as craft, jewellery, paper, kitchenary, pine furniture etc.).

Taverham also has a village hall, library, recreational ground (park), church, scout and guide hut (which also serves as the home of the local day-care centre), several takeaway shops and two pubs: the Silver Fox and, in Thorpe Marriott, the Otter. Set in woodland on the Ringland Road, Taverham, is Roundwood, an indoor bowling centre with bar and function room.

Taverham Brass Band is based in the village, providing entertainment across Norfolk and beyond, and performing at the bi-annual "Proms in the Park" concert "Exploding Brass!" held at Taverham Hall. 2004 was the band's 30th anniversary year, with the first of the October concerts (15 October 2004) falling exactly 30 years to the day from the inaugural committee meeting.

2015 saw the 50th anniversary of the founding of the Taverham Newsletter. The Newsletter which is run by volunteers is delivered free also by volunteers to all the homes and businesses in Taverham.

Church of St. Edmund
Parts of St Edmund's Church are believed to be pre-Norman - part of the nave, and the slightly later base of the tower, also notable for its round body but octagonal top, where it had to be rebuilt. It is a Grade I listed building. A church was standing in Taverham in 1086 when it was listed in the Domesday survey.

History
The villages name means 'Red homestead/village', perhaps referring to some decoration or a place where pigment was made. The exact location of the meeting-place of the Taverham hundred is unknown.

The first recorded mention of Taverham is thought to have been made in the time of Edward the Confessor. It also appears in the Domesday Book.

A school existed in Taverham very early on, from at least the 13th century.

In the 19th century Taverham was a major producer of paper. Some of the paper which was produced at Taverham Mill was used in producing The Times, Bank of England banknotes and the Oxford English Dictionary. It also served the University Press at Cambridge. In 1830 the paper mill, the property of the Ansted family and under the management of John Burgess, husband of Elizabeth Ansted, was attacked during the Swing Riots; a gardener, Robert West, was transported to Australia for his part in the riot. The mill closed in 1899.

On 5 October 1944, a V-2 rocket exploded in woods near Taverham.

Local government representation
Taverham is part of Broadland District and is represented on Broadland District Council by four councillors covering two electoral wards. Taverham South Ward covers everything south of the Fakenham Road except Cypress Close and Highland Road. Taverham North Ward includes much of Thorpe Marriott, all of the parts of Taverham that are on the Fakenham Road and north of it, plus Highland Road and Cypress Close.

Taverham also has a county councillor representing the Taverham electoral division. This includes all of the Parish of Taverham.

Notable residents

 * As well as St. Walstan, the successful singer and songwriter Cathy Dennis, and the tennis player and BBC commentator Chris Bailey all lived in Taverham. Mel Clarke, paralympic archer hails from Taverham. She has won Silver and Bronze Paralympic medals and Bronze in world championships.

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Battle of Batoche

The Battle of Batoche was the decisive battle of the North-West Rebellion, which pitted the Canadian authorities against a force of First Nations and Métis people. Fought from May 9 to 12, 1885, at the ad hoc Provisional Government of Saskatchewan capital of Batoche, the greater numbers and superior firepower of General Frederick Middleton's force eventually overwhelmed the Métis fighters.

The defeat of the defenders of Batoche and its capture led to the surrender of Louis Riel on May 15 and the collapse of the Provisional Government.

Other groups were pursued and eventually gave up the struggle as well. Poundmaker surrendered on May 26. Cree fighters and families under Big Bear held out the longest. They fought off Canadian troops pursuing them in the Battle of Frenchman's Butte and Battle of Loon Lake. They gradually dwindled in number, disappearing into the bush along the way. Big Bear eventually turned himself into the North-West Mounted Police at Fort Carlton in early July.

Early advances and the crippling of the Northcote

Conscious of the numerous reverses that had been suffered by government forces in previous clashes with the rebels (see the battles of Duck Lake, Fish Creek, and Cut Knife), Middleton approached Batoche with caution, reaching Gabriel's Crossing on 7 May and advancing within eight miles (13 km) of the town the following day. Middleton's plan rested on an encirclement strategy: as his main contingent advanced directly against Métis defensive lines, the steamboat Northcote, carrying some of Middleton's troops, would steam past the distracted defenders and unload fifty men at the rear of the town, effectively closing the pincer.

However, due to the difficulty of the terrain and Middleton's penchant for prudence, his force lagged behind schedule, and when the Northcote appeared adjacent to the town on 9 May it was spotted by Métis who had not yet come under artillery fire. Their small arms fire did little damage to the armoured ship, but they lowered Batoche's ferry cable, into which the Northcote steamed unsuspectingly, slicing off its masts and smokestacks. Crippled, the ship drifted harmlessly down the South Saskatchewan River and out of the battle.

Mission Ridge (9 May)
Ignorant of the Northcote fate, Middleton approached the church at Mission Ridge on the morning of 9 May in order to bring his plan into effect. Some Métis in two houses south of the church began firing at Boulton's Scouts (irregular Canadian cavalry), but artillery was brought up to shell the houses, one of which caught fire. The Métis sharpshooters fled toward the settlement. The troops advanced toward the church. As they approached the church and nearby rectory, they saw some people near those buildings whom they took to be the enemy. Second Lieutenant Arthur L. Howard, a Gatling gun expert on leave from the Connecticut National Guard, fired his Gatling gun at the rectory. Then a white flag was unfurled, Howard's firing stopped, and several priests, nuns, women and children came across the lines. Finding the mission occupied only by civilians, Middleton brought his artillery out onto the ridge and began shelling the town. The soldiers began advancing past the church, and got about half a kilometre before they came under heavy fire from both sides of the trail. The militia immediately took cover. Their enemies, hidden in well-constructed rifle pits, were invisible. One trooper later wrote: "[The militia was] down some distance apart from each other, firing at nothing, making guess shots and hearing the rebel bullets zip all round you, and the everlasting clack as the bullets struck the trees."

The now-dismounted irregular militia cavalry, Boulton's and French's Scouts, were deployed on the right. The 10th Royal Grenadiers, militia infantry from Toronto, were in the centre, with the 90th Winnipeg Rifles militia, and Howard and his Gatling on the left, to protect the artillery. The infantry of the Midland Battalion, militia from eastern Ontario, were kept in reserve near the church, which was now being used as a Canadian field hospital. A very dangerous situation developed when a group of Métis rushed the artillery. Only Howard's directing a heavy stream of Gatling fire at the attackers prevented a disaster. From these few minutes the frustrated soldiers got the only clear view of the Métis fighters that they were to have until the final moments of the battle, three days later.

After the attack was repulsed, the artillery was pulled back a couple of hundred meters, and the infantry and dismounted Scouts followed suit. The Métis then redeployed their men to try to outflank the militia, and heavy fighting ensued. After noon, the artillery was ordered forward again, and it began fruitlessly bombarding the invisible Métis rifle pits. The gunners were under heavy fire, in a very unsafe position. The Midlanders, who had been brought forward from the church, wanted to charge their unseen enemies, but were ordered not to by Middleton.

Throughout, the Gatling gun was used to good effect, providing covering fire for the withdrawal of cannon that had come under sniper fire, and dispersing another attempt by Gabriel Dumont to capture the guns. Canadian advances saw less success but were carefully conducted, keeping casualties to a minimum. A Métis attempt to surround the Canadian lines failed when the brushfires meant to screen the sortie failed to spread. At the end of the day, both sides held their positions at Mission Ridge. But Middleton, shaken by the fierce resistance, ordered the Canadian soldiers to retire to a zareba, a hastily improvised fortification about a mile from the Métis entrenchments, where the troops retired to sleep behind their network of improvised barricades.

Probing attacks (10 May to 11 May)
On 10 May, Middleton established heavily defended gunpits and conducted a devastating, day-long shelling of the town. Attempted advances, however, were turned back by Métis fire, and no ground was gained. The next day, Middleton gauged the strength of the defenders by dispatching a contingent of men north along the enemy's flank while simultaneously conducting a general advance along the front. Having redirected a portion of their strength to hold the northward flank, the Métis lacked the manpower to oppose the Canadian thrust, ceding ground with little resistance. Canadian soldiers ventured as far as the Batoche cemetery before turning back. Satisfied with his enemies' weakness, Middleton retired to sleep and contended to take the town in the morning.

Storming of Batoche (12 May)
By 12 May, Métis defences were in poor shape. Of the original defenders, three-quarters had either been wounded by artillery fire or were scattered and divided in the many clashes with the Canadians on the outskirts of the town. Those that still held their positions were fatigued and desperately short of ammunition. They resorted to hunting in the underbrush for bullets fired by government troops and firing them back and some fired nails and rocks, forks and knives, instead of bullets, out of their rifles. Middleton's attack plan on this day was designed to mirror the success of the previous day's flanking feint, with one column drawing defenders away to the north and a second, under Colonel Bowen van Straubenzee, assaulting the town directly. At first, on the morning of 12 May, Middleton's plan went awry. Van Straubenzee and his men did not attack, because the wind was blowing away from them and they did not hear the sound of the north column's gunfire. Middleton, who had been with the north column, returned to the camp in a rage because van Straubenzee had not attacked. He shouted abuse at van Straubenzee and the Canadian colonels, and stalked off to lunch.

The previous night, some of the senior Canadian officers, exasperated by Middleton's caution, had discussed undertaking a charge. Now van Straubenzee was more amenable to this, as well. After noon, the Midlanders and Royal Grenadiers moved forward again, to a point near the Batoche Cemetery. No one knows precisely who ordered the wild mass Canadian charge which now ensued. Firing at will, and cheering, the Midlanders and Grenadiers, aided by the Winnipeg 90th Rifles, rushed at the Métis rifle pits. Many of the Métis fighters were still out of position, having been drawn away from the cemetery and church to the north-east by Middleton's feint that morning. Ammunition on the Métis side was very low. Nevertheless, they resisted bravely, aided by sharpshooters firing from across the Saskatchewan River at the charging militiamen.

However, the charge was irresistible. Middleton ordered the rest of the troops to assist by covering the flank of the charging men. Howard and his Gatling were moved up. The charging militia stormed into the village of Batoche. Then their enemies rallied. Métis and First Nations who had been drawn away to the east by Middleton's feint in the morning now appeared, and commenced a heavy fire from rifle pits in brush near the village. A senior Canadian officer, Captain French, was killed as he fired from a second story window. But the artillery and the Gatling were brought up to break this new resistance. The last defenders of Batoche surrendered.

Straubenzee's soldiers charged into Batoche, driving the remaining Métis clear of the town.

Middleton's plan, plus an impetuous charge by Canadian militia had seen the last defenders overrun, and resistance at Batoche ended.

Aftermath
The Métis defeat at Batoche virtually ended the North-West Rebellion.

Louis Riel was captured and was hanged for treason in Regina on 16 November.

Gabriel Dumont fled to the United States, returning to Batoche in 1893. When he died, his body was buried there.

Poundmaker and Big Bear both were sentenced to prison terms.

Amnesty was granted for rank-and-file fighters. However several murders that had taken place outside the fighting were punished. The largest mass hanging in Canadian history took the lives of eight men in November 1885.

Middleton's forces proceeded north to Prince Albert, Saskatchewan and some portions were disbanded without delay and sent home in Eastern Canada.

Casualties
Middleton reported 8 deaths and 46 wounded on the Canadian side and 51 deaths and 173 wounded on the Métis side. Later, Father Vegreville's report claimed that the Métis loss was not as high as the Mission first reported to Middleton. Vegreville's report claimed that there were 16 Métis killed and between 20 and 30 wounded during the battle. Nine of the Métis killed in the battle were buried in the cemetery of Batoche. Eight were in a common grave.

Bell of Batoche
Following the battle, it is claimed that several Canadian soldiers from Millbrook, Ontario, seized the bell from the Batoche church and took it back to Ontario as a prize. The fate of the bell became an issue of longstanding controversy, involving several Métis organizations and the provincial governments of Ontario, Manitoba, and Saskatchewan. The Millbrook bell is now identified as the identical Bell of Frog Lake.

Legacy
In the spring of 2008, Tourism, Parks, Culture and Sport Minister Christine Tell proclaimed in Duck lake, that "the 125th commemoration, in 2010, of the 1885 Northwest Resistance is an excellent opportunity to tell the story of the prairie Métis and First Nations peoples' struggle with Government forces and how it has shaped Canada today."

Batoche, where the Métis Provisional Government had been formed, has been declared a national historic site. Batoche marks the site of Gabriel Dumont's grave site, Albert Caron's House, Batoche school, Batoche cemetery, Letendre store, Gabriel's river crossing, Gardepy's crossing, Batoche crossing, St. Antoine de Padoue Church, Métis rifle pits, and Canadian militia's battle camp.

Maps

 * Military Map Battlefield of Batoche
 * Military Map of Mission Ridge

 * Military Map of Batoche (Position May 9)
 * Military Map of Batoche Rifle Pits
 * Photo Collection (Glenbow Archives)

title: Battle of Batoche


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USCGC Triton

USCGC Triton may refer to:

 * Triton was a 165-foot cutter which operated out of Coast Guard Base 15 at Biloxi, Mississippi during what was referred to at the time as "the Prohibition War"—with operations against alcohol smugglers during Prohibition in the United States.
 * USCGC Triton (WPC-116), was a patrol boat commissioned in 1934 and served until 1967

title: USCGC Triton


text:
Andrea Thompson

Rebecca Andrea Thompson (born January 6, 1960) is an American actress, known for her roles on the television series Falcon Crest, Babylon 5, JAG, 24, and NYPD Blue.

Early life
Andrea Thompson was born January 6, 1960, in Dayton, Ohio. When she was six, her family moved to Australia. She left high school at 16, and after an extended period of travel, she moved to New York City. She began modeling and studied acting at the Strasberg Studio and the Herbert Berghof Studio under Uta Hagen.

Acting career
Thompson began her career as a voiceover artist, which continues today. Her first significant film role was in the 1987 film Wall Street. In 1989, she was cast on the soap opera Falcon Crest as the scheming Genele Ericson during the show's final season, and played photojournalist Maggie Dawson in the Season 3, Episode 2 of the series Quantum Leap. In 1991, she played Nurse Helen Caldwell in the comedy film Delirious. In 1993 she was cast on the science fiction television series Babylon 5 as telepath Talia Winters. Thompson left the series in the middle of its second season.

Thompson moved on to join the cast of JAG midseason as Commander Alison Krennick, an aide to the Judge Advocate General of the Navy and direct supervisor of Harmon Rabb. She was among several actors who left the show when it was canceled by NBC after one season before CBS picked it up. She then went on to play Detective Jill Kirkendall on four seasons of crime drama NYPD Blue, leaving in April 2000 to pursue a career in journalism.

Journalism career
Thompson started to prepare for her journalism career in 1999, by earning her GED and working for one year with Jack Hubbard, associate director of Stanford University's News Service and a veteran journalist of CBS News. During this time, she also took a writing seminar with KGO-TV's feature reporter Wayne Freedman. She began her work with CBS affiliate KRQE in Albuquerque, New Mexico, as a general assignment reporter for $26,000 per year.

Thompson joined CNN Headline News as an evening anchor in June 2001. CNN had laid off 400 of 4,000 employees in January, and was refocusing on personalities to draw in younger viewers. Her first words on-screen as reporter were "Hi, I'm Andrea Thompson, and unless you've been living in a cave, you probably already know that." Her hiring generated controversy in journalism circles, mostly because Thompson had just one year of journalism experience. Nude pictures and videoclips of Thompson taken from her 1980s-era movies also began circulating on the Internet, causing some embarrassment for CNN. Thompson left the network in March 2002. During an appearance in January 2003, she made a statement indicating she left CNN because she disagreed with the way the news was handled, "Basically... you just give the viewers enough to scare the hell out of them, and not any real valuable information. And we saw so much of that after Sept. 11 that I thought was, frankly, irresponsible."

After leaving CNN, she went to work for Court TV, introducing episodes of NYPD Blue and Forensic Files, as well as narrating the documentary series The System. She began hosting Psychic Detectives in 2003.

Return to acting
Thompson had a recurring guest role as Doctor Nicole Duncan on the third season of the television series 24, first appearing on that show in November 2003.

In 2007, she appeared in season two of Bones in the episode "Spaceman in a Crater".

In 2009, she played Field Agent Anne Hudson in "Outfoxed", a season five episode of the series Criminal Minds.

Personal life
Thompson was married to David Guc from 1987 to 1990, and to Babylon 5 costar Jerry Doyle from 1995 to 1997. In 1992 she gave birth to a son.

title: Andrea Thompson


text: User talk:80.137.23.205

title: User talk:80.137.23.205


text: Template:Canadian aerobatic teams

title: Template:Canadian aerobatic teams


text: User talk:69.132.113.108

title: User talk:69.132.113.108


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Talk:Long-running musical theatre productions

This list was moved from Musical theater. This list needs to be wikified! --Samuel Wantman 23:11, 16 Dec 2004 (UTC)

Criteria for inclusion
What are the criteria for inclusion on this list? Instead of "notable", which has a pretty low bar on Wikipedia, what if we say "important"? Here's a For instance: Flower Drum Song. Sure, it's "notable", but it's not particularly important in the development or history of the musical. But it's an "also ran" compared to most other R&H musicals. It's less interesting as an "Asian" musical than, say, "Pacific Overtures" or even "M" Butterfly. I say, cut FDS. Fantasticks wasn't on the list. I added it.

What about: Can we arrive at a consensus on what ought to be on or off the list? --Ssilvers 08:40, 15 July 2006 (UTC)
 * "The Mystery of Edwin Drood"? That's an interesting musical because of the audience voting alone.
 * "Little Shop of Horrors", where stuff comes out of the ceiling at you? People were freaked out!
 * "Urinetown"? It took cajones to try to sell a musical called Urinetown.
 * Cinderella - Was supposed to be a one-off TV program, but Julie Andrews made it a big hit

 * According to IBDB the musical Mamma Mia! has run for 1,998 performances (as of August 18, 2006, it's still going) which would place it at number 22. It makes me wonder how the list was compiled and if there are many others that are missing.  I know IBDB.com is reliable for the number of performances, so I'll dig around on that site to try and find if they have a resource that would be helpful in verifying the current list.  Lmr5069 07:37, 18 August 2006 (UTC)

 * I have cut down the list of longest running B'way musicals so that the cutoff is 2,500 performances, and I ADDED to it the longest running London musicals. Meanwhile, I MOVED into the list of "other" notable musicals some of the most notable ones that I removed from the longest-running list.  However, I think that 1. There are many very important shows (see above) that are not on the list, and I will try to add some; 2. We need to cut some out of the list, as not being "particularly" notable, as compared with the others (I cut a few); and 3. We need to add referenced reasons to each entry to explain why it is particularly notable.  -- Ssilvers 05:04, 8 October 2006 (UTC)

Why not jsut make a seperate page for the West End becasue I really jsut want to see New York's performance numbers.
 * To see the NY numbers, just click here, which is one of the external links at the bottom of the article. That website is frequently (weekly?) updated.  -- Ssilvers 02:36, 20 October 2006 (UTC)

Separation
Because Broadway and the West End are so different, shouldn't we have different pages or at least different sections or lists for Broadway and West End Shows?

Agreed. [Added by anonymous user: 218.186.8.10]

Disagree: How are they different? -- Ssilvers 15:33, 1 February 2007 (UTC)
 * Completely separate economics between the two cities makes a direct comparison invalid. It costs more to put on a show on Broadway because of higher rents (a smudge fewer Broadway theatres and more shows that never close) and higher salaries for ensemble, stagehands and other crew members. This results in a higher "nut" (ongoing running costs) as well as initial investment, which means it's harder for a show to make money on Broadway, which leads to shorter runs before the producers give up and write off the loses. Frankly, this list is an apples and oranges situation. The separate lists are more significant. oknazevad (talk) 15:33, 4 March 2017 (UTC)

 * I think you doth protest too much. But in any case, we have both the separate lists, and the combined one.  Best of both worlds. -- Ssilvers (talk) 02:04, 5 March 2017 (UTC)

A Little Help, Please?
We need to say something about each show (other than the ones on the longest-running list) to explain why it is particularly notable, such as listing very popular numbers, and noting if it is very frequently revived or any other items that make it notable. Also, some shows still need composer and author info. -- Ssilvers 05:44, 27 October 2006 (UTC).

Huh...?
This list doesn't make any sense at all. If the production is notable, then it's in Wikipedia, and this list is redundant. If it is remarkable for some other reason, that reason is mentioned on the specific article. If someone wants to know specifics about long-running musicals, there are sources for that elsewhere. This list is "hey, put the show you like on this list!" I'll probably nominate this for deletion. — Music Maker  03:46, 19 June 2007 (UTC)

 * I wish you wouldn't. I find this list very useful.  It is a list of historically important musicals.  I constantly refer to it for a whole variety of purposes.  If you look at WP:LIST, this satisfies all three purposes for lists.  It is an *informative* annotated list; it helps me *navigate* by giving me a list of super important musicals when I am looking for examples from important musicals, or tony-award winners, or Olivier award winners, or long-runners - it's just incredibly useful; and it helps me *develop* articles, when I am looking to work on, or start with the most significant musicals.  -- Ssilvers 03:53, 19 June 2007 (UTC)

 * Super important? And who makes the determination of what qualifies as super important?  This entire list is POV.  —  Music Maker  05:09, 19 June 2007 (UTC)

 * If each production had an explanation of what it was notable for, with a citation saying as much, this could solve the POV problem. As it is now, the list is uncited, and I will tag it as such. I don't think it should be deleted, it can be fixed. -- ☑ Sam uelWantman 05:15, 19 June 2007 (UTC)

I agree. I'll work on this. Note however, that most of the entries on the (bottom half of the) list are justified by the criteria of having won the Tony Award for Best Musical or the Olivier Award for Outstanding New Musical. I don't think we need multiple cites to the Tony Awards and Olivier Awards websites. If anyone wants to help, by the way, I would welcome the help. Best regards, -- Ssilvers 05:59, 19 June 2007 (UTC)

 * Perhaps, then, a little organization is in order. The top of the list is ranked, but it doesn't seem to me to be ranked in any objective manner -- why should Les Mis be above Phantom?  One is the longest-running in London, the other in New York.  Les Mis has a handful more performances than Phantom, but Phantom's aggregate number is higher and still growing on both sides of the Atlantic.  If the aggregate number is used, then Cats should be above Les Mis....  If we use the total, then we run into a problem with Chorus Line, which had only modest success in London.  See my point?

 * It's very simple: It is the longest run on EITHER B'way or West End. It is in order by the longest runs, period on either major venue.  If you really want to separate it by NY/London, we can do it, but see below.  -- Ssilvers 06:25, 19 June 2007 (UTC)

 * But doing that artificially inflates the reputations of some shows. Blood Brothers, when compared to the London run, was a complete flop in New York.  Maybe we can average the two numbers?  And why is The Fantasticks not on the list at all?  It wasn't on Broadway, but, the fact that it ran for 30 years is HUGE -- if we're talking about "notable musical theatre productions" it should be at the top of the list as the longest-running musical in theater history.  Anywhere.  See what I mean by this entire endeavor being completely subjective?  —  Music Maker  09:22, 19 June 2007 (UTC)

 * Then, perhaps it would be a good idea to organize the other shows chronologically under headings like "Tony Award for Best Musical Winners and Nominees" or Olivier awards or whatnot. -- MusicMaker

 * Why split things up geographically? Shows play in various venues, so by mixing the US and Brit shows (and in some cases a US show had a longer run in the West End, or vice versa), it gives a more worldwide perspective.  I think, from your comments, you seem to be buying into the rivalry between NY and London, and I am trying to minimize it.  -- Ssilvers 06:25, 19 June 2007 (UTC)

 * I'm definitely not buying into rivalry, indeed, across WP, I'm trying to minimize it. But, the only way to do that is to look at the show AS A WHOLE rather than any specific production.  The suggestion of splitting things up by Tony, etc. is just a way to organize them.  —  Music Maker  09:22, 19 June 2007 (UTC)

 * I understand that the list is good as a resource (I had no idea PDQ Bach wrote Oh! Calcutta!), but without any actual reasons to include or disinclude certain things, it just becomes listcruft. —  Music Maker  06:18, 19 June 2007 (UTC)

 * I think that there are very good reasons why every member of the list is there, but I agree that they need to be stated clearly. It's just a lot of work, and I am asking you to be patient, or help me, or both.  I certainly have been trying to be helpful to you guys with your new projects here.  Best regards, -- Ssilvers 06:25, 19 June 2007 (UTC)

I won't nominate it as long as we start getting it to something... you know... good. And I'll certainly help. But, frankly, your entire argument amounts to "it needs some work, but this is the best it can be". If that's true, this thing has to go. I think, if we're gonna keep it, we need to do a little thinking outside of the box as to how we're going to do it. I'm going to leave it alone for now, as there are a couple other WPMT-related tasks I want to get through (orphaning infobox 2, going thru the categories, afding a lotta crap thats out there...) Once I'm done with all that, if you have some organizational system to implement, I'll help, and I'll be happy to give imput along the way. Maybe a table would help. We could just alphabetize the articles, number of shows for each production on either side of the Atlantic, it's rank, etc.... I know markup scares you, but hit my talk page with a list of columns you'd want to see represented, and I'll see what we can do. — Music Maker  09:22, 19 June 2007 (UTC)

 * I think that this list is important and we should work on finding a way so format it that everyone agrees on. It's an interesting overview on the development of musical theatre.  The genre has gone through many changes over the last hundred years in a way, illustrates that.  I think it would be good to discuss specific criteria for inclusion/exclusion. That's my two cents. --Broadwaygal 14:16, 19 June 2007 (UTC)

Non Broadway/West End; Title of entry
Surely Broadway and the West End are not the only places on the planet that produce musicals? Has no-one ever performed a musical in Paris or Berlin or Las Vegas? What is the longest running musical outside of NY/London? — Preceding unsigned comment added by 31.221.13.140 (talk) 11:46, 9 October 2012 (UTC)
 * i agree. Can't the title and/or the introduction be changed to reflect the content (or the content be changed to reflect the title)? Kdammers (talk) 00:37, 19 October 2014 (UTC)
 * The introduction does reflect the content. As for the title, Broadway and the West End are the two biggest musical theatre markets in the world, by a long way, so, practically speaking, the title is accurate enough. But if lots of editors want to add "on Broadway and in the West End" we could do so. I vote to leave the title as is. -- Ssilvers (talk) 05:05, 19 October 2014 (UTC)
 * The introduction does in a sense reflect the content but not the title. I know it's kind of like comparing apples to orangutans, but   The World Encyclopedia of Contemporary Theatre: Europe gives 28 million attendees to theatre in Germany in the '90s and the West End itself only gives 15 million for last year (http://www.westendframe.com/2014/01/society-of-london-theatre-reports.html) and 22 million for all of London (http://www.dailymail.co.uk/news/article-2711356/More-theatres-London-ALL-Premier-League-games.html).  OK, Bw & WE might be the behemoths, but  Berlin, Seoul, LV, LA and other cities are theatrical presences.  So let's change the title or the content. Kdammers (talk) 13:07, 21 October 2014 (UTC)
 * Done. BTW, does The World Encyclopedia of Contemporary Theatre: Europe tell us what the most popular and/or long-running musicals have been on continental Europe? If so, could you beef up the third paragraph of this discussion?  -- Ssilvers (talk) 14:45, 21 October 2014 (UTC)

 * I see that someone has moved it back to the previous name. I have no objection. -- Ssilvers (talk) 17:57, 17 February 2015 (UTC)

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text: User talk:82.42.166.48

title: User talk:82.42.166.48


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Talk:Cosmo's Cosmic Adventure

Thank you, you guys, I am sort of new to Wikipedia and sometimes I don't know how to format pages.

Only ten levels
In a part of the article, it said each episode had "10 or 11" levels, but no, each one only have 10 levels, and the final scene of episode 1 does not count, it's only an epilogue. 200.71.186.240 00:48, 18 September 2007 (UTC)

Duke Nuk?m
Should we call him Duke Nukem or Duke Nukum?

At the time when Cosmo was made, he was called Nukum. But now everybody knows him as Nukem. Calvero2 15:10, 13 October 2006 (UTC)

 * The original, real, and final name is Duke Nukem. It was called Nukum for a time (but originally it was still Nukem), but I don't think that matters much. I think the real character and game name should be used, Nukem. The commentary and reference there are enough.Sega381 15:43, 13 October 2006 (UTC)

Unreferenced?
I'm not sure why this article is marked as unreferenced. What reference does it need (as of now, considering the information it has) but the game itself? I thought that non-verifiable things needed referecing, not easily verifiable ones. And if there is something that needs a reference, it should be marked as such. Otherwise, I think the tag should be removed.Sega381 20:17, 29 January 2007 (UTC)

Fair use rationale for Image:Cosmo.gif
Image:Cosmo.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 21:24, 2 June 2007 (UTC)

 * Done. Sega381 17:41, 3 June 2007 (UTC)

title: Talk:Cosmo's Cosmic Adventure


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User:Chestnut~enwiki

Perhaps my contributions will be looked upon in the future as "Chestnuts," rather than just nutty (or things I was just getting off my chest).

title: User:Chestnut~enwiki


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Arbën Xhaferi

Arbën Xhaferi (24 January 1948 – 15 August 2012) was a Macedonian politician of Albanian origin. He was born in Tetovo, Yugoslavia, modern day North Macedonia and died in 2012 at the Skopje Hospital, Macedonia, after a cerebral hemorrhage. Xhaferi was president of the Democratic Party of Albanians, an ethnic Albanian political party in Macedonia, and was an advocate of rights for ethnic Albanians in the country. He is best known for calling for a change in the Preamble of the Constitution. He published two works focusing on the Albanians in Macedonia, "The DPA Non-Paper", and "The Challenges of Democracy in Multiethnic States," reiterating the beliefs of the PDPA.

Early life and professional career
Xhaferi passed most of his life in Pristina. He returned to the biggest Albanian Party, the Party for Democratic Prosperity in years of big contradictions, which ended with the division of this party. From this party came the Albanian Democratic Party, led by Xhaferi until 2007, when he became an honorary leader.

title: Arbën Xhaferi