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Reginald Pollack

Reginald Murray Pollack (July 29, 1924 – December 6, 2001) was an American painter known for metaphorical and theme based works of art. He was also a veteran of World War II having served in the Pacific Theater of Operations.

Early life
Pollack was born to Hungarian immigrants in Middle Village, Long Island, New York, on July 29, 1924. He graduated from the High School of Music and Art in New York City. Pollack had an identical twin brother Merrill, who was an editor and writer with positions at the Saturday Evening Post, Simon and Schuster and Viking Press. Another brother, Louis Pollack, established the Peridot Gallery on Madison Avenue in New York. Pollack and his brothers were routinely taken by their father, who was a tailor at Lord and Taylor, to the Metropolitan Museum of Art. There, they taught themselves to sketch. After serving in the U.S. Armed Forces Pollack using the GI bill traveled to Paris to study art. There he married his first wife Hanna Ben Dov, also an artist. He also married his second wife, Naomi Newman, an opera singer while living in Paris. This second marriage produced two daughters, Jane and Maia. His third wife was Kerstin Birgitta Binns, who he married in 1974. In 1971, Pollack wrote The Magician and the Child, dedicated to Kerstin Birgitta. Currently, she is the curator of the Reginald Pollack Collection.

Professional career
Pollack was a founding member of Galerie Huit, the first gallerie in Paris operated by Americans; there were 12 of them, all World War II Veterans. While in Paris he studied at the Academie de la Grande Chaumiere, (1948–1952). Pollack said the tutelage of the Parisian artists he came in contact with through the art school made him realize his "responsibility to civilization". Pollack spent 14 years in Paris, living next-door to Constantin Brâncuși who became his mentor for eight years. The history of Galerie Huit is a remarkable and significant one in the recent history of American art." The artists represented at Galerie Huit were: Rodney P. Abrahamson, Oscar Chelimsky, Carmen D'Avino, Sydney Geist, Burt Hasen, Al Held, Raymond Hendler, Herbert Katzman, Paul Keene, Jonah Kinigstein, Jules Olitski, George Ortman, Marianna Pineda, Jack Robinowitz, Haywood Bill Rivers, Robert L. Rosenwald, Shinkichi Tajiri, Harold Tovish, Hugh Townley and Hugh Weiss.

During World War II, where he served in the 87th Mountain Division participating in the invasion of Kiska in the Aleutians and also in the South Pacific, propelled him to produce and illustrate O is for Overkill with his twin brother Merrill. Both were WW II combat veterans. In May 2011 the Lowe Art Museum at the University of Miami chose Pollack's Peace March, to pay honor to his art and political activism. Art critic Alexis Gray wrote:" Reginald Murray Pollack, who studied at New York City's High School of Music and Art before serving in the U.S. Army Air Force during World War II, was described by his twin brother in a June 1977 Esquire article as "a fine artist, humanist, poetically inclined anti-Vietnam war peace marcher, participant, with other artists, in an antiwar coalition, occasional user of pot and sympathizer with hippies and yippies and most youthful rebels." The same year Peace March was completed, Reginald Pollack's career was highlighted in the Star Trek episode "Requiem for Methuselah." In it, the fictional character Mr. Flint, an immortal human from Earth who lived under several aliases over a span of six thousand years, acquires a painting by Pollack that is prominently displayed in his castle on Holberg 917G. In a key scene at Flint's residence, during which Spock explains to a host of dignitaries the significance of Western art since the Italian Renaissance, the Starfleet first officer likens Pollack's career to that of Leonardo da Vinci. Pollack's work is now represented in the Metropolitan Museum of Art, Stanford University, and the New Orleans Museum of Art."

Upon his move back to the United States in 1960 Pollack became an art instructor and Visiting Critic of Art at Yale University. Pollack became interested in philosophy and helped establish the Jungian encounter movement in California, developing art as therapy. It was at his time that he met his third wife, Kerstin Birgitta and his art became more metaphysical. The year of their marriage he wrote a morality play "The War of the Angels", performed at the National Cathedral. In 1977, Penn State University held a Pollack painting exhibition and during the University's annual arts festival. Pollack died in Palm Springs, California in 2001

title: Reginald Pollack


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Talk:List of municipalities of the Province of Vercelli

Untitled
This page was voted on for deletion at Votes for deletion/Communes of the Province of Vercelli. dbenbenn | talk 21:56, 28 Feb 2005 (UTC)

This page is double use with Category:Communes_of_the_Province_of_Vercelli and may indeed be deleted. LHOON 13:51, 11 September 2006 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Comuni of the Province of Agrigento which affects this page. Please participate on that page and not in this talk page section. Thank you. -- Brown HairedGirl (talk) • (contribs) 07:52, 18 February 2014 (UTC)

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


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Talk:Park Slope

Comment
I lived in Park Slope for several years in 2005-2008. I did not find it predominantly gay, or even particularly gay. What you did see most of was strollers, even w/ same sex moms. But you also saw young bright, sharp students, musicians, writers. It is a mish mosh where the only generality is that it seems to have a very nice cool smart vibe. And no one group or type overshadows or dominates in number another. So it’s just a great mix and stays interesting because of that. Great restaurants, "hip" restaurants and bars where you can hear live music from country to folk to rock and roll to jazz to blues or poetry readings or sip on a beer with the regulars and watch a film, great dive bars and upscale too. Something for everyone.

More edgy and interesting along 5th and as you get into the higher numbers, more sedate manicured family oriented in Park Slope proper and 7th Avenue.

The new dog run needs benches, lights and a drinking hose for the pooches. And there is nothing like off leash hours in Prospect Park in that large area (and for those who like a dip in the dog pond). When I lived there there was a sax player who used to play on one of the benches in the morning. Nice touch.

I'm actually moving back, though its almost more expensive then Manhattan now, and I moved there originally because you could get a lot more for your money. Doesn't seem to be the case anymore.

The negatives--lots of strollers (unless you are pushing one yourself), elitist attitude in some of the shops and restaurants, and the few times I strolled into the food co-op contemplating joining, I always got this feeling that nobody in there (shopping or working) was very happy and it had this cult feeling....

When I first moved there I stopped into the Barnes and Nobel for a cup of coffee and glass of water and they charged me for the glass of water. Somewhat off putting to say the least. But later it seemed to me to be in keeping with the feeling that those there that had money appeared always on the precarious verge of losing it, and those w/out, on the verge of being discovered or publishing and having it. Yet another perspective on the meaning of "the slope." —Preceding unsigned comment added by 66.108.29.13 (talk) 00:47, 13 June 2009 (UTC)

Park Slope has a distinct version of Brooklyn flavor. I suppose for some, an acquired taste.

It is so pathetic this article has so little info compared to the one on Williamsburg.

Park Slope hipsters! Get to work!

Photos
Why are there so few photos of Park Slope on the Web? And the ones there are are old and unattractive. This is one of the most beautiful urban neighborhoods in the world, and almost nothing!

Park Slope and Urban sprawl

 * I would hardly call Brooklyn or Park Slope an example of urban sprawl. Please read the article on that topic to get a better sense of what is meant by urban sprawl. Darkcore 22:13, 13 Mar 2005 (UTC)

 * See your talk page. --Howrealisreal 00:38, 14 Mar 2005 (UTC)

 * I replaced the urban sprawl characterization of turn-of-the-twentieth century development (which implies car-reliant development) with that of the streetcar suburb. I think this may be more historically accurate.--Pharos 01:41, 14 Mar 2005 (UTC)

 * Okay, I am satisfied with this compromise. Thanks guys. --Howrealisreal 01:48, 14 Mar 2005 (UTC)

 * It's funny; actually I changed this independently of Darkcore's comment, which I noticed afterwards. On another point, I'm not sure I agree with the removal from Category:Gay villages.  This has been a major aspect of the neighborhood's development in recent years.--Pharos 01:51, 14 Mar 2005 (UTC)

 * Yeah that is true. Along with the influx of immigrants during the late 70s and 1980s, Park Slope is another classic example of how gays and lesbians have initiated gentification in neighborhoods. I am looking to find a good source that deals with this information before I add it to the Park Slope history section. Good point Pharos. --Howrealisreal 01:56, 14 Mar 2005 (UTC)

 * I think a distinction needs to be made between a gay village and a neighborhood that may be home to gays and lesbians. The Queer community tends to be heavily urbanized. Also, the Queer community, particularly gay men, have, along with artists, played significant roles in gentrifying many urban neighborhoods in many, many cities. However, a gay village is a neighborhood with a distinct "gay identity" that, to me, does not really exist in Park Slope. Yes, gays and lesbians live there (and they live in Fort Greene, Astoria, Bed-Stuy, Williamsburg, etc., etc.) but I don't think the definition of "gay village" is particularly warranted for any of those neighborhoods. Nor do I think it is really appropriate for Park Slope. Darkcore 06:09, 14 Mar 2005 (UTC)

 * I'm fairly new to the term "gay village", so it may not be appropriate for this article. But, I do think Park Slope's association with the gay and lesbian community, specifically how they helped shape and evolve the neighborhood before the boom in property value of the 1990s, is more well-known and more significant compared to your other examples of Fort Green, Astoria, Bed-Stuy, etc... I've grown up in this area for almost 22 years now, and I do believe that there is a distinct "gay identity" in Park Slope, although it has been hindered more recently due to the area becoming fashionable to families and young professionals (hipsters, yuppies, whatever you want to call them). I know it is not the end-all/be-all, but Park Slope still hosts many gay and lesbian parades and events that cater to the queer community in and beyond its boundaries. --Howrealisreal 19:40, 14 Mar 2005 (UTC)

 * Removed gay village category. At one point it might be appropriate but currently it probably doesn't. --Howrealisreal 16:47, 8 September 2005 (UTC)

Progress
Congatulations on getting this quite beyond stub status; of course, it could still be expanded, particularly with non-historical info.--Pharos 18:35, 25 Mar 2005 (UTC)

 * Thanks. I'll continue to work on this here and there as I come across more information. I really appreciate the help and comments from all the on-lookers out there. --Howrealisreal 21:31, 25 Mar 2005 (UTC)

dyke slope
no mention of lesbians and the baby boom at all....

not true, read the article in full. but expanded on as per request. --Howrealisreal 17:20, 26 Jun 2005 (UTC)

 * I've lived in the slope my whole life. While there are a few lesbians, they are by no means dominant.  As well, I have never heard ANYONE call my neighborhood Dyke Slope.   Get a grip! —This unsigned comment is by 66.161.74.251 (talk • contribs).

Well, just because you've never heard of it doesn't mean it's not true. I have grown up in the Slope for 20-some years, and have heard it described in various contexts that way. (Most recently by a professor at the college I attended.) Urban neighborhoods are complex and dynamic places; there is a lot more that happens in the present and past than meets the eye of one individual. --Howrealisreal 23:01, 14 March 2006 (UTC)

 * I think you are missing the point. I am 28 and an active member of the community. I do personally know lesbians.  But whether its going out to dinner, or working at the Food Co-op, lesbians don't seem any more common than elsewhere in New York City.  There is ONE lesbian bar on 4th Ave. Park Slope IS NOT called Dyke Slope by anyone except perhaps as an insult.  You are missing the point. ITs a fiction!!! —This unsigned comment was added by 66.161.74.251 (talk • contribs).

You might be missing the point here: Please check this google search and find that the usage of the term is verifiable. Note that most of the sites that reference it are from within the gay community (Gay.Com Travel, Woman seeking Woman advertisement in Craigslist, Dyke-TV show about softball...) and the class that I heard the term used at Pace University was my girlfriend's queer studies class (taught by a lesbian who herself lives in the Slope). You are right, Park Slope today is very diverse and lesbians don't normally walk around wearing signs that indicate so. But, you are kidding me if you are trying to deny the Slope's distinct gay identity and participation during its gentrification process. As someone who grew up in the neighborhood I am not insulted, and judging from the adoption of the term by the gay community, neither does many lesbians who have or still do call Park Slope home. Also, please sign your posts by adding ~ after your text. Thank you. --Howrealisreal 15:57, 23 March 2006 (UTC)

 * I really don't care about the few google searches that result (one of which is this site). If I put in Chelsea or Boys Town (halstead st, Chicago) TONS of hits appear. Not a handful.  Gays don't have to wear signs.  But there should be more than one drinking establishment that caters to them.  The one dike bar on 4th ave is usually pretty dead, as is the one on 5th ave.  The point is there IS no gay community.  A few lesbians does not a community make.  But I'm not denying that lesbians call the neighborhood home.  It has been a liberal neighborhood for 30 years.  The point is, the term itself, Dyke Slope.  I don't like it.  I've never heard it.  I don't think its appropriate for Wikipedia.  And don't tell me what to do.  I can type whatever I feel like on this page.

 * Also, I've never even denied that lesbians are found in the neighborhood. My point is that while they have always been present, perhaps in greater numbers than elsewhere, they have had minimal impact on the neighborhood. They certainly have not been numerous enough to warrant a term like "Dike Slope".  The reality is lesbianism is largely an academic phenomenon.  It doesn't surprise me in the slightest some professor would make such a claim.  But, that one class does not trump a substantial portion of my personal experience over many years. —The preceding unsigned comment was added by 66.161.74.251 (talk • contribs) 12:43, April 13, 2006.
 * First off, please remain civil (I'm glad you didn't keep this edit in place). Second, please create and account and sign your posts. Third, your personal experience is not the measurement of what should and should not be included in WP. --mtz206 17:54, 13 April 2006 (UTC)

 * I respect your opinion, but it is just that. This is an encyclopedia, not your personal blog. You are absolutely correct that you can write whatever you want on these talk pages, but we have a responsibility to be accurate in the article page. Remember Wikipedia is not censored for any reason, which includes removing content because you find it offensive. Your removed edit stated that you think I am "a delusional, academic lesbian who wishes [I] had a neighborhood of [my] own," and I just have to chuckle at that. In fact, I am a heterosexual male Brooklynite who has grown up in and around the Park Slope neighborhood, although now I live in Sunset Park. Just like many of the other people (including many of the lesbian pioneers) who used to call the Slope home, I can no longer afford to live there. I have no knowledge of the lesbian bar scene since I am not a lesbian, but that is not the end-all-be-all criteria for a lesbian community. You have to understand that there is too much evidence (not personal opinion) that indicates "Dyke Slope" to be a valid term to describe the historic relevance of lesbians in the neighborhood. A New York Times article explains how lesbains had an important role in the first gentrifcation process of the Slope, and the article even references the term "'Dyke Slope', as [the neighborhood] is affectionately called by many lesbians..." In order to be accurate and objective, sometimes we have to put our own feelings aside and advocate sides that don't always reflect our personal experiences. --Howrealisreal 19:56, 13 April 2006 (UTC)

 * I am gonig to have to agree with the anonymous poster. I too grew up in Park Slope and must weigh in. While there are plenty of gay people in the neighborhood they do not make up a significant portion for particular mention. Also the neighborhood which I grew up in for over 24 years has never been called Dyke Slope by anyone I know either. I would like to call into question your usage of this phrase. Perhaps you are using it because your circle of friends do and its causing a misjudgement into how wide spread it is? Maybe the gay community calls it that, but even the gay people I know in Park Slope have never used the term. If it is particulary gay people then can you please state that. I will wait 3 days for a counter arguement or more solid factual standing then some google links. Thank You --Zer0faults 12:54, 11 May 2006 (UTC)

That is fair enough. I have no problem with attributing the phrase to the people who use it the most. I agree that I have not heard the phrase until more recently. It was just quite alarming to me when the anon had decided that the phrase was incorrect and should be omitted from the article, without taking into consideration anything else. This is a good compromise. --Howrealisreal 13:52, 11 May 2006 (UTC)

Just wanted to throw out there that I had heard the term "dyke slope" in various contexts before I moved to NYC; my partner and I now have a "welcome to south dyke slope" sign in the front room of our apartment. It may be a term specific to the twentysomething queer community, but within that context it is widely used. Decafdyke 14:56, 9 July 2006 (UTC)

Hi all, just wanted to throw in my 2 cents. Have lived in the slope since 1996. I'm a straight female. The one and only time I've ever heard PS referred to as Dyke Slope was from a lesbian friend from out of state. While this points to the fact that SOMEBODY is referring to PS as Dyke Slope, I personally have friends (straight and gay)all over Brooklyn and in Manhattan who have never used that term around me. And when I first heard it I asked people if they had ever heard it and everyone said no, so I thought my out of state friend was misinformed. For 12 years I've seen a very diverse neighborhood (which is why I like it) with no more stand out of lesbians than anyone else. And that lesbian cafe on 5th ave closed a couple of years ago. I'd say the term exists, but only for people who want to push labels.24.90.11.67 (talk) 03:16, 2 June 2008 (UTC)

movies
The Squid and the Whale, the 2005 American film written and directed by Noah Baumbach and produced by Wes Anderson is set in Park Slope. — Preceding unsigned comment added by Alexvessels (talk • contribs) 13:34, 1 February 2011 (UTC)

at least part of the movie "Smoke" was filmed in the Slope and it seems that the smoke shop could easily be a 5th Ave, 7th Ave or Flatbush Ave shop.

granted, everything i see reminds me of the Slope, but "Dog Day Afternoon" looks pretty Slope-ish, too.

Where do you think these belong? —Preceding unsigned comment added by 199.203.35.14 (talk • contribs)

 * Actually, all three of those movies are really in the Windsor Terrace area, which is sometimes branded "South Park Slope" by real estate companies trying to raise the property value and rents. I know this, because I grew up in Windsor Terrace for the past 21-or-so years of my life. Perhaps, you may want to move the section to that article. --Howrealisreal 00:21, 3 February 2006 (UTC)
 * I moved it for you. --Howrealisreal 16:22, 5 February 2006 (UTC)

Photos
Is there a need for 5 photos of brownstones? A max of two would seem to be sufficient, unless they happen to be of something particularly noteworthy. --mtz206 23:18, 1 March 2006 (UTC)

Gentrification Cons
This article only seems to list the positive effects gentrification has had on Park Slope, making it seems a little POV from the view of those moving into the neighborhood during the gentrification. I would like to add the following, please give feedback, will wait for 3 or so days before adding to article.

 * "The negative impacts however of this gentrification is the displacement of the immigrant population that settled in the 1980s. As yuppies began to move into Park Slope the rising rents have made it difficult for low income residents to stay. It is not uncommon to find those same early immigrants who moved into the neighborhood living adjacent to renters paying two to three times the rent.

 * The commercial impacts of the gentrification can also be seen along the popular 5th Avenue stretch, where numerous banks and bars have replaced neighborhood staples such as the Salvation Army and once popular dollar store's. While gentrification and the ensuing rush of brand name stores normally signal a driving down of prices, in some industries such as food services, prices have gone up. The establishing of base prices by coporate businesses have led to smaller establishments such as the local convenience store to raise their prices, yet still maintain them under the base."

They arent necessarily in order, feel free to give feedback, pros cons etc --Zer0faults 20:12, 11 May 2006 (UTC)

 * I say be bold and go for it. I definitely agree with the nature of your proposed contribution, and if you feel it balances the appearance of the antithesis then by all means it is important to add. --Howrealisreal 13:53, 12 May 2006 (UTC)

 * I dont' think that adding opposing views achieves the NPOV. Two biases don't make neutral.  In particular, the paragraphs lack citations and contains several biased terms and too much unattributed speculation and original research.--Davmpls 21:43, 2 November 2009 (UTC)  —Preceding unsigned comment added by Davmpls (talk • contribs)

Winter photos
I uploaded this picture I took of Park Slope. Would you like me to find a place for it in the article? — Anna Kucsma
 * Sure.. go for it. --Howrealisreal 15:57, 7 July 2006 (UTC)
 * Done! — Anna Kucsma 14:11, 10 July 2006 (UTC)
 * Since you added this winter shot, I deleted another of brownstones with snow in front. One winter shot is sufficient. --mtz206 (talk) 14:15, 10 July 2006 (UTC)

"Close access" paragraph
The third paragraph includes, among other things, a list of institutions to which Park Slope provides "close access." One of these institutions is the Brooklyn Public Library. While the library's Central Branch is indeed on the edge of the neighborhood, the sentence as written suggests that the system as a whole is within walking distance. Of course, it ain't. Could someone re-write it? (I'm feeling a little mentally flustered right now, or I'd do it myself...) — AnnaKucsma   (Talk to me!) 01:35, 13 August 2006 (UTC)
 * Done! --Ec- 18:17, 17 August 2006 (UTC)
 * And nicely, too! Thanks for taking care of it. — AnnaKucsma   (Talk to me!) 20:36, 17 August 2006 (UTC)

Southern border
I just reverted an anonymous edit that changed the southern border of Park Slope to the Prospect Expressway rather than 15th Street. I am not completely opposed to this, but I think the issue deserves some discussion and consensus before a change is made. I have lived in Park Slope for almost 14 years, and always considered 15th street (from the traffic circle at the edge of Prospect Park cutting West) the border. Perhaps this has expanded in recent years - the highway is a more obvious deliminater. Thoughts? --Ec- 23:32, 29 August 2006 (UTC)

 * I always thought of 15th Street as the border, too. Beyond that is Windsor Terrace (I think). — AnnaKucsma   (Talk to me!) 20:16, 30 August 2006 (UTC)

 * I was born and raised in Windsor Terrace (17th Street to be exact) for 23 years now: 15th Street is absolutely the border of Park Slope. Real estate agencies have been cashing in on the popularity of the Slope by terming Windsor Terrace as "South Slope" for awhile now. I strongly believe that the article should not give in to market-based boundaries. The true borders of the Slope should be defined in the intro of the article, and the "Park Slope sprawl" that is presently going on belongs down below in the history. --Howrealisreal 01:44, 31 August 2006 (UTC)

I am a real estate broker who worked in Windsor Terrace for 3 years and in Park Slope for 1. I've never heard or seen anyone trying to pawn Windsor Terrace off for the South Slope. I'm not saying it hasn't been done but I have a feeling if it has, it's rare. I feel if it was more commonly done, I would have heard it by now.64.12.117.11 14:36, 27 September 2006 (UTC)

I'm changing an edit that wrongly states that the southern boundary of Park Slope is the Greenwood Cemetary according to the New York City Department of City Planning. The cited source actually highlights the boundaries of South Park Slope with 15th St. being the northern boundary. As I've seen here, most, if not all, agree that the southern boundary of Park Slope is 15th St. Cheers Stavros 2k5 (talk) 21:55, 16 October 2008 (UTC)

Another Border
I was confused about Brooklyn Botanical Gardens and Brooklyn museum, the description on the page would exclude these as they are outside the border the article talks about. As long as I have lived in Park Slope, over 30 years now, I have yet to see anyone actually call this area Park Slope either. These two institutions are actually in Prospect Heights. --NuclearUmpf 17:51, 19 September 2006 (UTC)
 * NM, I see they are not attributing it to the neighborhood just banking off of its distance. --NuclearUmpf 17:52, 19 September 2006 (UTC)

adding Category:Places impacted by urban decay
I think that this should be added becuase there *was* decay in Park Slope at one time. If you look at the things in the category they are not all places that are ina state of decay but rather places that suffered it at one time.

futurebird 05:45, 2 January 2007 (UTC)

 * Ya'know, I tend to think that this category is kinda meaningless. What urban neighborhoods have never suffered a little decay? (See also: Category_talk:Places impacted by urban decay) — AnnaKucsma   (Talk to me!) 01:56, 4 January 2007 (UTC)
 * I think that is a great question, there are places that have not suffered from blight, maybe not in NYC (though the upper east side comes to mind...) but in the country. What do all of those places have in common... I think that's important question to ask when thinking about Urban Decay. The remarkable recovery of Park Slope makes the fact that it was once a victim of urban decay all the more remarkable (and notable). --futurebird 04:50, 4 January 2007 (UTC)

Residents' Userbox
I've created a userbox, User:AnnaKucsma/Boxes/Park Slope. Comments welcome. Users, too. — AnnaKucsma  (Talk to me!) 17:42, 22 February 2007 (UTC)

yuppies and hipsters
i think the author of this article meant to say that hipsters go to williamsburg and greenpoint, and yuppies go to park slope -- not that hipsters go to w-burg, and yuppies to the slope and greenpoint. but i'm not going to change it since it is silly, unsubstantiated, and a gross over-generalization. Nickhanlon 15:07, 23 February 2007 (UTC)

houses of worship
I see lots of large churches in Park Slope, but the wiki only lists synagogues. That's pretty weird. —Preceding unsigned comment added by 216.211.206.51 (talk) 19:35, 6 January 2009 (UTC)
 * The article used to have explicit lists of houses of worship under churches, synagogues and mosque headings. Jeffrey O. Gustafson cleaned the slate on 2007-06-07, creating a balance of representation, sort of speaking, by having no explicit house of worship listing whatsoever. It has its advantages, I guess, in fairness, and no one objected at the time. But, this being the Park Slope wikipedia article, Which Must Have Lists On EVERYTHING, the synagogues are creeping back in. So, restore the churches. Somebody else can do the mosques and Shinto shrines and whatever else might be left out — and don't forget the Ethical Culture folk! And while you're at it, add a few more writers and artists, maybe a politician or musician or two. Can't leave them out. And you don't even have to feel obliged to maintain the list cruft. This article is so sand-bagged with itemizations, how could a few more possibly hurt?
 * On a more serious note (and now that I've made my feelings about lists and such known ;) I propose reverting 72.229.149.18 synagogue list, because my preference is for Jeffrey O. Gustafson clean slate approach. I don't find such lists particularly useful for the clutter they create, nor do they get the maintenance they require. I will revert 72.229.149.18 edit — the synagogue list — in two weeks' time if there is no further discussion on this topic (but I welcome the discussion, especially ideas on how to keep such lists representative and accurate). Take care Gosgood (talk) 13:31, 7 January 2009 (UTC)

Northern Border
Using the boundary definitions included in both the current Park Slope and Prospect Heights articles, the triangle bounded by Flatbush to the north, Park Place to the South, and 4th Avenue to the west would thus be part of no Brooklyn neighborhood whatsoever. My view is that the present northern border is actually Flatbush Avenue, not Park Place.

Though historically this area may not have been part of Park Slope, and was also not part of the Park Slope historical district, Flatbush is now commonly understood to be the boundary between Propsect Heights to the North and Park Slope to the south. As evidence, the official NYC website shows the northern boundary at Flatbush avenue. I'd submit that this is a higher quality source of neighborhood boundaries than New York Magazine. If this area is not part of (modern) Park Slope, what neighborhood is it part of? --Ominesan (talk) 04:06, 30 April 2009 (UTC)

 * Agreed. The border between Park Slope and Prospect Heights is Flatbush avenue. I know that there is a bit of sensitivity about Park Slope's borders extending, but this one is both accurate (backed up by the NYC site, rather than a factor of the historic district demarcation), and a pretty small area at that.  63.251.31.10 (talk) 17:37, 14 May 2009 (UTC)

 * As more evidence I'd submit the recent New York Magazine article (http://nymag.com/daily/food/2009/06/prepared_foods_with_a_pedigree.html) about a new store, Brooklyn Larder, located at 228 Flatbush (SW side of avenue), which is owned by the owners of Franny's, which is on the NE side of Flatbush. The article places Bklyn Larder as being in Park Slope, and Franny's as in Prospect Heights. Flatbush Avenue, not Park Pl, is the northern border of Park Slope and I am going to go ahead and make this change unless someone provides contradictory objective and current evidence showing Park Place as the modern border. I'd request that along with the evidence, it be proposed as to what neighborhood the the area bounded by 4th Avenue, Flatbush Ave, and Park Place is in fact part of if that area is not part of Park Slope. --Ominesan (talk) 01:51, 4 June 2009 (UTC)

Pop. density stats are reversed
In the lead paragraph, there's this line: "...resulting in a population density of approximately 68,000/square mile, or approximately 26,000/square kilometer"

I'm guessing that those figures are probably reversed -- that is, that it's more likely 68,000/sq km and 26,000/sq mi. Otherwise, the conversion doesn't work. There are about 2.5 square kilometers in every square mile. —Preceding unsigned comment added by Largeman2 (talk • contribs) 02:16, 9 September 2009 (UTC)

How 'bout a mapp y'all?
Can I get a holla ? —Preceding unsigned comment added by 143.55.249.171 (talk) 19:24, 21 December 2009 (UTC)

Adding facts in article that are not included.
Repost from this: An article about Park Slope, Brooklyn omits the following four interesting and important facts about the neighborhood: 1. Barack Obama lived on Second Street in Park Slope immediately after he graduated from Columbia University 2. Al Capone grew up on Garfield Place in Park Slope 3. Park Slope now contains the largest Historic Distirict in New York City 4. The Trolley Dodgers played there first baseball games in a ballpark where Washington Park is now located. ("In the 1880s, a new professional ballclub called the Trolley Dodgers played in Washington Park, at a field between Fourth and Fifth Avenues on the flatlands below Park Slope. The first game of the new team was played in 1883." by ) How would I go about getting them included? -- 70.107.122.85 (talk) 01:22, 14 June 2012 (UTC)

 * Be bold! Looks like you have some good citations in hand. Here's another cite of Al Capone having lived at another Garfield Place address. Seems to have been sourced by the NY Times from NYS Census data, so it's not an "old owner told the realtor" story or a neighborhood legend. TimBRoy (talk) 05:44, 8 January 2013 (UTC)

Downsize or remove entirely list of "Notable Residents"
The list makes up more than 50% of the entire article. Doesn't Wikipedia regard these lists as trivia? In that case, the whole list should be removed entirely. A concise article is the better option here. - Rantankamus (talk) 18:04, 3 April 2013 (UTC)
 * The list is huge and should be moved to a separate article, with references and a brief description added about what makes each person notable. Richard Apple (talk) 21:34, 6 September 2013 (UTC)

1890 census data destroyed
how can this article refer to the 1890 census information when, in fact, there is no direct information to cite from. i was in search of the census data from 1890 and found out that it had been destroyed in a 1921 fire. where is the author getting his/her information from regarding the wealth of the residents of Park Slope, in 1890, if there is no hard (accurate) government data to look at? — Preceding unsigned comment added by Dhlitwack (talk • contribs) 02:31, 1 December 2014 (UTC)

Public Schools
Cleaned up the Public Schools section, including the full names of each school. I also added the new standalone pre-K and edited some of the school descriptions (according to their websites, 321 and 107 both eliminated pre-K). I also removed MS 266, since it isn't in Park Slope by any measure. SixFourThree (talk) 17:33, 7 April 2016 (UTC)SixFourThree

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External links modified
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Notable people
I think this section should be split to List of people from Park Slope. The section is already pretty long (it has 130 entries with 63 references) and has more than 37,000 characters of wikicode. epicgenius (talk) 17:57, 14 December 2019 (UTC)
 * , looks like no objections so go for it but would be best per past AfDs if there was a case for their notability as a list apart from that there are many. (not watching, please )  czar  21:55, 20 June 2020 (UTC)

Requested move 7 December 2021

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Not moved. (non-admin closure) Natg 19 (talk) 02:45, 14 December 2021 (UTC)

Park Slope → Park Slope, Brooklyn – I propose renaming the article in order to standardize it with other articles on NYC's neighborhoods, which normally follow the format ["neighborhood", "borough"] (for example, Jamaica, Queens). - Headphase (talk) 11:49, 7 December 2021 (UTC) The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose. The other neighborhood articles are titled as such not because there's a strict standard on how to title neighborhoods, but because they aren't distinctively known enough for it to be known without disambiguation (Windsor Terrace, Brooklyn), or because there's too many other notable examples (e.g. Williamsburg, Brooklyn is famous enough to be known as Williamsburg alone, but there's too many other highly notable Williamsburgs).  When these don't apply, the city isn't needed (examples of other sufficiently notable neighborhoods that don't include city: Montmartre, Notting Hill, etc.).  It's the same policy as for city titling - we have Seattle rather than Seattle, Washington because it's famous enough to not need the state.  Park Slope is well-known and there aren't other notable Park Slopes to disambiguate from.  SnowFire (talk) 16:52, 7 December 2021 (UTC)
 * Oppose. Many other neighborhoods in New York City don't include the borough name: Harlem, Greenwich Village, Long Island City, Tribeca, etc. WP:USPLACE says: Neighborhoods within New York City are identified by the standard neighborhood, borough when not at the base name (emphasis mine), which implies that it is acceptable for the neighborhood to be at the base name if the title otherwise meets Wikipedia guidelines, which in this case it does. Rublov (talk) 17:33, 7 December 2021 (UTC)
 * Comment - All understandable. Thanks for the USPLACE reference Rublov. I suppose my question becomes, by what standard are we measuring notoriety for base name-only status?  There should be some objective threshold, but I didn't find anything on this in the WPNYC Project pages, at least. Headphase (talk) 01:39, 8 December 2021 (UTC)
 * I don't know about an objective threshold, but Park Slope is one of the better-known neighborhoods of the city, as supported by the fact that it has its own national historic district, and that it is, per the article itself, one of New York City's most desirable neighborhoods. Is it as well known outside of the city as, say, Harlem? No. But there is clearly no need for disambiguation, so WP:CONCISE if nothing else argues in favor of the shorter title. That being said, it might be worth starting a discussion at Wikipedia talk:Naming conventions (geographic names) to clarify the guideline. Rublov (talk) 02:24, 8 December 2021 (UTC)
 * Oppose per SnowFire and Rublov. User:力 (powera, π,  ν ) 18:51, 8 December 2021 (UTC)
 * Support per nom. 125.167.57.198 (talk) 00:51, 11 December 2021 (UTC)
 * Oppose per WP:OVERPRECISION. Neighborhoods are generally not treated differently than other articles, in that they take the base name unless that's ambiguous and they are not the WP:primary topic. In those cases we generally disambiguate with a comma followed by the city's name. NYC is unique in that the borough rather than the city follows the comma, but again, only when necessary. Jamaica, Queens is at that title because the country of Jamaica is the obvious primary topic. But there's no other Park Slope on WP, so no need to disambiguate the title. Station1 (talk) 10:45, 11 December 2021 (UTC)

Merge proposal
I propose merging South Slope, Brooklyn into Park Slope. There seems to be no reason for pulling one section of the neighborhood out into its own article; most of the businesses and schools referenced in that article consider themselves as being in "Park Slope" if you actually click the links. It seems that anything covered in that short article can easily be absorbed into this one without causing any article-size or weighting problems in Park Slope.By the Beard of Worf! (talk) 18:09, 20 October 2023 (UTC)

 * I would also add that there seems to be more information about South Slope in the main "Park Slope" article than there is contained in the "South Slope" article. So merging would help minimize confusion and better disseminate information. By the Beard of Worf! (talk) 18:13, 20 October 2023 (UTC)

 * Makes sense, and since there has been no objection in over a month I'm going to do it. SixFourThree (talk) 16:45, 27 November 2023 (UTC)SixFourThree

title: Talk:Park Slope


text:
On the Transmigration of Souls

On the Transmigration of Souls is a composition for orchestra, chorus, children's choir, and pre-recorded tape by the American composer John Adams (born 1947). It was commissioned by the New York Philharmonic and Lincoln Center's Great Performers (and an anonymous but prominent New York family) shortly after the September 11 terrorist attacks of 2001. Adams began writing the piece in late January 2002, and the music was premiered by the New York Philharmonic on September 19, 2002, at Avery Fisher Hall. The work is composed in a single movement and has a duration of approximately 25 minutes. Pre-recorded voices, increasingly distorted, list the names of some of the victims, followed by the word “Missing”  after each name. The work's sheet music is published by Boosey & Hawkes.

Adams's intentions
In an interview, Adams explained: "I want to avoid words like 'requiem' or 'memorial' when describing this piece because they too easily suggest conventions that this piece doesn't share. If pressed, I'd probably call the piece a 'memory space.' It's a place where you can go and be alone with your thoughts and emotions. The link to a particular historical event – in this case to 9/11 – is there if you want to contemplate it. But I hope that the piece will summon human experience that goes beyond this particular event."

According to the composer, "Transmigration means 'the movement from one place to another' or 'the transition from one state of being to another.' But in this case I meant it to imply the movement of the soul from one state to another. And I don't just mean the transition from living to dead, but also the change that takes place within the souls of those that stay behind, of those who suffer pain and loss and then themselves come away from that experience."

Instrumentation
The work is scored for an SATB chorus, a children's choir, and an orchestra comprising piccolo, three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani, four percussionists, piano, celesta, quarter tone piano, 2 harps, strings, and pre-recorded tape.

Critical response
Reviewing the world premiere, Anthony Tommasini of The New York Times wrote, "The richness and solemnity of this music come primarily from its harmony, a subtle mix of sturdy tonality and anxious, stacked-up orchestra chords spiked with shards of dissonance." He added, "Some listeners may find Mr. Adams's material to be insufficiently involving on a purely musical level. But this atypical concert work asks you to put aside typical expectations. And there is real musical method to its structure, for 30 minutes passed by almost too quickly."

Awards
On the Transmigration of Souls was awarded the 2003 Pulitzer Prize for Music. Its premiere recording (with Lorin Maazel conducting the New York Philharmonic, the New York Choral Artists, and the Brooklyn Youth Chorus) received the 2005 Grammy Award for Best Classical Album, Best Orchestral Performance, and Best Classical Contemporary Composition.

title: On the Transmigration of Souls


text:
Category:Community and junior colleges in Maryland

List of Community colleges located in the State of Maryland, in the United States.


text:
Talk:Alexander Orlov (Soviet defector)

In serious need of a rewrite?
As I understand it the latest scholarship on Orlov essentially discredits most of what was previously thought about him. Not an expert but I think this really needs to be reflected in this article. 90.194.75.156 (talk) 18:15, 5 September 2015 (UTC)

Old talk
Shouldn't this state that he was in the NKVD at the time of defection? I think that the OGPU had been subsumed into the NKVD by then. Mozzerati 21:59, 2005 Feb 28 (UTC)

Question
Why does he have to names (Orlov and Feldbin)? Shouldn't that be explained? Uly 13:09, 12 January 2006 (UTC)

Question 2
Why was the paragraph on the transhipment of Spanish Gold removed?

Why Leib?
Russian & German versions use name Leiba I Can 15:14, 27 May 2007 (UTC)

sole external link is bad
bad link in xternal Links

Should have section devotd to murders of US citizens in Spain - no apology from U Michigan ?

G. Robert Shiplett 13:53, 20 October 2012 (UTC)

 * Whom did U Michigan murder? — Preceding unsigned comment added by 103.16.26.156 (talk) 10:26, 28 June 2015 (UTC)

Longstanding Claim needs source.
In the section dealing with the Spanish war, there is a claim that is not supported. It states: "The Republican government had agreed to use this hoard of bullion as an advance payment for Soviet military supplies." I have traced this edit to an IP editor, about 10 years ago. https://en.wikipedia.org/w/index.php?title=Aleksandr_Mikhailovich_Orlov&type=revision&diff=45609518&oldid=45485768     While I have no doubt that this became USSR's position, the alternative is that Russia simply looted the gold from Spain with the assistance of Communists in the Republic. If there was indeed such an agreement, it should be documented. 67.5.213.48 (talk) 17:55, 20 May 2016 (UTC)

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How?

 * After being identified as a spy by the US Office of Naval Intelligence, Orlov obtained a passport in the name of William Goldin

How did he get a passport after being identified as a spy? --Error (talk) 20:50, 26 January 2019 (UTC)

Daughter
What happened to his daughter after Canada? Did she recover from her illness? --Error (talk) 20:57, 26 January 2019 (UTC)

"Lies"?
Did Orlov tell as many lies as Yuri Nosenko? You can read all about Nosenko in Tennent H. Bagley's 2007 book "Spy Wars". As regards Orlov, this is all Bagley has to say about him:

Outmaneuvered by Stalin, exiled and driven from one country to another, some of his helpers killed, Trotsky could not fail to be war -- but he proved unable to read the warnings he was getting. His faithful Dutch follower Sneevliet gave him good reason to believe that Mark Zborowski, the closest associate of Trotsky’s son Leon Sedov in the Paris-based International Secretariat of the movement, was an NKVD (early designation of the KGB) provocateur. Trotsky, instead of ridding himself of Zborowski, called for a tribunal to condemn Sneevliet for sowing discord. It must have jolted him two years later, when his son died mysteriously in a Paris hospital; few beside Zborowski had even known Sedov’s whereabouts. (Indeed, as was later learned, the KGB, with Zborowski’s help, had found and murdered Sedov.) Two years later, an anonymous source from inside the NKVD (identifying himself after his defection as Aleksandr Orlov, a senior official) sent a message telling Trotsky that Zborowski was an NKVD agent. Trotsky derisively rejected the warning as an NKVD effort to spread suspicion in his organization. Orlov’s message also told Trotsky that Stalin was trying to have him killed. Confirmation, if any was needed, came in the spring of 1940 when a team of assassins raided Trotsky's house in Mexico and sprayed seventy-five bullets into his bedroom, miraculously missing him and his wife. As a result, every morning thereafter Trotsky is said to have exulted, “Another lucky day; we are still alive.”

https://archive.org/details/SpyWarsMolesMysteriesAndDeadlyGames/mode/2up Was Kisevalter Nash? (talk)

title: Talk:Alexander Orlov (Soviet defector)


text:
Historiographic metafiction

Historiographic metafiction is a term coined by Canadian literary theorist Linda Hutcheon in the late 1980s. It incorporates three domains: fiction, history, and theory.

Concept
The term is used for works of fiction which combine the literary devices of metafiction with historical fiction. Works regarded as historiographic metafiction are also distinguished by frequent allusions to other artistic, historical and literary texts (i.e., intertextuality) in order to show the extent to which works of both literature and historiography are dependent on the history of discourse.

Although Hutcheon said that historiographic metafiction is not another version of the historical novel, there are scholars (e.g., Monika Fludernik) who describe it as such, citing that it is simply an updated late-twentieth-century version of the genre for its embrace of the conceptualizations of the novel and of the historical in the twentieth century.

The term is closely associated with works of postmodern literature, usually novels. According to Hutcheon's "A Poetics of Postmodernism", works of historiographic metafiction are "those well-known and popular novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages". This is demonstrated in the genres that historiographic metafiction parodies, which it uses and abuses so that each parody constitutes a critique in the way it problematizes them. This process is also identified as "subversion" for the purpose of exposing suppressed histories to allow the redefinition of reality and truth.

Examples
Works often described as examples of historiographic metafiction include: Doctor Copernicus by John Banville (1976), The French Lieutenant's Woman by John Fowles (1969), Ragtime by E. L. Doctorow (1975), Legs by William Kennedy (1975), Kindred by Octavia E. Butler (1979), Midnight's Children by Salman Rushdie (1981), The Great Indian Novel by Shashi Tharoor (1989), Possession by A. S. Byatt (1990), The English Patient by Michael Ondaatje (1992), The Master of Petersburg by J.M. Coetzee  (1994), and Mason & Dixon by Thomas Pynchon (1997).

By seeking to represent both actual historical events from World War II while, at the same time, problematizing the very notion of doing exactly that, Kurt Vonnegut's Slaughterhouse-Five (1969) features a metafictional, "Janus-headed" perspective. Literary scholar Bran Nicol argues that Vonnegut's novel features "a more directly political edge to metafiction" compared to the writings of Robert Coover, John Barth, and Vladimir Nabokov.

title: Historiographic metafiction


text:
Timi Yuro

Rosemary Victoria Yuro (August 4, 1940 – March 30, 2004), known professionally as Timi Yuro, was an American singer. Sometimes called "the little girl with the big voice", she is considered to be one of the first blue-eyed soul stylists of the rock era. Yuro possessed a contralto vocal range. According to one critic, "her deep, strident, almost masculine voice, staggered delivery and the occasional sob created a compelling musical presence".

Early years
Yuro was born in Chicago, Illinois, on August 4, 1941, into an Italian-American family whose original name may have been Aurro. By the time of her birth, however, the family used the spelling Yuro. In 1952, young Rosemary moved with her family to Los Angeles, where she sang in her parents' Italian restaurant and, despite their opposition, in local nightclubs before catching the eye and ear of talent scout Sonny Knight.

Career
Signed to Liberty Records in 1959, she had a U.S. Billboard No. 4 single in 1961 with "Hurt", an R&B ballad that had been an early success for Roy Hamilton. Yuro's recording was produced by Clyde Otis, who had previously worked with Brook Benton and Dinah Washington. Later that year she recorded as a duo with Johnnie Ray. She charted some further minor hits including "Smile" (No. 42), opened for Frank Sinatra on his 1962 tour of Australia, and received a 1962 Grammy nomination for Best New Artist of 1961 (losing to Peter Nero).

In 1962, Bob Johnston and Otis produced Yuro's single "What's a Matter Baby (Is It Hurting You?)", which went to No. 12 on the Billboard pop chart. On both "Hurt" and "What's a Matter Baby", Yuro showed an emotional but elegant vocal style that owed a debt to Washington and other black jazz singers. Many listeners in the early 1960s thought Yuro was black. Her single "The Love of a Boy" reached No. 44 in 1962. It was arranged and co-written by Burt Bacharach, but Yuro refused to record his suggested follow-up, "What the World Needs Now Is Love".

In the following year, Liberty released Make the World Go Away, an album of country and blues standards. The singer at her vocal peak, this recording includes the hit title song (later a bigger hit for Eddy Arnold, with whom the song is usually associated), a version of Willie Nelson's "Permanently Lonely", and two different blues takes of "I'm Movin' On". Yuro was also known for soulful reworkings of popular American standards, such as "Let Me Call You Sweetheart", "Smile", and "I Apologize". She toured Europe in 1963, and appeared on the British TV show Ready Steady Go!. However, in the U.S. her image became established as a cabaret performer, rather than as a soul singer.

By 1964, Yuro had moved to Mercury Records, but her first record for the label, "You Can Have Him", arranged by Jack Nitzsche, only just scraped into the chart and was her last hit. Nevertheless, her album The Amazing Timi Yuro, produced by Quincy Jones, was an artistic success. According to one critic, "her deep, strident, almost masculine voice, staggered delivery and the occasional sob created a compelling musical presence".

Subsequent records were unsuccessful, although a B-side, "Can't Stop Running Away", was later popular on the UK's Northern soul circuit. In the 1960s, Yuro made two TV appearances on The Ed Sullivan Show and was a guest on American Bandstand, Where the Action Is, and The Lloyd Thaxton Show. In 1967, she appeared in a black-and-white film in the Philippines as a guest star alongside Filipino comedians Dolphy and Panchito in a comedy titled Buhay Marino ("Life of a Sailor"), a film released by Wag-Wag Productions, Inc. Prior to that, Yuro also appeared as a guest on the Student Canteen TV program hosted by Leila Benitez of CBN (now ABS-CBN) in Aduana, Manila, and afterwards, did a singing concert at the Araneta Coliseum (now Smart Araneta Coliseum). At that time, the singer was very popular in the Philippines. She re-signed for Liberty Records in 1968, and recorded in London.

By the late 1960s, Yuro had performed in venues from London to Las Vegas. She appeared at the Kray twins' clubs in London as she was a favorite of Reggie Kray. In 1965 and 1968, she sang at the Sanremo Music Festival, Italy's most popular music contest. However, her career lost its early momentum and she quit the music business altogether after her marriage in 1969.

Later career
In 1981, Yuro attempted a comeback in the Netherlands, performing as a guest of honor on Dutch national television. She re-recorded a version of "Hurt" that reached No. 5 on the Dutch pop charts. She also signed to the Dutch record label Dureco to record a new album, All Alone Am I; it went to No. 1 on the Dutch album charts and was eventually certified as a gold record. With these successes, Yuro moved to the Netherlands and continued with a string of hit singles and albums. After her record sales began to decline there in the mid-1980s, Yuro returned to the United States. Her last recording was the vinyl album Today, which was released in 1982 by Ariola and produced by her old friend and collaborator Willie Nelson. In 1990, the disc was reissued as a CD, remastered and remixed by Yuro herself on her own label Timi and titled Timi Yuro Sings Willie Nelson.

Illness and death
She was diagnosed with throat cancer in the 1990s, and died at the age of 63 in 2004 in Las Vegas, Nevada.

Influence
Yuro's work is admired in the United States as well as the United Kingdom and the Netherlands. According to the obituary in the Las Vegas Sun, her hometown paper, Yuro's most famous fan was probably Elvis Presley, who commanded his own table at the casino where Yuro headlined in the late 1960s. (Presley had a top 10 country hit and top 30 pop hit with his 1976 version of "Hurt".) In April 2004, Morrissey announced Yuro's death on his official website, describing her as his "favorite singer". (Morrissey also recorded a version of Yuro's "Interlude" with Siouxsie Sioux in 1994.) P. J. Proby knew Yuro from their time in Hollywood, and often mentions it during his performances of "Hurt".

Elkie Brooks recorded a version of Yuro's classic "What's a Matter Baby" on her 1988 album Bookbinder's Kid. Yuro was so impressed with the version, she contacted Brooks while she was on a UK tour, and the two kept in contact.

Yuro found success on the dance floors of northern England in the 1970s and 1980s when Northern soul DJs championed her tracks, "It'll Never Be Over for Me" and "What's a Matter Baby". The former has remained an important Northern soul track; the latter was covered by The Small Faces as the B-side of their debut single in 1965 and re-released on Kent Records in the 1980s.

Yuro's 1962 recording of "Satan Never Sleeps" is the theme song that plays over the opening credits of the 1962 film of the same name. It also plays over the closing credits of Penny Lane's 2019 documentary film Hail Satan?.

Albums

 * Hurt!!!!!!! (Liberty Records 7208, 1961)
 * Soul (Liberty Records 7212, 1962)
 * Let Me Call You Sweetheart (Liberty Records 7234, 1962)
 * What's a Matter Baby (Liberty Records 7263, 1963)
 * The Best of Timi Yuro (Liberty Records 7286, 1963)
 * Make the World Go Away (Liberty Records 7319, 1963)
 * The Amazing Timi Yuro (Mercury Records 60963, 1964)
 * Timi Yuro (Sunset Records 5107, 1966)
 * Something Bad on My Mind (Liberty Records 7594, 1968)
 * Live at PJ's (Liberty Records, 1969)
 * The Very Best of Timi Yuro (Liberty Records LBR 1034) 1980
 * All Alone Am I (Dureco Benelux 77.011, 1981)
 * I'm Yours (Arcade, 1982)
 * Today (Ariola, 1982)

CD collections

 * Hurt! The Best of Timi Yuro (Liberty Records, 1963 /EMI Records, 1992)
 * Timi Yuro – 18 Heartbreaking Songs (Intermusic, 1993 – RMB 75061)
 * Timi Yuro: The Lost Voice of Soul (RPM Records, 1993 – RPM-117)
 * Timi Yuro: The Voice That Got Away (RPM Records, 1996 – RPM-167)
 * The Amazing Timi Yuro: The Mercury Years (Spectrum Music – Universal International (UK), 2005 – 982-596-5)
 * Timi Yuro: The Complete Liberty Singles (Real Gone Music, 2012 – RGM-0066)
 * Timi Yuro: I'm a Star Now Rarities 1956–1982 (RPM RECORDS, 2014 – RPM-955)
 * Timi Yuro: Hurt!/Live at PJs (Liberty Bell, 1986 – LST-7208, Italy, 2 lps on 1 cd)
 * Timi Yuro: Something Bad on My Mind/The Unreleased Liberty Collection(Morello Records, 2015 – MRLLX-50)

title: Timi Yuro


text:
Core fonts for the Web

Core fonts for the Web was a project started by Microsoft in 1996 to create a standard pack of fonts for the World Wide Web. It included the proprietary fonts Andalé Mono, Arial, Arial Black, Comic Sans MS, Courier New, Georgia, Impact, Times New Roman, Trebuchet MS, Verdana and Webdings, all of them in TrueType font format packaged in executable files (".exe") for Microsoft Windows and in BinHexed Stuff-It archives (".sit.hqx") for Macintosh. These packages were published as freeware under a proprietary license imposing some restrictions on distribution.

Microsoft terminated the project in 2002, but because of the license terms, the distributed files are still legally available from some third-party websites. Updated versions of the fonts produced since 2002 have not been published as freeware and are usually available only after purchasing a license or as a part of some commercial products.

Overview
The fonts were licensed to Microsoft by Monotype Corporation or designed for Microsoft by Microsoft's own font designers or external designers. The fonts were designed to:
 * Be highly legible on screen;
 * Offer a wide range of typographic "timbres" within a small number of typefaces; and
 * Support extensive internationalisation.

These design goals and the fonts' broad availability made some of them extremely popular with web designers. However, these proprietary fonts (or some of them) are not distributed with some modern operating systems by default (e.g. in Android, Ubuntu, FreeBSD, OpenBSD, OpenSolaris or some Symbian versions)          and they are substituted by other fonts (e.g. by free software fonts, such as Liberation fonts, Ghostscript fonts, Droid fonts, DejaVu fonts and others). All of these fonts in their latest versions are installed by default in the latest versions of Mac OS X (i.e. Mac OS X 10.4 and newer), but older versions of Mac OS X did not install some of them by default (e.g. Andalé Mono, Impact) and even older versions of Mac OS also did not include many of them (e.g. Arial). Some of these fonts are also not installed by default in iOS (i.e. Andalé Mono, Comic Sans MS, Arial Black, Webdings).

While the project has formally ended, the benefits of using broadly available fonts remain: to increase the likelihood that content will be displayed in the chosen font, or in a metric-compatible alternative. Eventually, modern Web browsers added support for embedding web fonts (especially the Web Open Font Format) over the course of the 2010s, allowing the real-time downloading and display of fonts that the Web designer specified. Thus the "core fonts for the Web" became technologically obsolete, since the package was never licensed for Web embedding and a majority of websites as of 2020 use embedded Web fonts instead.

Program termination and software license agreement issues
The project was terminated in August 2002, allegedly because of frequent EULA violations. A Microsoft spokesman declared in 2002 that "Microsoft has also found that the downloads were being abused—repackaged, modified and shipped with commercial products in violation of the EULA." "Most users who wanted the fonts have downloaded them already." However, that same EULA allows redistribution if the packages are kept in their original format (.exe or .sit.hqx) and original filenames (e.g. times32.exe) and not used to add value to commercial products. As a result, these packages are still available for download on third-party websites under the terms of the original web fonts end user license agreement.

The EULA referenced below also requires that a copy be applied to transferees. The EULA is therefore directly linked to: for example, on the documentation page for the SourceForge "corefonts" download package. If a third party offering the fonts for download does not offer a copy of the EULA, the legal status of such a download is questionable. However, a copy of the EULA is obtainable via the FAQ maintained on Microsoft's typography website and from some other third-party websites.

For Windows, the fonts are provided as self-extracting executables (.exe); each includes an embedded cabinet file that contains a font file in TrueType format (.ttf). For the Macintosh, the files are provided as BinHexed Stuff-It archives (.sit.hqx). It is forbidden to rename, edit or create any derivative works from the executables (e.g. arial32.exe) or archives (Arial.sit.hqx), other than subsetting when embedding them in documents. The fonts can be installed and used on non-Windows or non-Macintosh operating systems, as long as they are distributed in original form (original .exe files or .sit.hqx files) and with original name (e.g. arial32.exe). A cabinet file can be extracted in an end-user's system with appropriate software, if such software is available.

The latest font-versions that were available from Microsoft's Core fonts for the Web project were 2.x (e.g. 2.82 for Arial, Times New Roman and Courier New for MS Windows ), published in 2000. Later versions (such as version 3 or version 5 with many new characters) were not available from this project. A Microsoft spokesman declared in 2002 that members of the open source community "will have to find different sources for updated fonts… Although the EULA did not restrict the fonts to just Windows and Mac OS they were only ever available as Windows .exe's and Mac archive files."

In Debian and Ubuntu, the fonts are installable via a package named  in the   repo. This installer downloads the cabinet files and extracts them, providing an easy way for end-users to get the fonts installed in a Debian or Ubuntu environment.

Even though the fonts are available from some third-party web sites (such as an anonymous SourceForge project) and are included with Mac OS, Håkon Wium Lie (chief technical officer of Opera Software) cited the cancellation of the project as an example of Microsoft resisting interoperability.

In July 2007, Apple announced that it had renewed its licensing agreement with Microsoft for the use of the latest versions of Microsoft Windows core fonts.

List of fonts and files
The TrueType core fonts for the Web project included the following files under a proprietary license:

title: Core fonts for the Web


text:
People's Liberation Front

The People's Liberation Front can refer to several political groups:

 * People's Liberation Front (Yugoslavia), the World War II Yugoslav coalition of political parties.
 * People's Liberation Front (Sri Lanka), a Sri Lankan Marxist political party and a former militant organization
 * Eelam People's Revolutionary Liberation Front, a Sri Lankan political party formed as a militant group.
 * Eritrean People's Liberation Front (EPLF), an armed organization that fought for the independence of Eritrea from Ethiopia
 * Tigray People's Liberation Front (TPLF), a political party in Ethiopia that is the main part of the Ethiopian People's Revolutionary Democratic Front
 * Khmer People's National Liberation Front (KPNLF), a political front organized in 1979 in opposition to the Vietnamese-installed People's Republic of Kampuchea (PRK) regime in Cambodia
 * Namibia People's Liberation Front, an alliance of moderate political parties in Namibia
 * North Korean People's Liberation Front, a group based in South Korea
 * People's Liberation Front (Poland), a Polish anarchist militant group
 * Revolutionary People's Liberation Party/Front, Turkish militant organization

title: People's Liberation Front


text:
User:It419

Tamas Iklodi

title: User:It419


text:
Kastritsi

Kastritsi may refer to:

 * Ano Kastritsi, a village in Achaea, Greece
 * Kato Kastritsi, a village in Achaea, Greece
 * Charikleia Kastritsi (born 1983), Greek female weightlifter who competed in the 2004 Summer Olympics

title: Kastritsi


text:
Herb Jeffries

Herb Jeffries (born Umberto Alexander Valentino; September 24, 1913 – May 25, 2014) was an American actor of film and television and popular music and jazz singer-songwriter, known for his baritone voice.

He starred in several low-budget "race" Western feature films aimed at black audiences, Harlem on the Prairie (1937), Two-Gun Man from Harlem (1938), Rhythm Rodeo (1938), The Bronze Buckaroo (1939) and Harlem Rides the Range (1939). He also acted in several other films and television shows. During his acting career he was usually billed as Herbert Jeffrey (sometimes "Herbert Jeffries" or "Herbert Jeffries, Sensational Singing Cowboy").

In the 1940s and 1950s Jeffries recorded for a number of labels, including RCA Victor, Exclusive, Coral, Decca, Bethlehem, Columbia, Mercury and Trend. His album Jamaica, recorded by RKO, is a concept album of self-composed calypso songs.

Early life and ethnicity
Jeffries was born Umberto Alexander Valentino in Detroit to a white Irish mother who ran a rooming house. His father, whom he never knew, was of mixed French Canadian, Italian and Moorish roots. He also claimed that his paternal great-grandmother was an Ethiopian with the surname of Carey.

Firm evidence of Jeffries's race and age is hard to come by, but census documents from 1920 described him as mulatto and listed his father as a black man named Howard Jeffrey. Jeffries himself, late in life, said that Howard Jeffrey was his stepfather, and his biological father was Domenico Balentino, a Sicilian who died in World War I. Jeffries once described himself in an interview as "three-eighths Negro", claiming pride in an African American heritage during a period when many light-skinned black performers were attempting "to pass" as all-white in an effort to broaden their commercial appeal. In marked contrast, Jeffries used make-up to darken his skin in order to pursue a career in jazz and to be seen as employable by the leading all-black musical ensembles of the day.

Much later in his career, Jeffries identified as white for economic or highly personal reasons. Jet reported that Jeffries identified as White and stated his "real" name as "Herbert Jeffrey Ball" on an application in order to marry Tempest Storm in 1959. Jeffries told the reporter for Jet:"... I'm not passing, I never have, I never will. For all these years I've been wavering about the color question on the blanks. Suddenly I decided to fill in the blank the way I look and feel. Look at my blue eyes, look at my brown hair, look at my color. What color do you see?' he demanded to know. 'My mother was 100 per cent white,' Jeffries said, his blue eyes glinting in the New York sun. 'My father is Portuguese, Spanish, American Indian, and Negro. How in the hell can I identify myself as one race or another?'"

Raised in Detroit, Jeffries grew up "a ghetto baby" in a mixed neighborhood without encountering severe racism as a child. In the aftermath of the Wall Street Crash of 1929, he dropped out of high school to earn a living as a singer. He showed great interest in singing during his formative teenage years and was often found hanging out with the Howard Buntz Orchestra at various Detroit ballrooms. Intensely musical from boyhood, he began performing in a local speakeasy where he caught the attention of Louis Armstrong, who gave the teenager a note of recommendation for Erskine Tate at the Savoy Ballroom in Chicago. Knowing that Tate fronted an all-black band, Jeffries claimed to be a Creole and was offered a position as a featured singer three nights a week. Later he toured with Earl "Fatha" Hines's Orchestra in the Deep South.

A 2007 documentary short describes Jeffries as "assuming the identity of a man of color" early in his career. He is shown in Black/White & All That Jazz explaining that he was inspired by New Orleans-born musician Louis Armstrong to say falsely, at a job interview in Chicago, that he was "a Creole from Louisiana" when he was of Irish and Sicilian heritage, among other ethnic backgrounds.

Music career
From Detroit, at the urging of Louis Armstrong, Jeffries moved to Chicago where he performed in various clubs. One of his first gigs was in a club allegedly owned by Al Capone. Jeffries began his career working with Erskine Tate and his Vendome Orchestra. Tate signed the 19-year-old Jeffries to a contract with his Orchestra at the Savoy Ballroom in Chicago. His break came during the 1933 Chicago World's Fair A Century of Progress International Exposition singing with the Earl Hines Orchestra on Hines' national broadcasts live from the Grand Terrace Cafe. His first recordings were with Hines in 1934, including "Just to be in Carolina". By 1940, he was singing with the Duke Ellington Orchestra and then recorded with him from 1940 to 1942. His 1940 recording of "Flamingo" with Ellington, released in 1941, sold more than 14 million copies in its day. His name had been Herbert Jeffrey, but the credits on the record mistakenly called him Jeffries, so he renamed himself to match the typo. During his time with the Duke Ellington Orchestra as a lead vocalist, Jeffries proved his talent as a mature singer, demonstrating his wide vocal range in such songs as "I Don't Know What Kind of Blues I've Got," "The Brownskin Gal," and "Jump for Joy" (all 1941). The 1944 single "My Little Brown Book" by Ellington and his Famous Orchestra, on which Jeffries provided vocals, reached No. 4 on Billboard R&B chart.

In his teens Jeffries developed a fine voice; initially he sang in higher registers. He started out his singing career as a lyrical tenor, but, on the advice of Duke Ellington's longtime music arranger, Billy Strayhorn, he lowered his range to mimic the vocal stylings of crooner Bing Crosby. Jeffries became a "silken, lusty baritone," according to music critic Jonny Whiteside.

In 1945, Jeffries had a hit on the Billboard R&B chart with "Left A Good Deal In Mobile" (No. 2), on which he was accompanied by pianist Joe Liggins and his band Honeydrippers. Then, he moved to Europe and performed there for many years, including at nightclubs he owned. He was back in America by the 1950s, recording jazz records again, including 1957 collection of ballads, Say It Isn't So.

In 1995, at age 81, he recorded The Bronze Buckaroo (Rides Again), a Nashville album of songs on the Warner Western label.

Film career
Touring the Deep South with Hines, Jeffries was struck by the realities of segregation, as the Orchestra's playing was restricted to tobacco warehouses and black-only movie theatres. Watching young boys fill theatres to watch the latest western, Jeffries resolved to create a cowboy hero geared specifically for such an audience. A self-confessed western buff who had grown up watching the silent escapades of Tom Mix and Jack Holt, in the 1930s Jeffries set out to produce a low-budget western with an all-black cast. Though the silent era had seen a number of films starring only black actors, they had all but disappeared with the economic downturn and the arrival of the talkies, which proved too expensive for many of the "white independents" funding such projects. Jeffries's ambition was to produce sound cinema's "first all-Negro musical western". To fund his project, Jeffries approached a veteran B-movie producer named Jed Buell. Jeffries, having obtained finances, wrote his own songs for the film and hired Spencer Williams to appear with him. When Buell wanted to know of a likely candidate for the lead role, Jeffries nominated himself. Having grown up partly on his grandfather's farm, he had all the requisite horse-riding and roping skills, beside a fine singing voice, but Buell expressed concerns: Jeffries, whose mother was of Irish descent, was "not black enough". Eventually they went ahead, using make-up to darken the leading man's skin tone. Jeffries made his debut as a crooning cowboy with Harlem on the Prairie, which was considered the first black western following the inauguration of the talkies and the first sound Western with an all-black cast. The movie was shot in 1937 over five days at the Walker Movie Ranch in Newhall, CA, and the Iverson Movie Ranch in Chatsworth, CA, although later films in the series would be filmed at Murray's Dude Ranch in Apple Valley, California, with Jeffries performing all his own stunts. Though critical reception was mixed, the film received a write-up in Time magazine and grossed $50,000 in its first 12 months. Playing a singing cowboy in low-budget films, Jeffries became known as the "Bronze Buckaroo" by his fans. In a time of American racial segregation, such "race movies" played mostly in theaters catering to African-American audiences. The films include Harlem on the Prairie, The Bronze Buckaroo, Harlem Rides the Range and Two-Gun Man from Harlem.

Jeffries went on to star in another three musical westerns over the next two years. Jeffries starred as a singing cowboy, in several all-black Western films, in which he sang his own western compositions. In those films, Jeffries starred as cowboy Bob Blake, sang and performed his own stunts. Bob Blake was the good guy, with a thin mustache, who wore a white Stetson and rode a white horse named Stardusk. He went on to make other films, starring in the title role in Calypso Joe (1957), which co-starred Angie Dickinson. In 1969, he appeared in the long-running western TV series The Virginian (episode Stopover) in which he played a gunslinger who intimidated the town. In the 1970s he appeared on episodes of I Dream of Jeannie and (in 1969) Hawaii Five-0 [S1/Ep 17, "The Face of the Dragon" as Jardine] and was heard as the voice of football player "Freight Train" Jackson in the Hanna-Barbera Productions prime-time cartoon series Where's Huddles?. He later directed and produced Mundo depravados, a cult film starring his wife, Tempest Storm.

Awards and honors

 * Black Filmmakers Hall of Fame, 1979
 * Hollywood Walk of Fame
 * Palm Springs Walk of Stars, 1988
 * Western Performers Hall of Fame, National Cowboy & Western Heritage Museum, 2004

Personal life
His four marriages (including one to exotic dancer Tempest Storm) produced five children.

In 2007, while assembling material for the producers of a documentary film about him (A Colored Life), Jeffries found his birth certificate; this reminded him that he actually was born in 1913 and that he had misrepresented his age after he left home to look for a job.

In later years, he resided in Wichita, Kansas. He died of heart failure at West Hills Hospital and Medical Center on May 25, 2014, at the age of 100. He was survived by his fifth wife, Savannah, three daughters, and two sons.

Filmography

 * Harlem on the Prairie (1937)
 * Two-Gun Man from Harlem (1938)
 * Harlem Rides the Range (1939)
 * The Bronze Buckaroo (1939)
 * Calypso Joe (1957)
 * Chrome and Hot Leather (1971)
 * Portrait of a Hitman (1979)
 * Awake: The Life of Yogananda (2014)

Discography

 * Magenta Moods (Exclusive, 1950)
 * Just Jeffries (Mercury, 1951)
 * Flamingo (Coral, 1952)
 * The Singing Prophet (Olympic, 1954)
 * Jamaica (RKO, 1956)
 * Say It Isn't So (Bethlehem, 1957)
 * Herb Jeffries (Harmony, 1957)
 * Devil Is a Woman (Golden Tone, 1957)
 * Passion (Brunswick, 1957)
 * I Remember the Bing (Dobre, 1978)
 * I've Got the World on a String (Discovery, 1989)
 * The Bronze Buckaroo (Rides Again) (Warner Western 1995)
 * The Duke and I (2012)

title: Herb Jeffries


text:
User:SPUI/RI 10

Rhode Island State Highway 10 is a numbered State Highway running 4.7 miles in Rhode Island. The freeway serves as a bypass of downtown Providence, connecting with Interstate 95 both at and south of downtown, and is known as the Huntington Expressway. It also serves as a connection to the US 6 freeway west towards I-295 and Connecticut.

Route
RI 10 takes the following route through the State:
 * Cranston: 2.1 miles; RI 12 to Providence city line
 * Huntington Expressway
 * Providence: 2.6 miles; Cranston city line to Interstate 95
 * Huntington Expressway

History
RI 10 has a long and colorful history dating back to the early 1950s.

The first section of RI 10 was built as the Dennis J. Roberts Expressway, the first freeway in Rhode Island, and was known by locals simply as the Olneyville Bypass (photo at right). It existed as a bypass of Olneyville Square which, at the time, was one of the worst traffic choke points in Providence. At that time, the RI 10 number had not yet been assigned; the Olneyville Bypass was partly US 6.

The next section of RI 10 to be built was south from Olneyville to RI 2 where it ended at a trumpet interchange. Once this section was opened to traffic, RI 2 was moved onto this section of freeway, ending at the Olneyville Bypass. When RI 10 opened south of I-95, RI 2 was moved back, and RI 10 received its number.

For many years, RI 10 headed north from the end of the Olneyville Bypass along Harris Avenue, Eagle Street, Valley Street, River Avenue, Oneil Street, Veazie Street and Branch Avenue, ending at RI 146. As of 2005, there is still an old cardinal direction plate reading "SOUTH" on River Avenue; however, the RI 10 shield that it went with is long removed.

RI 10 was originally planned to extend south from its current terminus at RI 12, along RI 117, ending at RI 117A's current southern terminus. The interchange with RI 12 includes unused space under the bridge for the extension. That interchange has been reconfigured since opening. There was once a direct ramp from RI 10 to RI 12 east; the direct ramp is now from RI 12 east to RI 10.

When the first section of the Route 6-10 Connector was built, extending the freeway to Dean Street (and removing RI 10 from its surface alignment), the northbound ramp from RI 10 to Harris Street was removed and a ramp from Tobey Street to RI 10 southbound was added, replacing the closed ramp from Broadway. The abutments where the northbound ramp used to cross Amtrak's Northeast Corridor and northbound Harris Avenue still exist. The ramp from US 6 east to Westminster Street was also closed around this time.

The other half of the Route 6-10 Connector took RI 10 to an interchange with I-95, with a continuation to the new Memorial Boulevard downtown, and US 6 was rerouted along the connector and I-95.

When I-84 was planned to enter Providence via US 6, RI 10 from US 6 south to I-95 or RI 12 was briefly considered for an I-184.

title: User:SPUI/RI 10


text: User talk:209.106.0.250

title: User talk:209.106.0.250


text:
Galway West (Dáil constituency)

Galway West is a parliamentary constituency represented in Dáil Éireann, the lower house of the Irish parliament or Oireachtas. The constituency elects 5 deputies (Teachtaí Dála, commonly known as TDs) on the electoral system of proportional representation by means of the single transferable vote (PR-STV).

History and boundaries
The constituency was created under the Electoral (Revision of Constituencies) Act 1935 and first used at the 1937 general election, when the former Galway constituency was split into Galway East and Galway West.

It currently spans the western half of County Galway, taking in Galway city, the Galway Gaeltacht, and Clifden, as well as part of southern County Mayo.

The Electoral (Amendment) (Dáil Constituencies) Act 2017 defines the constituency as:

The Constituency Review Report 2023 of the Electoral Commission recommended that at the next general election, the portion of the constituency in County Mayo be transferred to the constituency of Mayo.

For the next general election, the Electoral (Amendment) Act 2023 defines the constituency as:

1975 by-election
Following the death of Fianna Fáil TD Johnny Geoghegan, a by-election was held on 4 March 1975. The seat was won by the Fianna Fáil candidate Máire Geoghegan-Quinn, daughter of the deceased TD.

1940 by-election
Following the death of Fianna Fáil TD Seán Tubridy, a by-election was held on 30 May 1940. The seat was won by the Fianna Fáil candidate John J. Keane.

title: Galway West (Dáil constituency)


text:
Talk:Bylina

Old talk
Bogatyr and other major subject matter ought to be mentioned somehow. I'm still not quite sure of the definition of the word, so I'm not going to insert it haphazardly just yet. -- Sy / (talk)

Old East Slavic?
The article presents no evidence of really old origin of bylinas so that it can be classifi4ed as old east slavic. Editors (like me:-) may be thrown off by the dates of the events in bylinas. There was definitely no bylinas recorded in Belarus, and in Ukraine the epics were known as dumas. Please correct me if I missed something. - Altenmann >talk 02:32, 19 September 2023 (UTC)

P.S. I did find opinions about ancient origins of bylinas, but they are just theoretical speculations and AFAIK there are no records of them (or similar plots) or about them other than in relatively modern Russian. - Altenmann >talk 02:38, 19 September 2023 (UTC)

 * There seems to be a disconnect. The cited source Britannica says “bylina, plural byliny, traditional form of Old Russian and Russian heroic narrative poetry transmitted orally.” What do you think it means by Old Russian? —Michael Z. 02:42, 19 September 2023 (UTC)
 * "Old Russian" and "Old East Slavic" are not synonymous. Mellk (talk) 02:44, 19 September 2023 (UTC)
 * What do they mean? —Michael Z. 02:46, 19 September 2023 (UTC)
 * Britannica says “Russian and the other East Slavic languages (Ukrainian, Belarusian) did not diverge noticeably from one another until the Middle Russian period (the late 13th to the 16th century). The term Old Russian is generally applied to the common East Slavic language in use before that time.” —Michael Z. 02:52, 19 September 2023 (UTC)
 * Britannica is a tertiary source, not always reliable. It was especially funny to read about Russian tsars in Britannica. Whatever Britannica says, there must be expert's opinion about existence of bylinas in the time of Kievan Rus. - Altenmann >talk 02:55, 19 September 2023 (UTC)
 * P.S. I always felt weird when linguists speak about "Old East Slavic language". It is close to impossible for people to speak the same language in ancient Kiev and ancient Novgorod at the same time without internets mass media that could unify the language. - Altenmann >talk 02:55, 19 September 2023 (UTC)
 * Britannica also refers to Old Russian literature up to 17th century. Mellk (talk) 02:55, 19 September 2023 (UTC)
 * More disconnects.
 * That says “Old Russian literature” is a controversial term. It is not the same thing as Old Russian, which appears to be (confusingly) used later in the article when referring to the Kyivan period.
 * But it’s also irrelevant, because byliny were not literature. —Michael Z. 03:06, 19 September 2023 (UTC)
 * Right, the article you mentioned refers to "Old Russian and Russian heroic narrative poetry". Mellk (talk) 03:09, 19 September 2023 (UTC)
 * The cited reference for the first sentence. Right.
 * So “Old Russian” in it means Old East Slavic. —Michael Z. 03:15, 19 September 2023 (UTC)
 * No. This your interpretation. - Altenmann >talk 03:33, 19 September 2023 (UTC)
 * No, it is what Britannica literally says the term means, as I quoted above. And you have no interpretation, merely refusal to use the source while retaining the citation. Is there an issue for you? —Michael Z. 12:28, 19 September 2023 (UTC)
 * The article Bylina speaks not about language, but about culture, so it is pointless to discuss what "Old Russian language" could mean. If you want to invoke language, there is 100% sure there are no bylinas recorded in "Old Russian language" whatever it could be. - Altenmann >talk 03:01, 19 September 2023 (UTC)
 * It was oral poetry. It was not recorded at the time. Language was integral to it. —Michael Z. 03:10, 19 September 2023 (UTC)
 * Right, not recorded hence no immediate evidence of their existence at the time. Is there indirect evidence, like, some arabic traveler to ar-Rus mentioned B-L-N ? - Altenmann >talk 03:31, 19 September 2023 (UTC)
 * Now you’re trying to deny what the source says with demands for research. I think there’s an issue here. —Michael Z. 12:29, 19 September 2023 (UTC)
 * Yes. No. - Altenmann >talk 16:40, 19 September 2023 (UTC)

“The tradition originates in the 10th or 11th century.”

“Given that several mention Kiev, the capital city of Kievan Rus, the majority of folklore researchers agree that this area was the site of the genre’s inception. Scholars also point to other medieval principalities as possible centers of creation of bylinas: those of Galicia and Volhynia, Rostov and Suzdal.”
 * “Bylinas,” Columbia University edblogs.

—Michael Z. 13:15, 19 September 2023 (UTC)

“Most Russian epics probably originated from the tenth through the fourteenth centuries, mainly during the existence of what has been called Rus, Kievan Rus (Kievan Russia), or the Russian land. . . . In this period one speaks about the East Slavs, since their division into three linguistic and ethnic groups (Byelorussian, Russian, and Ukrainian) took place only in the fourteenth century.”
 * 1998, Anthology of Russian Folk Epics: xvii.

“While most of the [bylina] plots seem to have originated in Southwestern Russia, in the Pre-Mongol era, in modern times they were preserved chiefly in the outlying provinces of the Far North, eg., along the coast of the Arctic Ocean and around Lake Onega.”
 * 1974, Princeton Encyclopedia of Poetry and Poetics: 92.

—Michael Z. 13:36, 19 September 2023 (UTC)
 * Reputable scholars speak cautiously about things that cannot be documented. In your quotes: 3rd ref: "plots seem to have originated ", 2nd ref: "Russian epics probably originated". 1st ref is from a blog, sloppily written, with no supporting refs. - Altenmann >talk 16:40, 19 September 2023 (UTC)

After a good night's sleep, here is my compromise proposal, something like this: add "... probably originated in early East Slavic times" to the lede and expand the article text elaborating this statement. Especially about the puzzle that they were recorded only in the areas pretty remote from the place of deeds. - Altenmann >talk 16:40, 19 September 2023 (UTC)

 * What’s the compromise there? “Early” is practically meaningless, so it’s compromised, because it doesn’t say what the sources say. Byliny originated in times when Old East Slavic was spoken. —Michael Z. 19:19, 19 September 2023 (UTC)
 * in the lede we may use "early" or any other general/summarizing word, in text body we give specific estimates for time/place. - Altenmann >talk 20:26, 19 September 2023 (UTC)
 * The lead should identify both languages, including the originating one, and not just favour the one for some reason. —Michael Z. 20:39, 19 September 2023 (UTC)
 * I favour one for a simple reason: one language we know for sure and another one is hypothetical, not factual. Therefore my suggestion: "... probably originated " - Altenmann >talk 21:38, 19 September 2023 (UTC)
 * What do you mean the language is hypothetical? —Michael Z. 22:11, 19 September 2023 (UTC)
 * Probably is an expression of likelihood but not certainty, not unlikelihood. It means it more likely is than is not (see Words of estimative probability). You are going against the sources if you have decided that we should treat probably as “probably not.” —Michael Z. 22:35, 19 September 2023 (UTC)
 * And “early East Slavic times” follows none of the sources, and corresponds to nothing. East Slavic is not a time, and early in it can be any time before the present. All of the sources are more specific about time and language. —Michael Z. 22:42, 19 September 2023 (UTC)
 * I mean that there are no bylinas known in Old East Slavic, only hypotetically bylinas were sung in Old East Slavic. - Altenmann >talk 00:14, 20 September 2023 (UTC)
 * "East Slavic" is an adjective to ethnicity and early means early, not "any time". There is even an article Early Slavs .- Altenmann >talk 00:14, 20 September 2023 (UTC)
 * “Hypothetical” is your own misleading framing, And no source says this. Note the difference between accepted theory based on evidence, and an untested hypothesis. All sources say that the accepted theory is that bylinas probably originated in Old East Slavic in Kyivan Rus. Your personal hypothesis is that they might not have, or something like that, so therefore we should not mention the accepted theory. It is ass backwards. It’s like declining to mention the speed of light in the article about it because the number and relativity are “hypothetical.” It’s like letting creationism equally inform the lead in the article about the hypothetical “dinosaurs.”
 * The article early Slavs is about the 5th to 10th centuries: the Common Slavic period explicitly before the period of bylinas, Kyivan Rus, and Old East Slavic. The sources about bylinas don’t say “early Slavic times,” nor “early East Slavic times,” neither of which is a defined time nor a linguistic chronology. They say it was in the time of an old East Slavic (or ”Old Russian”).
 * I give up. You don’t seem interested in reading the sources accurately. I will move on to dispute resolution. If user:Mellk is no longer participating, then I’ll consider getting a WP:3rd, otherwise an RFC. —Michael Z. 14:11, 20 September 2023 (UTC)
 * The word "probably originated" means it is hypothetical. Whatever you say about "old" or "early" does not invalidate the fact that there are no Old East Slavic bylinas known. Therefore it is hypothetical. And a decent lede must clearly say this. - Altenmann >talk 16:29, 20 September 2023 (UTC)
 * So the lead should say “ is a type of Old East Slavic and Russian oral epic poem that probably originated in Kievan Rus after the tenth century.” —Michael Z. 16:50, 20 September 2023 (UTC)

title: Talk:Bylina


text:
Lancia ECV

The Lancia ECV (standing for Experimental Composite Vehicle) was a prototype Group S rally car developed by the Italian manufacturer Lancia to replace the Lancia Delta S4 in World Rally Championship competition for the 1988 season. However, Group B as well as Group S cars were banned from competition by the FIA in late 1986 due to safety concerns and the ECV never raced. Lancia instead developed the Group A Lancia Delta.

The car originally produced over 600 horsepower (448 kW) from a 1759 cc twin-turbocharged engine. This engine, christened TriFlux, was built in an unusual fashion; the valves were crossed (for each side of the cylinder there was an intake and an exhaust valve), so that the two turbochargers could be fed with two separate manifolds. A single manifold carried the intake air (hence the name, from the three separate air ducts). However, Group S rules would have artificially limited the car's output to 300 hp (224 kW) to limit speeds.

The car made extensive use of the composite materials Kevlar and carbon fibre to save weight and add strength. Overall the car weighed 930 kg. The car also featured a new Martini colour-scheme, replacing the S4's white bodywork with red-based scheme. Lancia used the new scheme on its competition cars in 1987.

The restored ECV1, rebuilt from the original parts, was displayed at the Rally-Legend Event on 7-8-9 October 2010 in San-Marino, by the owner, Giuseppe Volta. An original TriFlux engine has been re-prepared, with the help of the original designer, Ing. Claudio Lombardi, and modern Turbo-engine preparation expert, Claudio Berri. A website has been opened to note the occasion.

ECV II
Despite the cancellation of Group S, Lancia improved the ECV with the 1988 ECV II. The ECV II carbon-fibre chassis was that of the first ECV. The designer of the car was Carlo Gaino of his newly created design studio: Synthesis Design. The ECV II also made use of the TriFlux engine and featured improved aerodynamics.

title: Lancia ECV