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Toyota Motor North America

Toyota Motor North America (TMNA) is the operating subsidiary that oversees all operations of the Toyota Motor Corporation in Canada, Mexico, and the United States. Its operations include research and development, manufacturing, sales, marketing, after sales and corporate functions, which are controlled by TMNA but sometimes executed by other subsidiaries and holding companies. The company is headquartered in Plano, Texas, with offices in several locations including Georgetown, Kentucky, Ann Arbor, Michigan, Washington, D.C., and New York City.

Toyota’s operations in North America began on October 31, 1957, and today's Toyota Motor North America was established in 2017 from the consolidation of three companies: Toyota Motor North America, Inc., which controlled Toyota’s corporate functions; Toyota Motor Sales, U.S.A., Inc. which handled marketing, sales, and distribution in the United States; and Toyota Motor Engineering & Manufacturing North America which oversaw operations at all assembly plants in the region. While all three companies continue to exist in legal name, they operate as one company out of one headquarters campus.

Beginnings in North America (1957–1979)
In August 1957, Toyota sent three employees to the United States to show off the company's new car, the Toyopet Crown to car dealers and the media to gauge interest in expanding sales overseas. The vehicle received positive reviews, with media outlets praising the vehicle for having 50% thicker steel than the average American car at the time and the black Deluxe model for being nicely appointed with lots of chrome and luxurious items like a radio, heater and whitewall tires which prompted the press to liken it to a "baby Cadillac". But Toyota knew from testing that the vehicle, designed for the muddy, slow, unpaved roads of Japan, had serious high-speed performance issues. When the Crown was driven on a highway, the engine suddenly began making loud noises and output dropped. But the promising initial showing, along with the strong reputation of the Crown in Japan gave Toyota a false sense of confidence and the company started to pursue exports to the United States.

Toyota’s operations in North America officially began on October 31, 1957 with the establishment of Toyota Motor Sales, U.S.A., Inc. (TMS) which oversaw sales, marketing, and distribution of Toyota’s vehicles in the United States. The fledgling company's headquarters was located in a former Rambler dealership in Hollywood, California with a warehouse near the harbor where vehicles would be imported in Long Beach, California. Sales started on July 10, 1958, and by the end of the year, the company sold 287 Toyopet Crown sedans and one Toyota Land Cruiser.

The company faced problems almost immediately. American automakers saw the increase in sales of imported compact cars and launched several compact cars from the autumn of 1959, including the Chevrolet Corvair, Ford Falcon, and Chrysler Valiant. As a result, sales of imported European cars plunged and the Crown was a flop with buyers finding it underpowered (due to the known high-speed performance issues) and overpriced. In response, exports of the Crown to the United States were suspended in December 1960. However, the Land Cruiser gained a following, allowing the company to make a profit in 1961, but there was not yet a major market for sport-utility vehicles in the United States.

The company's first major success in the United States came in 1965 with the Toyota Corona compact car, which was redesigned specifically for the American market with a more powerful engine, factory-installed air conditioning and an automatic transmission. The Corona helped increase U.S. sales of Toyota vehicles to more than 20,000 units in 1966 (a threefold increase) and helped the company become the third-best-selling import brand in the United States by 1967. In 1968, the Toyota Corolla subcompact car was introduced to the United States and would go on to become the world’s all-time best-selling automobile. This success led Toyota to establish a more permanent presence in North America, opening a headquarters building in Torrance, California, south of Los Angeles in February 1967. The energy crisis of the 1970s was a major turning point in the American auto industry. Before the crisis, large and heavy vehicles with powerful but inefficient engines were common. But in the years after, consumers started demanding high-quality and fuel-efficient small cars. Domestic automakers, in the midst of their malaise era, struggled to build these cars profitably, but foreign automakers like Toyota were well positioned. This, along with growing anti-Japanese sentiment, prompted the U.S. Congress to consider import restrictions to protect the domestic auto industry.

Toyota’s first manufacturing investment in the United States came in 1972 when the company struck a deal with Atlas Fabricators, to produce truck beds in Long Beach, in an effort to avoid the 25% "chicken tax" on imported light trucks. By importing the truck as an incomplete chassis cab (the truck without a bed), the vehicle only faced a 4% tariff. Once in the United States, Atlas would build the truck beds and attach them to the trucks. The partnership was successful and two years later, Toyota purchased Atlas (which had been financially struggling) and it would eventually be renamed Toyota Auto Body California (TABC) as part of the company's Toyota Auto Body manufacturing subsidiary.

Toyota also began designing automobiles and conducting research and development in the United States in the 1970s to better understand and reflect the tastes of American consumers. Calty Design Research was established in California in 1973 and Toyota Technical Center, U.S.A. (TTC, later renamed TMNA R&D) was established in 1977 in the town of Ann Arbor, Michigan, not far from Detroit, the center of automobile manufacturing in the United States.

Investing in America (1980–1989)
After the successes of the 1970s, and the threats of import restrictions, Toyota started making additional investments in the North American market in the 1980s. In 1981, Japan agreed to voluntary export restraints, which limited the number of vehicles the nation would send to the United States each year, leading Toyota to establish assembly plants in North America. The U.S. government also closed the loophole that allowed Toyota to pay lower taxes by building truck beds in America. Despite those challenges, Toyota also expanded its headquarters in Torrance, California into a larger campus of buildings in 1982, as the company marked 25 years in America.

Efforts to open a Toyota assembly plant in the United States started in 1980, with the company proposing a joint-venture with the Ford Motor Company. Those talks broke down in July 1981. Eventually in 1984, the company struck a deal with General Motors (GM) to establish a joint-venture vehicle manufacturing plant called NUMMI (New United Motor Manufacturing, Inc.) in Fremont, California. GM saw the joint venture as a way to get access to a quality small car and an opportunity to learn about the Toyota Production System and The Toyota Way, a series of lean manufacturing and management philosophies. For Toyota, the factory gave the company its first manufacturing base in North America allowing it to avoid any future tariffs on imported vehicles and saw GM as a partner who could show them how to navigate the American labor environment. The first Toyota assembled in America, a white Corolla, rolled off the line at NUMMI on October 7, 1986. In 1991, Toyota started building pickup trucks at NUMMI, allowing the company to completely avoid the chicken tax.

Toyota took the lessons it learned from NUMMI and went onto establish the wholly-owned Toyota Motor Manufacturing USA (later renamed Toyota Motor Manufacturing Kentucky) and Toyota Motor Manufacturing Canada plants in 1986. The Kentucky plant was Toyota's largest manufacturing facility in the world, a title it continues to hold and the Canadian operation would later expand to three separate plants that comprise Toyota's second largest manufacturing facility.

Before the decade was out, Toyota introduced Lexus, a new division that was formed to market and service luxury vehicles in international markets, including North America. Prior to the debut, Toyota's two existing flagship models, the Crown and Century, both catered exclusively for the Japanese market and had little global appeal that could compete with international luxury brands such as Mercedes-Benz, BMW and Jaguar. The company had been developing the brand and vehicles in secret since August 1983, at a cost of over US$1 billion. The LS 400 flagship full-size sedan debuted in 1989 to strong sales, and was largely responsible for the successful launch of the Lexus marque.

Manufacturing expansion (1990–2009)
In 1990, Toyota purchased Bodine Aluminum (later renamed Toyota Motor Manufacturing Missouri and Toyota Motor Manufacturing Tennessee) which had three plants in St. Louis and Troy, Missouri, and Jackson, Tennessee to produce cast aluminum engine components for use in other manufacturing facilities. In 1996, the company established two more manufacturing facilities: the Toyota Motor Manufacturing Indiana assembly plant in Princeton, Indiana and the Toyota Motor Manufacturing West Virginia engine and transmission plant in Buffalo, West Virginia. At the same time, the automaker also created the Toyota Motor Manufacturing North America (TMMNA) subsidiary in Erlanger, Kentucky to oversee all Toyota manufacturing operations in North America.

Toyota Motor Manufacturing Alabama, another engine plant was established 2001 in Huntsville, Alabama.

Next, Toyota shifted to expanding its truck producing capacity, building two specialized assembly plants. Toyota Motor Manufacturing de Baja California was established in Tijuana in 2002, becoming the company's first assembly plant in Mexico, which was followed by Toyota Motor Manufacturing Texas in San Antonio in 2003.

TMMNA would merge with the Toyota Technical Center, U.S.A. (TTC) research and development subsidiary in April 2006 to form Toyota Motor Engineering & Manufacturing North America, Inc. (TEMA).

Another assembly plant, Toyota Motor Manufacturing Mississippi was established in Blue Springs, Mississippi in 2007.

Toyota in North America today
The NUMMI plant was closed in March 2010, after GM pulled out of the joint venture amid a Chapter 11 bankruptcy reorganization. It marked the first time the company had ever closed a factory. The plant was Toyota's only unionized plant in the U.S. and the company said that it was no longer economical to have a plant so far away from the supplier lines it had established in the Midwest.

The current Toyota Motor North America company was established in 2017 as part of the "One Toyota" initiative, TMS and TEMA combined with Toyota Motor North America, Inc. (TMA), which controlled Toyota’s corporate functions, to form Toyota Motor North America. While the three companies continue to exist in legal name, they operate as one company out of one headquarters campus in Plano, Texas. Toyota continues to operate research and design centers in Michigan and in October 2017 opened a new Production Engineering and Manufacturing Center (PEMC) in Georgetown, Kentucky, to serve as the go-between for design and manufacturing.

Toyota opened its second assembly plant in Mexico in 2019, Toyota Motor Manufacturing de Guanajuato located in Apaseo el Grande, which would also specialize in producing pickup trucks.

Subsidiaries and related operations

 * Toyota Motor North America, Inc. (TMNA) – Operating subsidiary that oversees all operations of the Toyota Motor Corporation in Canada, Mexico, and the United States. Began operations in 2014 and headquartered in Plano, Texas.
 * Toyota Motor North America, Inc. (TMA NY & DC) – Legal holding company for Toyota's U.S.-based sales and manufacturing operating units. Began operations in 1996, with offices in New York City and Washington, D.C.
 * Toyota Motor Sales, USA, Inc. (TMS USA) – Legal subsidiary for the distribution of new vehicles in the United States through a network of over 1,200 Toyota dealers and over 200 Lexus dealers.
 * Toyota Canada Inc. (51%) – Legal subsidiary for the distribution of new vehicles in Canada through a network of 287 Toyota and Lexus dealers. Established in 1964 and headquartered in Toronto, Ontario. Toyota has 51% ownership and Mitsui & Co. holds the other 49%.
 * Toyota de Puerto Rico, Corp. (TdPR) – Legal subsidiary for the distribution of new vehicles in Puerto Rico through a network of 24 Toyota dealers and two Lexus dealers. Established in 1994 and headquartered in San Juan, Puerto Rico.
 * Toyota Motor Sales de México, S. de R.L. de C.V. (TMEX) – Legal subsidiary for the distribution of new vehicles in Mexico through a network of 68 dealers. Established in 2002 and headquartered in Mexico City, Mexico.
 * Toyota Financial Services – Offers auto sales financing and leasing through subsidiaries Toyota Motor Credit Corporation (USA), Toyota Credit Canada, Inc. and Toyota Financial Services México, S.A. de C.V. (TSM). Headquartered in Plano, Texas, Markham, Ontario and Mexico City, Mexico.
 * Toyota Motor Engineering & Manufacturing North America, Inc. (TEMA) – Legal subsidiary for the engineering and manufacturing of new vehicles in North America. (See tables below for subsidiaries that fall under TEMA.)
 * Toyota Logistics Services, Inc. (TLS) – Subsidiary that handles the logistics of finished vehicles from manufacturing facilities to ports for distribution to dealers or to other countries. TLS also operates an in-house auto trucking company, Toyota Transport, in Arizona, California, and Oregon.
 * Service Parts and Accessories Operations (SPA) – Subsidiary that manages the parts supply chain and distribution network. Headquartered in Torrance, California with an additional redistribution center in Kentucky that supplies parts to 12 regional parts distribution centers.

Manufacturing
Toyota Motor North America operates several manufacturing facilities in North America through its Toyota Motor Engineering & Manufacturing North America, Inc. (TEMA) subsidiary.

Engineering, research and development

 * Calty Design Research – Design studio established in 1973 with facilities in Newport Beach, California, Ann Arbor, Michigan and San Francisco (Toyota Innovation Hub) that provides interior and exterior styling proposals for future Toyota vehicles.
 * Toyota Canada Cold Research Centre – Test facility located in Timmins, Ontario. Toyota’s first cold-weather facility outside of Japan, tests the operation of Toyota global products in sub-zero conditions
 * Toyota Motor North America, Research and Development (TMNA R&D) – Research and development unit established in 1977 headquartered Saline, Michigan with locations in Ann Arbor, Michigan, Gardena, California and a proving grounds in Arizona that conducts engineering design, prototype building, and testing of vehicles, parts and materials for Toyota's North American vehicles.
 * Toyota Racing Development U.S.A. (TRD U.S.A.) – Automotive racing design, development and manufacturing unit established in 1979 and headquartered in Costa Mesa, California with NASCAR support operation in Salisbury, North Carolina.
 * Toyota Info Technology Center, U.S.A. – Technology research and development unit established in 2001 headquartered Mountain View, California with a branch office in New York that evaluates and develops new in-car technology.

Products
In North America, Toyota sells a wide range of vehicles, including sedans, pickup trucks, a minivan, sport utility vehicles, and crossover SUVs.

title: Toyota Motor North America


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Edward G. Coffman Jr.

Edward Grady "Ed" Coffman Jr. is a computer scientist. He began his career as a systems programmer at the System Development Corporation (SDC) during the period 1958–65. His PhD in engineering at UCLA in 1966 was followed by a series of positions at Princeton University (1966–69), The Pennsylvania State University (1970–76), Columbia University (1976–77), and the University of California, Santa Barbara (1977–79). In 1979, he joined the Mathematics Center at Bell Laboratories where he stayed until his retirement as a Distinguished Member of Technical Staff 20 years later. After a one-year stint at the New Jersey Institute of Technology, he returned to Columbia University in 2000 with appointments in Computer Science, Electrical Engineering, and Industrial Engineering and Operations Research. He retired from teaching in 2008 and is now a professor emeritus still engaged in research and professional activities.

Research
Coffman is best known for his seminal research together with his international collaborations, measured in part by some 150 co-authors in his collection of publications. His work can be found in over 180 articles in technical journals devoted to original research contributions. He published 4 graduate-level text books, and papers in the proceedings of some 250 conferences and workshops, most of these being preliminary versions of journal articles. In his research, Coffman has been a generalist following many parallel paths in engineering and applied mathematics. The directions he has taken have drawn on the tools of combinatorial optimization and the theory of algorithms, along with those of applied probability and stochastic processes. The processes studied include those in the theories of scheduling, bin packing, sequential selection, graphs, and dynamic allocation, along with those in queueing, polling, reservation, moving-server, networking, and distributed local-rule systems (e.g. cellular automata). His contributions have been divided between mathematical foundations and the design and analysis of approximation algorithms providing the basis for engineering solutions to NP-hard problems. Computer and network engineering applications have been broad in scope; a partial list includes research addressing problems in the scheduling and storage allocation functions of computer operating systems, storage architectures, data structures, computer timing problems such as deadlocks and synchronization, Internet congestion, peer-to-peer file sharing networks, stream merging, self-assembly processes of molecular computing, minimalist algorithms in sensor networks, optical burst switching, and dynamic spectrum management in cognitive networks. The list expands greatly when including the myriad applications in industrial engineering and operations research of Coffman's research in scheduling and bin-packing theory in one and two dimensions. As of 11 November 2015, his works have been cited 13,597 times, and he has an h-index of 55.

Coffman has been active professionally serving on several editorial boards, dozens of technical program committees, setting research agendas in workshops of the National Research Council, co-founding the Symposium on Operating Systems Principles, and the special interest groups on performance evaluation of both ACM and IFIPS.

Selected publications

 * 1964, with Jules Schwartz and Clark Weissman. "A General Purpose Time-Sharing System".  Spartan Books.
 * 1973, with Peter Denning. Operating Systems Theory.  Prentice-Hall.
 * 2022, with Lycee Pierre de Fermat. Prof de NSI.  Bernard ONNO.

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

title: Edward G. Coffman Jr.


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Cinderella (Rodgers and Hammerstein musical)

Rodgers and Hammerstein's Cinderella is a musical written for television, but later played on stage, with music by Richard Rodgers and a book and lyrics by Oscar Hammerstein II. It is based upon the fairy tale Cinderella, particularly the French version Cendrillon, ou la petite pantoufle de verre ("Cinderella, or The Little Glass Slipper"), by Charles Perrault. The story concerns a young woman forced into a life of servitude by her cruel stepmother and self-centered stepsisters, who dreams of a better life. With the help of her fairy godmother, Cinderella is transformed into a princess and finds her prince.

Cinderella is the only Rodgers and Hammerstein musical written for television. It was originally broadcast live in color on CBS on March 31, 1957, as a vehicle for Julie Andrews, who played the title role. The broadcast was viewed by more than 100 million people. It was subsequently remade for television twice, in 1965 and 1997. The 1965 version starred Lesley Ann Warren and Stuart Damon. The 1997 version starred Brandy Norwood in the title role, with Whitney Houston as the fairy godmother. Both remakes add songs from other Richard Rodgers musicals.

The musical has been adapted for the stage in a number of versions, including a London West End pantomime adaptation, a New York City Opera production that follows the original television version closely, and various touring productions. A 2013 adaptation on Broadway starred Laura Osnes and Santino Fontana, with a new book by Douglas Carter Beane.

History
In the 1950s, television adaptations of musicals were fairly common. Broadcast versions of Annie Get Your Gun, Wonderful Town, Anything Goes and Kiss Me, Kate were all seen during the decade. In 1955, NBC had broadcast the Broadway musical Peter Pan, starring Mary Martin. It was a hit, and the network looked for more family-oriented musical projects. Richard Rodgers had previously supplied the Emmy Award-winning score for Victory at Sea, a documentary series about World War II. NBC approached Rodgers and Hammerstein and asked them to write an original musical expressly for television (rather than merely adapting an existing one to the television special format), then a novel idea. The team decided to adapt the fairy tale Cinderella and, new to television, they sought the advice of an industry insider, Richard Lewine. Lewine was then the Vice President in charge of color television at CBS and a cousin of Richard Rodgers. He told Rodgers and Hammerstein that CBS was also seeking a musical project and had already signed Julie Andrews, who was then starring in My Fair Lady on Broadway. Rodgers recalled, in his autobiography: "What sold us immediately was the chance to work with Julie." Rodgers and Hammerstein signed with CBS.

Rodgers and Hammerstein retained ownership of the show and had control over casting, direction, set and costumes, while CBS controlled the technical aspects of the broadcast and had an option for a second broadcast. CBS announced the production on September 5, 1956. In adapting the famous fairy tale, "Rodgers and Hammerstein stayed faithful to the original Charles Perrault" version. Hammerstein was interviewed by the Saturday Review about the adaptation: "We want the kids who see it to recognize the story they know. Children can be very critical on that score. But, of course, their parents will be watching too, so we have tried to humanize the characters without altering the familiar plot structure." The musical had to fit into the 90-minute program with six commercial breaks, so it was divided into six short acts. In an interview with Time magazine, Hammerstein said that "It took me seven months to write the book and lyrics for Cinderella".

Rehearsals started on February 21, 1957. Emmy Award-winning director Ralph Nelson and choreographer Jonathan Lucas, who had choreographed for The Milton Berle Show, were both experienced with musical material on television. Rodgers' friend, Robert Russell Bennett, provided the orchestrations. Alfredo Antonini, a veteran with CBS, conducted. In early March, the company moved to CBS Television Color Studio 72, the first CBS-TV color studio in New York and the smallest color studio in the CBS empire at the time. The 56 performers, 33 musicians and 80 stagehands and crew worked crammed into the small studio together with four giant RCA TK-40A color TV cameras, a wardrobe of up to 100 costumes, over half a dozen huge set pieces, and numerous props and special effects equipment. The orchestra played in a small room with special equipment to overcome the suppressed acoustics. CBS invested in a massive marketing campaign, as did the sponsors. Ed Sullivan also promoted the show, which would be seen in his usual Sunday night time slot, with an appearance by Richard Rodgers and Oscar Hammerstein II on the previous Sunday.

Act I
In the village square, the Town Crier proclaims: "The Prince Is Giving a Ball" to celebrate Prince Christopher's 21st birthday. The ladies of the kingdom are thrilled at the prospect of meeting him. Cinderella, whose father has died, takes care of the home of her ill-tempered and selfish stepmother and two stepsisters. She carries all of their shopping parcels for them, and when they return home, all three order Cinderella about. Left alone in her corner near the fire, she dreams of living an exotic life as a princess or anything other than a servant ("In My Own Little Corner"). Meanwhile, the King and Queen get ready for the big celebration ("Royal Dressing Room Scene") and the servants discuss the planning for the feast ("Your Majesties"). They hope that their son will find a suitable bride, but the Prince is a bit apprehensive about meeting all the eager women of the kingdom. The Queen is touched by overhearing the King's discussion with his son and tells him she loves him ("Boys and Girls Like You and Me" [sometimes omitted, not sung in any of the telecasts]).

As Cinderella's stepsisters get ready for the Ball, hoping that they will catch the Prince's eye, they laugh at Cinderella's dreams. After they leave Cinderella imagines having gone with them ("In My Own Little Corner" (reprise)). Cinderella's Fairy Godmother appears and is moved by Cinderella's wish to go to the Ball. She transforms Cinderella into a beautifully gowned young lady and her little mouse friends and a pumpkin into a glittering carriage with footmen ("Impossible; It's Possible"); Cinderella leaves for the Ball.

Act II
Cinderella arrives at the palace at 11:30; before she enters, her Godmother warns her not to stay past midnight. The Prince is bored by the attention of all the young ladies with whom he has had to dance, including the stepsisters. Cinderella's grand entrance immediately attracts everyone's attention and intrigues the Prince. They dance together and instantly fall in love ("Ten Minutes Ago"). Seeing the Prince with a beauty whom they do not recognize, the stepsisters ask why he wouldn't prefer a "usual" girl like them ("Stepsisters' Lament"). As the Prince and Cinderella dance he declares his love for her ("Do I Love You Because You're Beautiful?"). As they embrace, the clock strikes midnight and Cinderella flees before the magic wears off, but in her haste she leaves behind a glass slipper.

Act III
The next morning, Cinderella's stepmother and stepsisters reminisce about the Ball and find that Cinderella is very intuitive about what it must have been like going to the Ball ("When You're Driving Through the Moonlight") and dancing with the Prince ("A Lovely Night"). Meanwhile, the Prince is searching for the woman with whom he danced and who fled so quickly from the Ball. One of the royal guards tries the slipper on all the women of the kingdom ("The Search"). At Cinderella's house, the slipper will not fit any of the ladies. Cinderella's stepmother tries to steer the guard away from Cinderella, but she is not home; she is hiding in the Palace garden. The guard returns to the palace garden and informs the Prince that he has not found the missing girl. The guard then sees Cinderella hiding and places her under arrest. Prodded by the Fairy Godmother, he tries the slipper on Cinderella. It fits, and the Prince is called back to the garden where he recognizes his beloved ("Do I Love You Because You're Beautiful?" (reprise)). Cinderella and the Prince marry.

Musical numbers
The original version contains the following songs:

 * Act I
 * "Overture" – Orchestra
 * "The Prince Is Giving a Ball" – Town Crier and Chorus
 * "Cinderella March" – Orchestra
 * "In My Own Little Corner" – Cinderella
 * "The Prince Is Giving a Ball" (reprise) – Chorus
 * "Your Majesties" (Royal Dressing Room Scene) – King, Queen, Chef and Steward
 * "In My Own Little Corner" (reprise) – Cinderella
 * "Impossible; It's Possible" – Cinderella and Fairy Godmother

 * Act II
 * "Gavotte" – Orchestra
 * "Ten Minutes Ago" – Prince and Cinderella
 * "Stepsisters' Lament" – Stepsisters
 * "Waltz for a Ball" – Chorus
 * "Do I Love You Because You're Beautiful?" – Prince and Cinderella
 * "Never in a Thousand Years" (eventually omitted from the production)

 * Act III
 * "When You're Driving Through the Moonlight" – Cinderella, Stepmother and Stepsisters
 * "A Lovely Night" – Cinderella, Stepmother and Stepsisters
 * "The Search" – Orchestra
 * "Do I Love You Because You're Beautiful?" (Reprise) – Prince
 * "Wedding" – Orchestra
 * "Do I Love You Because You're Beautiful?" (Reprise) – Chorus

In some productions, additional numbers added include "Loneliness of Evening" (cut from South Pacific and introduced in the 1965 broadcast), a song for the prince; and "Boys and Girls like You and Me" (cut from Oklahoma! and subsequently other shows), for the queen and king (in the Royal Dressing Room Scene), which appears in the show's published vocal score. The 1997 TV adaptation added "Falling in Love with Love" for the Stepmother, "The Sweetest Sounds" for Cinderella and the Prince, and "There's Music in You" (written for Main Street to Broadway), for the Fairy Godmother. The 2013 Broadway production was performed in two acts and included the songs "Me, Who Am I?" (cut from Me & Juliet), "Loneliness of Evening" and "Now Is the Time" (cut from South Pacific), "The Pursuit", and "There's Music in You".

1957 original production
The original 1957 broadcast was directed by Nelson with choreography by Lucas and musical direction by Antonini. It starred Andrews in the title role and Jon Cypher as The Prince. It also featured Howard Lindsay as The King, Dorothy Stickney as The Queen, Edie Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Portia and Joy, Ilka Chase as the Stepmother, and Iggie Wolfington as The Steward. Joe Layton appeared uncredited in the ensemble.

On March 31, 1957, at 8:00 pm Eastern time, Cinderella was broadcast live in the Eastern, Central and Mountain time zones in both black and white and compatible color; the West Coast received a delayed black and white-only broadcast starting at 8:00 pm Pacific time. Beyond the United States, it was carried by CBS affiliates in the U.S. territories of Alaska, Hawaii and Puerto Rico; in Canada it was broadcast on CBC. It was produced for $376,000 and was heavily promoted by its sponsors, Pepsi-Cola and the Shulton Company (then maker of Old Spice). The Nielsen TV rating for the program was 18,864,000 "homes reached during an average minute" of the broadcast. More than 107 million viewers saw the broadcast, and Andrews was nominated for an Emmy Award for her performance. One of the four color TV cameras failed during the live telecast, adding to the production's technical difficulties.

A black and white kinescope of the March 17, 1957, dress rehearsal survives (it was thought discarded, but was rediscovered in 2002) and has been issued on DVD. A similar film of the original CBS broadcast also survives and has been issued on DVD.

1965 version
After the musical's success in London and elsewhere as a stage production, the network decided to produce another television version. The 1957 premiere had been broadcast before color videotape was available, so only one performance could be shown. CBS mounted a new production in 1965, with Richard Rodgers as Executive Producer and written by Joseph Schrank. The new script hewed closer to the traditional tale, although nearly all of the original songs were retained and sung in their original settings. A new sequence opens the story: the Prince stops at Cinderella's house with his retinue for a drink of water after returning from his travels. Cinderella, home alone, and not knowing who the handsome traveler is until a page utters the words "Your Highness", kindly gives the Prince water from the well. After the Prince leaves, he sings "Loneliness of Evening", which had been composed for South Pacific in 1949 but not used in that musical. The names of the stepsisters were changed from the original production, and the Royal Dressing Room Scene was omitted.

The 1965 version was directed by Charles S. Dubin with choreography by Eugene Loring and recorded on videotape (at CBS Television City in Hollywood) for later broadcast. The cast featured Ginger Rogers and Walter Pidgeon as the Queen and King; Celeste Holm as the Fairy Godmother; Jo Van Fleet as the Stepmother, with Pat Carroll and Barbara Ruick as her daughters Prunella and Esmerelda; and Stuart Damon as the Prince. Lesley Ann Warren, at age 18, played the title role. The film also features rare on camera appearances by dubbers Betty Noyes and Bill Lee, who play a couple that briefly sing about their daughter (played by Trudi Ames). The first broadcast was on February 22, 1965, and it was rebroadcast eight times through February 1974. The 1965 debut had a Nielsen rating of 42.3, making it the highest-rated non-sports special on CBS from the beginning of the Nielsen ratings until 2009, and the 50th highest-rated show of any kind during that period.

1997 version
The 1997 television remake was adapted by Robert L. Freedman and directed by Robert Iscove, with choreography by Rob Marshall. Produced by Whitney Houston and Debra Martin Chase for Walt Disney Television, it aired November 2, 1997. The racially diverse cast included Brandy Norwood as Cinderella, Whitney Houston as Cinderella's fairy godmother, Bernadette Peters as Cinderella's stepmother, Paolo Montalban as the prince, Whoopi Goldberg as the queen, Victor Garber as the king and Jason Alexander as the herald Lionel. Several songs were added, including "Falling in Love with Love" from the musical The Boys from Syracuse, sung by the Stepmother; "The Sweetest Sounds" from the musical No Strings, sung by Cinderella and the Prince; and "There's Music in You", written for the 1953 film Main Street to Broadway, sung as the finale by the Fairy Godmother. Sixty million viewers watched the broadcast.

Several changes were made to the Hammerstein plot: The Fairy Godmother begins the story, explaining that nothing is impossible. The stepsisters' names are changed to Calliope and Minerva. Disguised as a peasant, the Prince (feeling isolated in the castle) wanders in the marketplace (worrying his herald, Lionel), meets Cinderella, and they find each other charming. At the ball, embarrassed by questions about her family and background, Cinderella escapes to the garden in tears, where the Fairy Godmother appears for moral support. After her stepmother returns from the ball and is particularly cruel, Cinderella packs her belongings to run away from home. Her Fairy Godmother advises her to share her feelings with the Prince. After trying the slipper on all the other maidens, the Prince and Lionel overtake Cinderella on her journey to freedom. Meeting her gaze, the Prince recognizes her and places the slipper on her foot. At their wedding, the Fairy Godmother blesses the couple.

1958 to 2008
The musical was first performed on stage at the London Coliseum in 1958 in holiday pantomime adaptation that also used songs from Me & Juliet. Harold Fielding produced this version, which opened on December 18, 1958, and played through the holiday season. Yana (Pamella Guard), played Cinderella, with Tommy Steele, Jimmy Edwards, Kenneth Williams and Betty Marsden.

Stage versions began to appear in U.S. theaters by 1961. The Los Angeles Civic Light Opera produced the show in 1990 featuring Steve Allen, Jayne Meadows, and Rose-Marie. The New York City Opera produced the musical in 1993 and 1995 with Sally Ann Howes as The Fairy Godmother, Crista Moore as Cinderella, George Dvorsky as The Prince, Nancy Marchand (1993) and Jean Stapleton (1995) as The Stepmother, George S. Irving as The King and Jane Powell as The Queen. It revived the production in 2004 with Eartha Kitt as The Fairy Godmother, Sarah Uriarte Berry as Cinderella, Christopher Sieber as The Prince, John "Lypsinka" Epperson as The Stepmother, Dick Van Patten as The King, Renée Taylor as The Queen, Lea DeLaria as Joy and Ana Gasteyer as Portia. A United States tour played from November 2000 through 2001 and starred Kitt as the Fairy Godmother, Deborah Gibson and later Jamie-Lynn Sigler and Jessica Rush as Cinderella, Paolo Montalban as the Prince, and a gender-bending Everett Quinton as the Stepmother, stopping at the Theater at Madison Square Garden in 2001, where Sigler played the title role.

A 30-week Asian tour of Cinderella starred Lea Salonga and Australian Peter Saide. The production was directed by Bobby Garcia, with choreography by Vince Pesce. Costume design was by Renato Balestra, with sets by David Gallo. The tour started in Manila, Philippines, on July 29, 2008. The show then went on to several cities in China, including Xian, Zhengzhou, Chongqing, Shenzhen, Gunagzhou, Shanghai, Beijing and Hong Kong. It then toured in Thailand, Singapore, Malaysia, Korea, and Japan. A cast album was issued in 2008.

An all-female production of the musical in Japan in 2008 featured J-Pop group Morning Musume and veteran members of the Takarazuka Revue. The production ran throughout August 2008, at Shinjuku Koma Theater in Tokyo. The lead roles of Cinderella and the Prince were performed by Morning Musume members Ai Takahashi and Risa Niigaki.

Broadway
Douglas Carter Beane wrote a new book for the musical's first Broadway production. In his plot, Cinderella opens Prince Topher's eyes to the injustice in the kingdom. The prince's parents have died, leaving the kingdom in the hands of a villainous minister who has been the prince's mentor and has duped his young charge into approving oppressive legislation. The rebel Jean-Michel, a new character, and stepsister Gabrielle are in love and seek to overthrow the government. The score includes the best-known songs from the original version and four more songs from the Rodgers and Hammerstein catalogue.

The show, produced by Robyn Goodman, began previews on Broadway on January 25 and officially opened on March 3, 2013, at the Broadway Theatre. Mark Brokaw directed the production, with Josh Rhodes choreographing, and the cast included Laura Osnes in the title role, Santino Fontana as the Prince, Victoria Clark as crazy Marie/the Fairy Godmother, Harriet Harris as Ella's stepmother, Peter Bartlett as the Prime Minister, Ann Harada and Marla Mindelle as stepsisters Charlotte and Gabrielle, and Greg Hildreth as Jean-Michel. Designers included Anna Louizos (sets), William Ivey Long (costumes) and Kenneth Posner (lighting). The production was nominated for nine Tony Awards, winning one for Long's costume design. Reviews were mixed, with most critics praising Osnes's performance.

Keke Palmer was a replacement in the title role. A report in The Guardian commented that "casting an African American actor as such an iconic – and typically pale – character is emblematic of the progress Broadway is making, slowly and haltingly, in employing actors of color in a broader array of parts." In September 2014, Lesley Ann Warren joined the cast during the curtain call to celebrate the 50th anniversary release of her 1965 television version. The production closed on Broadway on January 3, 2015, after 41 previews and 770 regular performances. National tours and international productions have followed.

Reception
The 1957 version of Cinderella was seen by the largest audience in history at the time of its premiere: 107,000,000 people in the US: fully 60% of the country's population at that time. Variety estimated that 24.2 million households were tuned into the show, with an average of 4.43 viewers each. Jon Cypher later remembered leaving the studio a few minutes after the broadcast had ended and finding the Manhattan streets deserted because so many had stayed in to watch the broadcast.

A review in The New York Times by Jack Gould characterized the musical as "a pleasant Cinderella that lacked the magic touch." He wrote that the broadcast received an "extraordinary range of reactions; it was either unreservedly enjoyed, rather angrily rejected or generally approved, subject to significant reservations." He praised Andrews as a "beguiling vision" in "lovely color video". But he complained about the book ("What possessed Mr. Hammerstein to turn the stepsisters into distasteful vaudeville clowns?"); about errors in "the most elementary kind of showmanship;" about costume ("couldn't Cinderella have been dressed in a dreamlike ball gown of fantasy rather than a chic, form-fitting number?"); and the staging ("cramped ... excellent depth, but limited width marred the ballroom scene"). He judged the songs "not top-drawer Rodgers and Hammerstein" and "reminiscent and derivative of some of their earlier successes" but praised four of them and said: "In television, where original music is virtually nonexistent, these add up to quite a treat ... some current [Broadway] musicals cannot boast as much melodically."

The 1965 version was broadcast repeatedly. The 1997 production was the number one show of the week, with over 60 million viewers. It became the highest-rated TV musical in a generation. Although it was a hit with audiences, it received mixed reviews. Theater historian John Kenrick called it a "clumsy remake" of the musical but commented that Bernadette Peters' "shtick trying on the glass slipper is hilarious". The New York Times praised the performers (Montalban has "an old-fashioned luxurious voice"; Jason Alexander "provides comic relief"; Goldberg "winningly blends royal dignity with motherly meddling"; Peters "brings vigor and sly comedy") but commented that the musical "was always a pumpkin that never turned into a glittering coach ... the songs are lesser Rodgers and Hammerstein ... it doesn't take that final leap into pure magic. Often charming and sometimes ordinary, this is a cobbled-together Cinderella for the moment, not the ages." Other critics, however, praised the presentation. One reviewer wrote: "Grade: A, a version both timely and timeless." Another agreed: "this version has much to recommend it." An encore broadcast on Valentine's Night 1998 drew another 15,000,000 viewers.

Reviews for the Broadway version were mixed. Ben Brantley of The New York Times called the 2013 Broadway production a "glittery patchwork of a show" that "wants to be reassuringly old-fashioned and refreshingly irreverent, sentimental and snarky, sincere and ironic, all at once." Brantley felt that the show "doesn't seem to know quite what" it wants to be. The Financial Times praised the cast, especially Osnes, the costumes and the choreography and opined that "the production is an absolute joy, marred only by occasional slowness of pace." Richard Zoglin, writing for Time magazine, noted that the new production is "brightly colored, high spirited and well sung", but compared it unfavorably with the "emotionally alive" 1957 broadcast. A reviewer from the Chicago Tribune wrote: "The fundamental problem with ... Beane's perplexing, wholly unromantic and mostly laugh-free new book ... is that it denies the audience the pleasure of instant reversals of fortune. ... This new version ends up collapsing the basic logic of the familiar story and tramples all over the musical soul of a score from another era". On the other hand, the reviewer from USA Today liked the production, commenting that "Osnes and a gifted supporting cast make this fairy tale very much their own – a scrumptious trifle that, for all its hokey moments, will charm theatergoers of all ages." An Associated Press review praised Beane's script and wrote that it "crackles with sweetness and freshness, combining a little "Monty Python's Spamalot" with some "Les Misérables". It also found the cast "first-rate" and the overall story "quirky, yet heart filled".

Recordings
Columbia Records recorded the musical selections from the first telecast of Cinderella on March 18, 1957, nearly two weeks before the show aired, in monaural and stereophonic sound, releasing the mono version in 1957 and then the stereo version in 1958. The stereo version was later reissued on CD by Sony. The black-and-white kinescope recording made during the telecast was broadcast on PBS in December 2004 as part of its Great Performances series. It was later released on DVD with a documentary including most of its original players, as well as a kinescope of Rodgers and Hammerstein's appearance on The Ed Sullivan Show the preceding Sunday, featuring Hammerstein reciting one of the songs to orchestral accompaniment.

In 1959 RCA Victor released an abridged Cinderella with Mary Martin and The Little Orchestra Society, which was released on CD in 2010 (Sepia 1144). A cast LP album of the 1965 telecast was also issued by Columbia Masterworks Records and on a Sony Masterworks CD. All three of the telecast versions of Cinderella have been released on DVD. A cast recording of the 2013 Broadway production was issued by Ghostlight Records in 2013.


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Methyl acetate

Methyl acetate, also known as MeOAc, acetic acid methyl ester or methyl ethanoate, is a carboxylate ester with the formula CH3COOCH3. It is a flammable liquid with a characteristically pleasant smell reminiscent of some glues and nail polish removers. Methyl acetate is occasionally used as a solvent, being weakly polar and lipophilic, but its close relative ethyl acetate is a more common solvent being less toxic and less soluble in water. Methyl acetate has a solubility of 25% in water at room temperature. At elevated temperature its solubility in water is much higher. Methyl acetate is not stable in the presence of strong aqueous bases or aqueous acids. Methyl acetate is not considered a VOC in the USA.

Preparation and reactions
Methyl acetate is produced industrially via the carbonylation of methanol as a byproduct of the production of acetic acid. Methyl acetate also arises by esterification of acetic acid with methanol in the presence of strong acids such as sulfuric acid; this production process is famous because of Eastman Kodak's intensified process using a reactive distillation.

Reactions
In the presence of strong bases such as sodium hydroxide or strong acids such as hydrochloric acid or sulfuric acid it is hydrolyzed back into methanol and acetic acid, especially at elevated temperature. The conversion of methyl acetate back into its components, by an acid, is a first-order reaction with respect to the ester. The reaction of methyl acetate and a base, for example sodium hydroxide, is a second-order reaction with respect to both reactants.

Methyl acetate is a Lewis base that forms 1:1 adducts with a variety of Lewis acids. It is classified as a hard base and is a base in the ECW model with EB =1.63 and CB = 0.95.

Applications
A major use of methyl acetate is as a volatile low toxicity solvent in glues, paints, and nail polish removers.

Acetic anhydride is produced by carbonylation of methyl acetate in a process that was inspired by the Monsanto acetic acid synthesis.

title: Methyl acetate


text:
QIO

QIO (Queue I/O) is a term used in several computer operating systems designed by the former Digital Equipment Corporation (DEC) of Maynard, Massachusetts.

I/O operations on these systems are initiated by issuing a QIO call to the kernel. There are two types of QIO - Queue I/O and Queue I/O with Wait.

For QIO without wait, the call returns immediately. If the request is successfully enqueued, the actual operation occurs asynchronously. On completion, status is returned in the QIO status doubleword. The QIO request may also specify that completion set an event flag or issue an Asynchronous System Trap (AST).

The call may also be issued as QIOW (Queue I/O and Wait for completion), allowing synchronous I/O. In this case, the wait-for-event-flag operation is combined so the call does not return until the I/O operation completes or fails.

The following operating systems implement QIO(W):
 * RSX-15
 * RSX-11 (including all of the variants)
 * RSTS/E (synchronous only, emulated by the RSX runtime system)
 * OpenVMS

QIO arguments in VMS
Under VMS, the arguments to the QIO call are:

 * The event flag to set when the operation completes. It isn't possible to not specify an event flag; flag 0 is valid. It is perfectly permissible to have multiple simultaneous operations that set the same event flag on completion. It is then up to the application to sort out any confusion this might cause, or just ignore that event flag.
 * The channel, a small integer previously associated with the device. At this level, all operations on disk files and directories (filename parsing, directory lookup, file opening/closing) are done by appropriate QIO requests.
 * The function code to be performed. 6 bits are assigned to the basic code (such as read, write), with a further 10 bits for "modifiers" whose meaning depend on the basic code.
 * The optional I/O status block (IOSB), which is cleared by the QIO call, and filled in on completion of the I/O operation. The first two bytes hold the completion status (success, end of file reached, timeout, I/O error, etc.), while the next two bytes normally return the number of bytes read or written in the operation. The meaning, if any, of the last four bytes is operation-dependent.
 * The optional AST routine to invoke when the operation completes.
 * An additional parameter (whose meaning is up to the caller) to be passed to the AST routine.
 * A partially standardized list of up to six parameters known as P1 through P6. The first two parameters typically specify the I/O buffer starting address (P1), and the I/O byte count (P2). The remaining parameters vary with the operation, and the particular device. For example, for a computer terminal, P3 might be the time to allow for the read to complete whereas, for a disk drive, it might be the starting block number of the transfer.

QIO completion
There are three different ways to sense when the queued I/O operation has completed:
 * 1) When the event flag becomes set.
 * 2) When the first two bytes of the IOSB become nonzero.
 * 3) When the AST routine executes.

Unusual QIOs that require complex processing
Simple QIOs, such as read or write requests, are either serviced by the kernel itself or by device drivers. Certain more complicated requests, specifically those involving tape drives and file-level operations, were originally executed by an Ancillary Control Processor (ACP) (a special purpose task with its own address mapping).

The Files-11 ODS-1 file system on RSX-11 was implemented by a subroutine library that communicated with a task named F11ACP using a special set of QIOs called the "ACP QIOs." The equivalent functionality for controlling magnetic tape devices was provided by a task named MTAACP.

Originally, the Files-11 ODS-2 file system was provided by F11BACP on VMS, but the functionality of F11BACP was later incorporated into the VMS kernel to save the overhead of process context switches, and is now called an XQP (eXtended Qio Processor).

IO$_READPROMPT
Probably the most complex single QIO request possible is the VMS terminal driver's IO$_READPROMPT call with the IO$M_TIMED modifier; this QIO requires all six additional parameters:

 * P1 : The address of the buffer into which the input characters are received
 * P2 : The length of the buffer, limiting the maximum number of characters to read. If the buffer is filled, the read will complete successfully, even if the user does not type a line-terminator character. Zero is allowed, in which case the read will terminate successfully with zero characters read.
 * P3 : The maximum number of seconds to wait for more input. This is only used if the IO$M_TIMED modifier is present, and a value of zero means zero seconds: the read will terminate immediately, so the only possible input will be whatever had been "typed ahead" by the user.
 * P4 : The address of the optional "terminator mask", specifying which ASCII characters terminate the read. If omitted, this defaults to the usual VMS line delimiters including carriage-return (but not line-feed). It is possible to specify a mask with no line terminators, in which case the read will only complete when the buffer is full, or the timeout has elapsed.
 * P5 : The address of a prompt string to be displayed to the user before accepting input. The advantage of providing this prompt, instead of as a prior write operation, is automatic redisplay in any situation requiring a refresh of the input line while the read is in progress (such as after an operator message has been broadcast to the terminal, or the user hits CTRL/R to redisplay the line).
 * P6 : The length of the prompt string.

By appropriate choices of the above parameters, it is possible to do both terminal input and output with the one call, there is no need to use the regular IO$_WRITEVBLK call for terminal output at all.

title: QIO


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Irish Mathematical Society

The Irish Mathematical Society (Cumann Matamaitice na hÉireann) or IMS is the main professional organisation for mathematicians in Ireland. The society aims to further mathematics and mathematical research in Ireland. Its membership is international, but it mainly represents mathematicians in universities and other third level institutes in Ireland. It publishes a bulletin, The Bulletin of the Irish Mathematical Society, twice per year and runs an annual conference in September.

The society was founded on 14 April 1976 at a meeting in Trinity College, Dublin when a constitution drafted by D McQuillan, John T. Lewis and Trevor West was accepted. It is a member organization in the European Mathematical Society. Since 2020, it has been the adhering organization for Ireland's membership of the International Mathematical Union. The logo was designed by Irish mathematician Desmond MacHale.

Bulletin of the Irish Mathematical Society
The Bulletin of the Irish Mathematical Society is a journal that has been published since 1986, and was preceded by the Newsletter of the Irish Mathematical Society. It accepts articles that are of interest to both Society members and the wider mathematical community. Articles include original research articles, expository survey articles, biographical and historical articles, classroom notes and book reviews. It also includes a problem page. Articles are available online.

Officers

Current officers of the society are listed in the bulletin.

title: Irish Mathematical Society


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Carnegie Institute

Carnegie Institute may refer to:

 * Carnegie Institute, operator of the Carnegie Museums of Pittsburgh, Pittsburgh, Pennsylvania
 * Carnegie Institution for Science, formally known as the Carnegie Institution of Washington, Washington, D.C.
 * Carnegie Institute of Technology, predecessor to Carnegie Mellon University in Pittsburgh, Pennsylvania

title: Carnegie Institute


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Oldenburger

The Oldenburg or Oldenburger is a warmblood horse from the north-western corner of Lower Saxony, what was formerly the Grand Duchy of Oldenburg. The breed was built on a mare base of all-purpose farm and carriage horses, today called the Alt-Oldenburger. The modern Oldenburg is managed by the Association of Breeders of the Oldenburger Horse, which enacts strict selection of breeding stock to ensure that each generation is better than the last. Oldenburgers are tall sport horses with excellent gaits and jumping ability. The breeding of Oldenburg horses is characterized by very liberal pedigree requirements and the exclusive use of privately owned stallions rather than restriction to a state-owned stud farm.

History
Until the 17th century, horses in the region of Oldenburg were likely small and plain, but strong enough to be used to work the heavy soil of the Frisian coast. These horses would become the foundation of the Oldenburg's neighbors from Holstein to Groningen. One of the first to take a vested interest in organized horse breeding was Count Johann XVI (1540–1603). Johann XVI purchased high-class Frederiksborgers from Denmark, refined Turkish horses and powerful Neapolitan and Andalusian horses for use with his own breeding stock. His successor, Count Anton Gunther (1583–1667) not only brought back from his travels the most desirable horses of the time, but made the stallions available to his tenants.

Rigorous stallion inspections were held beginning in 1715 in Ostfrisia, and spread to Oldenburg in 1755. Such inspections became mandatory under state regulation in 1820. These processes enabled breeders to mold the horses quickly to suit the market. In time, the Oldenburg and its neighbor the Ostfriesen became "luxury horses", stylish, high-stepping carriage horses, though they were practical farm horses as well. What set the Oldenburg and Ostfriesen apart was the lack of a state-owned stud farm. As private breeders, mare and stallion owners had and retain greater freedom in purchasing breeding stock, and as a result Oldenburg and Ostfriesen horses were exported far and wide. In 1923, the Ostfriesen studbook and Oldenburg studbook merged to form today's Oldenburg Horse Breeders' Association (GOV).

Post-war era
All the roles that the Alt-Oldenburger played – carriage horse, artillery horse, farm horse – were overtaken in succession by mechanization during the 1940s and 1950s. However, increased leisure time and expendable income set the stage for recreational riding to come into its own, which it did. Oldenburg breeders changed direction, moving towards producing riding horses of the same renown as their carriage horses.

The first foreign stallion imported to improve the riding horse qualities of the Oldenburg mares was Condor, a dark bay Anglo-Norman. He was followed by Adonis xx in 1959, this time a full Thoroughbred. A veritable slew of Thoroughbred sires were approved for Oldenburg mares over the next 15 years: Manolete xx, Miracolo xx, Guter Gast xx, More Magic xx, Makuba xx, and not least of all, Vollkorn xx. Vollkorn xx produced one of Oldenburg's first international sport horses: Volturno, out of a Manolette xx daughter, was a member of the Olympic silver medal-winning Eventing team in 1976.

Condor's success encouraged the Oldenburg breeders to choose French sires over German ones. Prominent among these were Furioso II in 1968 and Futuro in 1969, both by Furioso xx, Tiro, and Zeus, who was by French Anglo-Arabian Arlequin x. There was also the Trakehner, Magister, though Trakehners were not used in Oldenburg to the same extent that they were in neighboring Hannover. In 1972 added flair came to the Oldenburg from the French Anglo-Arabian stallion, Inschallah x, who donated his expressive gaits and dry features to his offspring.

And technology continued to change the Oldenburg. Advances in artificial insemination techniques meant that stallions did not have to be nearby to be part of the breeding population. Since the 1970s, use of horses from all over Europe has greatly increased. German Warmbloods like the Hanoverian, Holsteiner, Westphalian, and Trakehner, in addition to Dutch Warmbloods and Selle Français continued to modernize the Oldenburg.

The slogan of the German Oldenburg Verband is that "Quality is the only standard that counts," evidenced by their liberal acceptance of a wide variety of pedigrees and colors. Unlike other registries that are limited to locally bred horses, or which prefer one color to another, the modern Oldenburg selects stallions and mares based only on their quality as dressage and jumping horses.

Modern Oldenburg
Today the Oldenburg Association or Verband has over 220 approved sires and 7000 mares in addition to the 96 sires and 1300 mares that are part of the "Oldenburg International" breeding program for show jumping. These figures make Oldenburg one of the largest studbooks in Germany. Oldenburg is the largest studbook in terms of breeding area.

Each autumn, the Oldenburg Verband holds the "Stallion Days" in Vechta, during which the young stallions undergo their licensing evaluation. After the results of the licensing are announced, many are auctioned off to new homes at stallion stations, or as gelding prospects bound for performance homes. The "Old Stallion Parade" occurs on the last day, showcasing all the fully approved, performance tested stallions. However, this event is not just a pageant, as the offspring of mature stallions are subject to intense scrutiny. The best stallions of their age class, based on their offspring, receive a "premium" or award for their achievements in breeding.

There are several other auctions throughout the year in Vechta featuring selected youngsters, köraspirants, elite riding horses and broodmares. The price-toppers at the elite sales regularly fetch over 100,000 Euros. At the mixed sales there are a wider range of horses available. The verband also puts on free jumping competitions for young horses.

The Oldenburg Verband places special emphasis on mare lines, many of which trace back to the Alt-Oldenburg ancestors. Selected from the mare inspections throughout the year, the best young mares are invited to the Elite Broodmare Show in Rastede. There they compete not only for the States Premium - originally a bribe to keep breeders from exporting high-quality broodmares - but for the title of Champion Mare.

Characteristics
The modern Oldenburg can best be identified by the "O" and crown brand on the left hip. Horses of the "Oldenburg International" program have a similar brand, with an "S" within a crowned, incomplete "O". Underneath the Oldenburg brand are the last two numbers of the horse's life number. The official brand can only be placed on Oldenburg horses prior to 2 years of age. A digital micro-chip implanted in the crest of the neck is another identification method used. The appearance of an individual Oldenburg can vary, and it is usually better to describe any warmblood by its actual parentage. However, Oldenburg is known for producing among the most "modern" examples of riding horses: expressive heads and long legs. Otherwise, they are selected to fit the model of a sport horse, generally built uphill with a reasonably long neck and a long, moderately sloped pelvis. Ideally, they stand between.

Oldenburg has, as part of its liberality, been very forward-thinking about unusually colored warmbloods. Between the United States and Germany, no fewer than 8 tobiano pinto stallions are included in the roster. Most Oldenburgers are black, brown, bay, chestnut, or grey.

Even among warmbloods, most Oldenburgers have expressive, elastic gaits with a great deal of suspension. The quality of the walk, trot, or canter is highly individual, but their gaits are selected to be suitable for sport. All three gaits are straight when viewed from the front or back, and rhythmical at all times. The walk is diligent and open, the trot is active and elastic, and the canter is uphill and adjustable. Over fences, even most dressage-bred Oldenburgers show some talent. The jumper-bred individuals are capable with great technique.

Several breeding societies have lately come under scrutiny for breeding their horses too "hot". This movement has come about as show jumping has exploded in popularity: sensitive, independent horses, in general, make better show jumpers. However, highly sensitive, independent horses are not suitable for most amateur riders, who make up the majority of the horse-buying market. This is when the importance of the performance test is clearest. The stallions and elite mares are scored on their interior qualities: temperament, character, constitution, and willingness to work, as well as rideability. Therefore, within the Oldenburg Verband, breeders have the tools to choose the route of high-performance horse, or one more suitable for the amateur rider. While a variety of temperaments exist within the population, finding one with the right elements is not difficult.

According to the verband rules, colts are to be named patrilineally, that is, the first letter of the son's name is the same as the first letter of the sire's name (Dream of Glory by Donnerhall). Fillies are named matrilineally (Fabina out of Fiesta). This practice makes it easy to trace female families.

Uses

Unless directly sired by a Thoroughbred, most Oldenburgers are too slow for eventing. All the same, in 2006 the Oldenburg Verband was #11 in the World Breeding Federation for Sport Horses (WBFSH) ranking of studbooks with the greatest prevalence in international eventing. One of the earliest Oldenburg horses to reach the highest echelons of sport was Volturno, a black stallion born in 1968, member of the 1976 silver-medal German Olympic eventing team.

Especially with the implementation of the Oldenburg Jumper Studbook in 2001, Oldenburgers have been very successful in the sport of show jumping. Bred to be courageous, cautious, powerful, scopey, and correct over fences, the Oldenburg Verband was #7 in the WBFSH ranking of studbooks in show jumping. Thanks to the likes of 2006 World Cup champion Sandro Boy and Arko III, only the Westphalian, Hanoverian, Dutch Warmblood and jumping-focused Holsteiner, Selle Français, and Belgian Warmblood had stronger showings in international sport.

The Oldenburg has become particularly successful in dressage, owing much of its continued success to sires like Donnerhall and now Sandro Hit, who top the rankings in the production of dressage horses. In 2006, Oldenburgers were the third most successful breed in the dressage ring, with only the Hanoverian and Dutch Warmblood breeds having higher WBFSH standings. Oldenburg horses have competed in Dressage at the Olympics.

title: Oldenburger


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User:Atomic645

Vigilante typo killer, Neurotic biographer, Extender of strange stubs, and Creator of redlink articles

(When there is a link to an entry that does not exist yet.)

Articles created/majorly extended by Atomic645:

title: User:Atomic645


text:
Talk:Vexillological symbol

[Untitled]
I have removed the following self reference from the article - it needs to be found a more suitable home:

Here on Wikipedia, you can find the Image:FIAV_xx.png image you need by giving the dot values as follows: Simply add the values to obtain the image code. The example above is 32+16+8+4+2+1 = 63. For values less than ten, put in a leading zero.

Could we get someone in the know to exlain the values of those dots? Upper right means what? Lower right means what? I have no clue what top vs. bottom dots means.

ed g2s •  talk  21:09, 20 Dec 2004 (UTC)

Can you add examples in the text please ? For example american, uk or zimbabwe flags.

Flags of Administrative Divisions Beyond the First-Level
The state flag article says:

 * There are two separate meanings for the term of state flag in vexillology; either the flag of the government of a sovereign state, or the flag of an individual subnational state.

 * A state flag is a variant of a national flag (or occasionally a completely different design) specifically designated and restricted by law or custom (theoretically or actually) to use by a country's government or its agencies. For this reason they are sometimes referred to as government flags. In many countries the state flag and the civil flag (as flown by the general public) are identical, but in other countries...the state flag is a more complex version of the national flag, often featuring the national coat of arms or some other emblem as part of the design.

The civil flag article says:

 * A civil flag is a version of the national flag that is flown by civilians on nongovernmental installations or craft.

It's clear from the state flag article that the term "state flag" can apply to flags of a subnational state. For example, the flag of the state of Illinois is a state flag. Subnational states are considered first-level administrative divisions.

Administrative divisions beyond the first-level often also have flags. For example, most larger cities have flags. As another example, Illinois is divided into counties, counties are divided into townships, and there are a variety of administrative divisions in Illinois, which can cross township and county boundaries, such as municipalities (cities, villages, and incorporated towns in the case of Illinois.) Each of these may have it's own flag.

Are these also considered state and/or civil flags? Is the flag of Chicago a state and/or civil flag, or is it something else? Squideshi (talk) 18:30, 8 June 2020 (UTC)

Seeking consensus for page move to "Flag information symbols"
This page is called "Vexillological symbol" which I feel should be changed on two counts. One, I believe it should be plural since it's not about a single symbol but a set. Two, it is referred to as FIS for "Flag information symbols" in the source materials. So I propose to move the page to Flag information symbols if there's consensus.  Not A  Witty Fish  15:47, 20 October 2022 (UTC)

 * Cute 2.147.98.54 (talk) 19:21, 1 June 2024 (UTC)
 * 3 2.147.98.54 (talk) 19:21, 1 June 2024 (UTC)

title: Talk:Vexillological symbol


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First run (filmmaking)

In cinematic parlance, a film in its first run has been recently released. In North America, new films attract the majority of their theatrical viewers in the first few weeks after their release. In North America, different movie theatres pay different rates to show films depending on how recently they have been released. In 1946, the Supreme Court of the United States found major film distributors in violation of antitrust laws when they precluded independent theaters from screening first-run films.

Some older, smaller, or poorly outfitted neighborhood or discount theatres, or those in less desirable locations, specialize in showing films during their second run. These theatres get to keep a larger share of the ticket fees and often charge a lower ticket price.

title: First run (filmmaking)


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GeoServer

In computing, GeoServer is an open-source server written in Java that allows users to share, process and edit geospatial data. Designed for interoperability, it publishes data from any major spatial data source using open standards. GeoServer has evolved to become an easy method of connecting existing information to virtual globes such as Google Earth and NASA World Wind as well as to web-based maps such as OpenLayers, Leaflet, Google Maps and Bing Maps. GeoServer functions as the reference implementation of the Open Geospatial Consortium Web Feature Service standard, and also implements the Web Map Service, Web Coverage Service and Web Processing Service specifications.

Goals
GeoServer aims to operate as a node within a free and open Spatial Data Infrastructure. Just as the Apache HTTP Server has offered a free and open web server to publish HTML, GeoServer aims to do the same for geospatial data.

Features
GeoServer reads a variety of data formats, including:

 * PostGIS
 * Oracle Spatial
 * ArcSDE
 * IBM Db2
 * MySQL
 * MongoDB
 * Apache Solr
 * Shapefiles
 * GeoTIFF
 * GTOPO30
 * ECW, MrSID
 * JPEG2000

Through standard protocols it produces KML, GML, Shapefile, GeoRSS, PDF, GeoJSON, JPEG, GIF, SVG, PNG and more. In addition, one can edit data via the WFS transactional profile (WFS-T). GeoServer includes an integrated OpenLayers client for previewing data layers.

GeoServer additionally supports efficient publishing of geospatial data to Google Earth through the use of network links, using KML. Advanced features for Google Earth output include templates for customized pop-ups, time and height visualizations, and "super-overlays".

GeoServer relies on GeoTools, a GIS library.

Usage

 * MassGIS (Massachusetts state GIS)
 * MACRIS Maps (Massachusetts Historical Commission)
 * TriMet (Transit agency for Portland, Oregon)
 * Ordnance Survey (National Mapping Agency of the UK)
 * Institut Géographique National (National Mapping Agency of France)
 * GBIF (Global Biodiversity Information Facility)
 * World Bank
 * Global Earthquake Model
 * GMOS (Global Mercury Observation System)
 * FAO (Food and Agriculture Organization of the United Nations)
 * New York City Department of Information Technology and Telecommunications
 * TeamSurv
 * ITU (International Telecommunication Union)

Architecture
GeoServer uses the Spring Framework, providing a request dispatch architecture for modules implementing OGC services. The web administration application uses wicket, allowing extensions to contribute additional configuration screens. The application provides a REST API implemented using the spring-mvc-framework.

GeoServer is a web application, supporting any common servlet container (a standalone distribution is available with the Jetty (web server) as an embedded server). GeoWebCache, a Java-based caching component similar to TileCache, is bundled with GeoServer, but available separately. Similarly, GeoServer packages GeoTools as a Java library, but it is also available separately.

GeoServer is a longstanding application and has undergone several architectural changes. GeoServer 1.0 was built around the STRUTS framework, with the migration to Spring and Wicket taking place for GeoServer 2.0. Early versions of the REST API used restlet before migration to spring-mvc-framework.

title: GeoServer


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Sarkic

Sarkic (Greek σάρξ, flesh or hylic, from the Greek ὕλη, stuff, or matter) in Gnosticism describes the lowest level of human nature—the fleshly, instinctive level. This is not the notion of body as opposed to thought; rather the sarkic level is said to be the lowest level of thought.

Concepts
The concept of sarkic is used along with pneuma, which refers to spirit or soul, to describe the duality of Christ and also the Christian Church. Furthermore, such duality is used to explain the paradox of the identities of Adam and Eve.

There are thinkers such as Maximus the Confessor who associate sarkic (fleshly) with the somatic dimension (bodily) of human nature, the area where redemption must occur. There are, however, instances when they are considered near equivalent. But these states needed to be transcended to achieve a form of existence characterized by a heightened communion with God.

Sarkic is also used in Christian terms such as Paul's description of Abraham's children as sarkic children who have the pneuma of Christ. In his classification of humanity in his attempt to address the so-called "gentile problem", he labeled all as sarkic: sarkic Jews who have Christ's pneuma; sarkic Jews who lack Christ's pneuma; sarkic gentiles who have Christ's pneuma; and, sarkic gentiles who lack Christ's pneuma.

Paul also linked sarkic to the concept of hamartia, with the former serving as the force of the latter, capable of overcoming individual action and will.

Popular culture
Sarkicism is a religion documented in SCP Foundation entries.

title: Sarkic


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Shorashim (disambiguation)

Shorashim is a village in the Galilee.

Shorashim may also refer to:
 * Shorashim (organization), a nonprofit organization devoted to building bridges between Jews in Israel and around the world.
 * Shorashim, the fourteen criteria employed by Maimonides in Sefer Hamitzvot
 * Shorashim, the principles of Jewish faith as enumerated by Albo in Sefer ha-Ikkarim

title: Shorashim (disambiguation)


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Holism in science

Holism in science, holistic science, or methodological holism is an approach to research that emphasizes the study of complex systems. Systems are approached as coherent wholes whose component parts are best understood in context and in relation to both each other and to the whole. Holism typically stands in contrast with reductionism, which describes systems by dividing them into smaller components in order to understand them through their elemental properties.

The holism-individualism dichotomy is especially evident in conflicting interpretations of experimental findings across the social sciences, and reflects whether behavioural analysis begins at the systemic, macro-level (ie. derived from social relations) or the component micro-level (ie. derived from individual agents).

Overview
David Deutsch calls holism anti-reductionist and refers to the concept of thinking as the only legitimate way to think about science in as a series of emergent, or higher level phenomena. He argues that neither approach is purely correct.

Two aspects of Holism are:

 * 1) The way of doing science, sometimes called "whole to parts", which focuses on observation of the specimen within its ecosystem first before breaking down to study any part of the specimen.
 * 2) The idea that the scientist is not a passive observer of an external universe but rather a participant in the system.

Proponents claim that Holistic science is naturally suited to subjects such as ecology, biology, physics and the social sciences, where complex, non-linear interactions are the norm. These are systems where emergent properties arise at the level of the whole that cannot be predicted by focusing on the parts alone, which may make mainstream, reductionist science ill-equipped to provide understanding beyond a certain level. This principle of emergence in complex systems is often captured in the phrase ′the whole is greater than the sum of its parts′. Living organisms are an example: no knowledge of all the chemical and physical properties of matter can explain or predict the functioning of living organisms. The same happens in complex social human systems, where detailed understanding of individual behaviour cannot predict the behaviour of the group, which emerges at the level of the collective. The phenomenon of emergence may impose a theoretical limit on knowledge available through reductionist methodology, arguably making complex systems natural subjects for holistic approaches.

Science journalist John Horgan has expressed this view in the book The End of Science. He wrote that a certain pervasive model within holistic science, self-organized criticality, for example, "is not really a theory at all. Like punctuated equilibrium, self-organized criticality is merely a description, one of many, of the random fluctuations, the noise, permeating nature." By the theorists' own admissions, he said, such a model "can generate neither specific predictions about nature nor meaningful insights. What good is it, then?"

One of the reasons that holistic science attracts supporters is that it seems to offer a progressive, 'socio-ecological' view of the world, but Alan Marshall's book The Unity of Nature offers evidence to the contrary; suggesting holism in science is not 'ecological' or 'socially-responsive' at all, but regressive and repressive.

Agriculture
Permaculture takes a systems level approach to agriculture and land management by attempting to copy what happens in the natural world. Holistic management integrates ecology and social sciences with food production. It was originally designed as a way to reverse desertification. Organic farming is sometimes considered a holistic approach.

In physics
Richard Healey offered a modal interpretation and used it to present a model account of the puzzling correlations which portrays them as resulting from the operation of a process that violates both spatial and spatiotemporal separability. He argued that, on this interpretation, the nonseparability of the process is a consequence of physical property holism; and that the resulting account yields genuine understanding of how the correlations come about without any violation of relativity theory or Local Action. Subsequent work by Clifton, Dickson and Myrvold cast doubt on whether the account can be squared with relativity theory’s requirement of Lorentz invariance but leaves no doubt of an spatially entangled holism in the theory. Paul Davies and John Gribbin further observe that Wheeler's delayed choice experiment shows how the quantum world displays a sort of holism in time as well as space.

In the holistic approach of David Bohm, any collection of quantum objects constitutes an indivisible whole within an implicate and explicate order. Bohm said there is no scientific evidence to support the dominant view that the universe consists of a huge, finite number of minute particles, and offered instead a view of undivided wholeness: "ultimately, the entire universe (with all its 'particles', including those constituting human beings, their laboratories, observing instruments, etc.) has to be understood as a single undivided whole, in which analysis into separately and independently existent parts has no fundamental status".

Chaos and complexity
Scientific holism holds that the behavior of a system cannot be perfectly predicted, no matter how much data is available. Natural systems can produce surprisingly unexpected behavior, and it is suspected that behavior of such systems might be computationally irreducible, which means it would not be possible to even approximate the system state without a full simulation of all the events occurring in the system. Key properties of the higher level behavior of certain classes of systems may be mediated by rare "surprises" in the behavior of their elements due to the principle of interconnectivity, thus evading predictions except by brute force simulation.

Ecology
Holistic thinking can be applied to ecology, combining biological, chemical, physical, economic, ethical, and political insights. The complexity grows with the area, so that it is necessary to reduce the characteristic of the view in other ways, for example to a specific time of duration.

Medicine
In primary care the term "holistic," has been used to describe approaches that take into account social considerations and other intuitive judgements. The term holism, and so-called approaches, appear in psychosomatic medicine in the 1970s, when they were considered one possible way to conceptualize psychosomatic phenomena. Instead of charting one-way causal links from psyche to soma, or vice versa, it aimed at a systemic model, where multiple biological, psychological and social factors were seen as interlinked.

Other, alternative approaches in the 1970s were psychosomatic and somatopsychic approaches, which concentrated on causal links only from psyche to soma, or from soma to psyche, respectively. At present it is commonplace in psychosomatic medicine to state that psyche and soma cannot really be separated for practical or theoretical purposes.

The term systems medicine first appeared in 1992 and takes an integrative approach to all of the body and environment.

Economics
Some economists use a causal holism theory in their work. That is they view the discipline in the manner of Ludwig Wittgenstein and claim that it can't be defined by necessary and sufficient conditions.

Education reform
The Taxonomy of Educational Objectives identifies many levels of cognitive functioning, which it is claimed may be used to create a more holistic education. In authentic assessment, rather than using computers to score multiple choice tests, a standards based assessment uses trained scorers to score open-response items using holistic scoring methods. In projects such as the North Carolina Writing Project, scorers are instructed not to count errors, or count numbers of points or supporting statements. The scorer is instead instructed to judge holistically whether "as a whole" is it more a "2" or a "3". Critics question whether such a process can be as objective as computer scoring, and the degree to which such scoring methods can result in different scores from different scorers.

Anthropology
Anthropology is holistic in two senses. First, it is concerned with all human beings across times and places, and with all dimensions of humanity (evolutionary, biophysical, sociopolitical, economic, cultural, psychological, etc.) Further, many academic programs following this approach take a "four-field" approach to anthropology that encompasses physical anthropology, archeology, linguistics, and cultural anthropology or social anthropology.

Some anthropologists disagree, and consider holism to be an artifact from 19th century social evolutionary thought that inappropriately imposes scientific positivism upon cultural anthropology.

The term "holism" is additionally used within social and cultural anthropology to refer to a methodological analysis of a society as a whole, in which component parts are treated as functionally relative to each other. One definition says: "as a methodological ideal, holism implies ... that one does not permit oneself to believe that our own established institutional boundaries (e.g. between politics, sexuality, religion, economics) necessarily may be found also in foreign societies."

Psychology of perception
A major holist movement in the early twentieth century was gestalt psychology. The claim was that perception is not an aggregation of atomic sense data but a field, in which there is a figure and a ground. Background has holistic effects on the perceived figure. Gestalt psychologists included Wolfgang Koehler, Max Wertheimer, Kurt Koffka. Koehler claimed the perceptual fields corresponded to electrical fields in the brain. Karl Lashley did experiments with gold foil pieces inserted in monkey brains purporting to show that such fields did not exist. However, many of the perceptual illusions and visual phenomena exhibited by the gestaltists were taken over (often without credit) by later perceptual psychologists. Gestalt psychology had influence on Fritz Perls' gestalt therapy, although some old-line gestaltists opposed the association with counter-cultural and New Age trends later associated with gestalt therapy. Gestalt theory was also influential on phenomenology. Aron Gurwitsch wrote on the role of the field of consciousness in gestalt theory in relation to phenomenology. Maurice Merleau-Ponty made much use of holistic psychologists such as work of Kurt Goldstein in his "Phenomenology of Perception."

Teleological psychology
Alfred Adler believed that the individual (an integrated whole expressed through a self-consistent unity of thinking, feeling, and action, moving toward an unconscious, fictional final goal), must be understood within the larger wholes of society, from the groups to which he belongs (starting with his face-to-face relationships), to the larger whole of mankind. The recognition of our social embeddedness and the need for developing an interest in the welfare of others, as well as a respect for nature, is at the heart of Adler's philosophy of living and principles of psychotherapy.

Edgar Morin, the French philosopher and sociologist, can be considered a holist based on the transdisciplinary nature of his work.

Skeptical reception
According to skeptics, the phrase "holistic science" is often misused by pseudosciences. In the book Science and Pseudoscience in Clinical Psychology it's noted that "Proponents of pseudoscientific claims, especially in organic medicine, and mental health, often resort to the "mantra of holism" to explain away negative findings. When invoking the mantra, they typically maintain that scientific claims can be evaluated only within the context of broader claims and therefore cannot be evaluated in isolation." This is an invocation of Karl Popper's demarcation problem and in a posting to Ask a Philosopher Massimo Pigliucci clarifies Popper by positing, "Instead of thinking of science as making progress by inductive generalization (which doesn’t work because no matter how many times a given theory may have been confirmed thus far, it is always possible that new, contrary, data will emerge tomorrow), we should say that science makes progress by conclusively disconfirming theories that are, in fact, wrong."

Victor J. Stenger states that "holistic healing is associated with the rejection of classical, Newtonian physics. Yet, holistic healing retains many ideas from eighteenth and nineteenth century physics. Its proponents are blissfully unaware that these ideas, especially superluminal holism, have been rejected by modern physics as well".

Some quantum mystics interpret the wave function of quantum mechanics as a vibration in a holistic ether that pervades the universe and wave function collapse as the result of some cosmic consciousness. This is a misinterpretation of the effects of quantum entanglement as a violation of relativistic causality and quantum field theory.

title: Holism in science


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User talk:Rublind

Hello. rublind

title: User talk:Rublind


text:
Wikipedia:Articles for deletion/GoodBye

GoodBye
No more than a dictionary definition. A partial one at that—Trevor Caira 21:12, 20 Dec 2004 (UTC)
 * Delete: DCEdwards1966 21:44, Dec 20, 2004 (UTC)
 * Keep and rewrite. There is interesting information relating to the history of the phrase, I think it should be kept and rewritten.--Ld 21:47, 20 Dec 2004 (UTC)
 * Keep. I think this article could be rewritten.  There seems to be interesting history behind the word.
 * Delete. Copyvio of, and mis-capitalized. If someone wants to submit a properly titled, original article, that would probably be fine. This doesn't seem like a reasonable place to start. Niteowlneils 22:25, 20 Dec 2004 (UTC)
 * Delete as a copyvio (or keep and send it through WP:CP if that's the correct procedure once a copyvio's been nominated for VfD). I suggest if we want another article that discusses this word, it be part of a broader article on leave-takings in general which could describe the various words and customs people use when departing. [[User:Livajo|Ливай | ☺]] 22:31, 20 Dec 2004 (UTC)
 * Keep and re-write. Dan100 23:25, Dec 20, 2004 (UTC)
 * Strong Delete, this is not only a copyvio, the etymology is a bit weak. Wyss 23:32, 20 Dec 2004 (UTC)
 * Comment: Not only is the article not worth keeping, but it is misnamed. It should either be named Goodbye, Good bye or Good-bye. DCEdwards1966 00:36, Dec 21, 2004 (UTC)
 * Delete for being a copyright violation. - Andre Engels 10:13, 21 Dec 2004 (UTC)
 * If copyvio is resolved, transwiki to Wiktionary. This is an article about the meaning, use and origins of a word (or phrase depending on your spelling).  That makes it a good, in-depth dictionary entry, not necessarily an encyclopedia article.  Rossami (talk) 04:58, 22 Dec 2004 (UTC)
 * Delete. Definitely delete this here, possibly transwiki under different heading -- Robert Pendray 23:44, Dec 25, 2004 (UTC)
 * Transwiki if copyright violation is resolved. Otherwise, delete. ApS Camper 04:39, 26 Dec 2004 (UTC)

title: Wikipedia:Articles for deletion/GoodBye


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Category:Canals in Berkshire

This category identifies canals in the county of Berkshire

title: Category:Canals in Berkshire