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Sideways (Men Without Hats album)

Sideways is the fifth studio album by Canadian synthpop group Men Without Hats. Released on 30 April 1991, it featured a new sound based around electric guitars instead of the group's normal use of synthesizers. It was the second album to be recorded at Hudson Studios in New York and produced by bassist Stefan Doroschuk, with Mike Scott as co-producer.

The album was officially released only in Canada and Japan, but many imports made their way to American, European and Australian shelves.

History
In December 1989, during The Adventures of Women & Men Without Hate in the 21st Century tour, guitarist Stefan Doroschuk was involved in a car accident in which both his legs and one of his arms were broken, necessitating the postponement of the tour. To pass the time, bandleader Ivan Doroschuk began jamming with Voivod drummer Michel Langevin and Doughboys member John Kastner and listening to Bleach by Nirvana, which would shape the sound of the album. According to Doroschuk, he was tired of being pressured by his record label to come up with another "Safety Dance", and instead wanted to take the album in a very different direction than anything the band had done in the past. A few months later, Stefan rejoined the band, this time switching to bass, and the new band began to tour. On 6 September 1990, Men Without Hats debuted the new image and sound in a surprise appearance at Les Foufounes Electriques in Montreal, with Mitsou Gelinas as a guest. The group performed many of their hits, rearranged in their new hard rock style, and most of the tracks that would become Sideways. The band eschewed the use of either of their logos (the crossed out man wearing a hat and the heart with the number 21 in it) for this release, instead opting to use a simple font (MENWITHOUTHATS). They also decided to abandon the left-wing politics that had defined Pop Goes the World and In the 21st Century, instead writing simple non-political songs about life.

The band returned to Briarcliff Manor, where they had recorded ...In the 21st Century two years prior, to record the album. It was released in May 1991 on PolyGram/Mercury. The album was not commercially successful, which led to the group's dissolution in 1993. On 25 January 1992, Polydor released the album in Japan. The band would not release new material until No Hats Beyond This Point twelve years later.

Two singles were released to promote the album: "Sideways" (which also had an accompanying music video), and "In the Meadow". "Kenbarbielove" was also released as a promo single. The song title "Kenbarbielove" was derived from a longtime running joke between Ivan Doroschuk and Langevin; as a francophone who was not fluent in English in childhood, Langevin misunderstood the Beatles song "Can't Buy Me Love" as "Ken Barbie Love" the first time he heard it.

Due to Langevin's participation on the album, Doroschuk recorded keyboards for Voivod's album Angel Rat, which was recorded concurrently with Sideways.

On the concert tour to support the album, even the band's older hits, including "The Safety Dance", "Pop Goes the World" and "Hey Men", were readapted to fit the rock-oriented sound.

The font used for the "Sideways" wordmark on the album cover is similar to the one used on the Genesis albums Nursery Cryme and Foxtrot for that band's logo.

"Love (All Over the World)" was written for Colin Doroschuk's daughter Sahara Sloane, who had been born the year prior, and who would later go on to join her father and uncle on the group's 2021-22 albums Men Without Hats Again.

Due to being recorded in the United States, the album does not qualify for the "P" (performance) element of MAPL Canadian content certification. The CD indicates that the album is 75% Canadian content (CanCon) except for "I Am the Walrus", which is 25% CanCon.

Critical response
Evelyn Erskine of the Ottawa Citizen wrote that "All that is apparent here is that the Men have given up on sappy electro-pop. They have plugged in the heavy guitars to kick butt and wail. But their pop songcraft has not been thrown into the compost heap. The Men still have an ear for a melody and a hook which give the screaming guitars and turbo drumming their sonic direction," while Ted Shaw of the Windsor Star wrote that the album "harkens back to the late-1960s and early-'70s when rock was moving towards heavy metal but still grounded in the blues."

Singles

 * "Sideways" (1991)
 * "Kenbarbielove" (1991)
 * "In the Meadow" (1992)

Personnel

 * Ivan Doroschuk – vocals, guitar
 * Félix Matte – lead guitar
 * John Kastner – rhythm guitar
 * Stefan Doroschuk – bass, backing vocals
 * Michel Langevin – drums (except "I Am the Walrus")
 * Colin Doroschuk – keyboards, backing vocals, guitar
 * Greg Martin – guitar on "I Am the Walrus"
 * Corky Laing – drums on "I Am the Walrus"

Production

 * Produced by Stefan Doroschuk and Mike Scott
 * Recorded by Mike Scott at Hudson Studios (Briarcliffe Manor), New York, 1990
 * Mixed by Tom Soares and Joe Pires at Normandy Sound, Warren, Rhode Island, 1990

title: Sideways (Men Without Hats album)


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Borrowdale

Borrowdale is a valley and civil parish in the English Lake District in Cumberland, England. It is in the ceremonial county of Cumbria, and is sometimes referred to as Cumberland Borrowdale to distinguish it from another Borrowdale in the historic county of Westmorland.

Geography
The valley rises in the central Lake District, and runs north carrying the River Derwent into the lake of Derwentwater. The waters of the river have their origins over a wide area of the central massif of the Lake District north of Esk Hause and Stake Pass. These origins include drains from the northern end of Scafell, Great End, the eastern side of the Dale Head massif, the western part of the Central Fells and all the Glaramara ridge. Near Rosthwaite the side valley of Langstrath joins the main valley from Seathwaite before the combined waters negotiate the narrow gap known as the Jaws of Borrowdale. Here it is flanked by the rocky crags of Castle Crag and Grange Fell. The valley then opens out around Grange before the river empties into Derwentwater, overlooked by Catbells, Skiddaw and Walla Crag.

Most of the mountains at the head of Borrowdale, including Scafell Pike and Great Gable, are part of the Borrowdale Volcanic Group, a geological development from the Ordovician period.

The B5289 road runs down the full length of the valley, and at the southern end crosses the Honister Pass to Buttermere. At the heart of the valley is the village of Rosthwaite, other Borrowdale villages include Stonethwaite, Seatoller, Seathwaite, and Grange.

Governance
Borrowdale is within the Copeland UK Parliamentary constituency and the North West England European Parliamentary constituency. Trudy Harrison is the Member of parliament.

Before Brexit for the European Parliament its residents voted to elect MEPs for the North West England constituency.

For Local Government purposes it is in the Cumberland unitary authority area.

Borrowdale has its own Parish Council; Borrowdale Parish Council. The civil parish of Borrowdale covers a considerable area around the valley, including the southern half of Derwent Water. It includes the settlements of Grange, Rosthwaite, Seathwaite, Seatoller, Stonethwaite and Watendlath. It lies entirely within the Lake District National Park.

At the time of the 2001 census, the parish had a population of 438 people, living in 137 households. The 2011 Census showed that the population had declined to 417 residents among 128 households.

Economy
The valley is currently a tourist location with hotels, guesthouses, holiday cottages, bed and breakfasts, youth hostels and campsites. It caters to lowland visitors as well as hillwalkers.

Sometime before 1565 (some sources say as early as 1500), a major deposit of graphite was discovered near the Seathwaite hamlet in Borrowdale parish. The locals found that it was useful for marking sheep. The graphite was pure and solid, and it could easily be sawn into sticks; the pencil industry was born in nearby Keswick. The graphite find remains unique.

In literature
In the first of Sir Hugh Walpole's series of four novels Rogue Herries about the Herries family, Borrowdale is the site of a fictional house called Herries, the home of Francis Herries, the protagonist of the novel. Subsequent novels in the series are also largely set in Borrowdale. The valley and its surrounding mountains are described in sympathetic detail.

Walpole himself had a house at Brackenburn, Manesty, overlooking Derwent Water from 1924 until his death in 1941. Hazel Bank Country House was the fictional home of Rogue Herries and birthplace of Judith Paris. Walpole was a friend of the Simpson family, who owned Hazel Bank. This is where Walpole found the inspiration for the "Herries Chronicles".

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

title: Borrowdale


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User talk:Msm

Design pattern (computer science)
Please do not add inappropriate external links to Wikipedia. Wikipedia is not a mere directory of links nor should it be used for advertising or promotion. Inappropriate links include (but are not limited to) links to personal web sites, links to web sites with which you are affiliated, and links that exist to attract visitors to a web site or promote a product. See the external links guideline and spam policies for further explanations of links that are considered appropriate. If you feel the link should be added to the article, then please discuss it on the article's talk page rather than re-adding it. See the welcome page to learn more about Wikipedia. Thank you. --Ronz 17:15, 25 January 2007 (UTC)

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 Thanks for uploading File:Yonderboi Shallow and profound album cover.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

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title: User talk:Msm


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The Chronicle of Higher Education

The Chronicle of Higher Education is an American newspaper and website that presents news, information, and jobs for college and university faculty and student affairs professionals, including staff members and administrators. A subscription is required to read some articles.

The Chronicle is based in Washington, D.C., and is a major news service covering U.S. academia. It is published every weekday online and appears weekly in print except for every other week in May, June, July, and August and the last three weeks in December. In print, The Chronicle is published in two sections: Section A with news, section B with job listings, and The Chronicle Review, a magazine of arts and ideas. It also publishes Arts & Letters Daily.

History
In 1957, Corbin Gwaltney, founder and editor of the alumni magazine at Johns Hopkins University in Baltimore, joined with editors from magazines of several other colleges and universities for an editorial project to investigate issues in higher education in perspective. The meeting occurred on the day the first Sputnik circled the Earth, October 4, 1957, so the Moonshooter project was formed as a supplement on higher education for the college magazines. The college magazine editors promised 60 percent of one issue of their magazine to finance the supplement. The first Moonshooter Report was 32 pages long and titled American Higher Education, 1958. They sold 1.35 million copies to 15 colleges and universities. By the project's third year, circulation was over three million for the supplement.

In 1959, Gwaltney left Johns Hopkins Magazine to become the first full-time employee of the newly created Editorial Projects for Education (EPE), which was later renamed "Editorial Projects in Education", starting in an office in his apartment in Baltimore and later moving to an office near the Johns Hopkins campus in Baltimore. He realized that higher education would benefit from a news publication.

He and other board members of EPE met to plan a new publication which would be called The Chronicle of Higher Education.

The Chronicle of Higher Education was officially founded in 1966 by Corbin Gwaltney,  and its first issue was launched in November 1966.

Although it was meant for those involved in higher education, one of the founding ideas was that the general public had very little knowledge about what was going on in higher education and the real issues involved. Originally, it did not accept any advertising and did not have any staff-written editorial opinions. It was supported by grants from the Carnegie Corporation and the Ford Foundation. Later on in its history, advertising would be accepted, especially for jobs in higher education, and this would allow the newspaper to be financially independent.

By the 1970s, the Chronicle was attracting enough advertising to become self-sufficient, and in 1978 the board of EPE agreed to sell the newspaper to its editors. EPE sold the Chronicle to the editors for $2,000,000 in cash and $500,000 in services that Chronicle would provide to EPE. Chronicle went from a legal non-profit status to a for-profit company.

This sale shifted the focus of non-profit EPE to K-12 education. Inspired by the model established by the Chronicle, and with the support of the Carnegie Corporation and other philanthropies, EPE founded Education Week in September 1981.

In 1993, the Chronicle was one of the first newspapers to appear on the Internet, as a Gopher service.

The Chronicle grossed $33 million in advertising revenues and $7 million in circulation revenues in 2003.

Awards
Over the years, the paper has been a finalist and winner of several journalism awards. In 2005, two special reports – on diploma mills and plagiarism – were selected as finalists in the reporting category for a National Magazine Award. It was a finalist for the award in general excellence every year from 2001 to 2005.

In 2005, its reporter Carlin Romano was a finalist for a Pulitzer Prize in criticism.

In 2007, The Chronicle won an Utne Reader Independent Press Award for political coverage. In its award citation, Utne called The Chronicle Review "a fearless, free-thinking section where academia's best and brightest can take their gloves off and swing with abandon at both sides of the increasingly predictable political divide." The New Republic, The Nation, Reason, and The American Prospect were among the finalists in the category.

In 2012, reporter Jack Stripling won a special citation for "Beat reporting", from the Education Writers Association (EWA), as well as sharing a second-place Single-Topic News, Series or Feature award with Tom Bartlett and other Chronicle reporters for their seven-part series, "College for a Few". Brad Wolverton, earned a special citation for Investigative Reporting, "Investigating College Athletics".

In 2018, Bartlett and Nell Gluckman were named as the 2017 Runners Up in the Outstanding Higher Education Journalism category, presented by the United Kingdom's Chartered Institute of Public Relations (CIPR) Education Journalism Awards.

title: The Chronicle of Higher Education


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No Hats Beyond This Point

No Hats Beyond this Point is the sixth studio album by Canadian synthpop group Men Without Hats. Released in 2003, it was their first album in twelve years. After the release of the album, the group broke up. It was the group's third and final album to be produced by Stefan Doroschuk.

Style and availability
The album's music consisted almost entirely of synthesizers, reverting to the group's previous sound.

"How Does it Feel", the fourth track on the album, dates back to 2000, having been written for Ivan Doroschuk's putative second solo album. It is considered an "underground" album, a rarity that was not released to any record stores. In 2011, however, Stefan released the album commercially on several platforms for digital streaming and download.

All instruments were played by brothers Ivan and Stefan Doroschuk, with Ivan as lead singer. Female background vocals were provided by Stefan's wife Mary-Lou Deehy, joined on one track by Stefan's daughters Mary-Lynn and Emmy-Lou Doroschuk.

Critical reception
AllMusic's David Jeffries noted the return of the band's iconic graphic symbol and synthesizer sound, in a negative review that contrasted "the wry songwriting and catchy melodies of the early days" with unsatisfying "juvenile instrumental backing" and "insipid melodies" on the new album. The review criticized the album's social commentary as excessive, "simplistic and filled with clichés," and added, "It's hard not to cringe when main man Ivan Doroschuk delivers such sophomoric lyrics so sternly."

Personnel

 * Ivan Doroschuk – vocals, guitar, synthesizer
 * Stefan Doroschuk – vocals, guitar, violin
 * Emmy-Lou Doroschuk, Mary-Lynn Doroschuk – backing vocals
 * Mary-Lou Deehy – backing vocals

title: No Hats Beyond This Point


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Antony Hamilton

Antony Hamilton Smith (4 May 1952 – 29 March 1995) was an English-Australian actor, model and dancer. Hamilton began his career as a ballet dancer with The Australian Ballet before becoming a model. He later transitioned into acting and won his first notable role in the 1984 television film Samson and Delilah. That same year, he took over the lead role in the series Cover Up after the death of the series' lead actor, Jon-Erik Hexum. One of Hamilton's best-known roles was that of Max Harte, an agent in the 1988 revival of Mission: Impossible.

In March 1995, Hamilton died of AIDS-related pneumonia at the age of 42.

Early life
Hamilton was born in Liverpool, England and was orphaned when he was two weeks old. He was adopted by Donald Smith and his wife Margaret as a baby and named Antony Hamilton Smith. His adoptive father was a highly decorated Australian Squadron commander who fought in World War II. His adoptive mother was an English nurse.

When he was three years old, his father retired to South Australia, where Hamilton grew up on a 640-acre sheep farm. From age 10 he attended Scotch College in Adelaide, where he studied dance and ballet and played Australian rules football, cricket, basketball and other sports.

At the age of 15, he won a scholarship at the Australian Ballet School. After leaving school, he began a career as a professional dancer with The Australian Ballet Company where he toured Europe and the Soviet Union for two years.

Modelling
In 1973, during a dance tour in Europe with The Australian Ballet, he was discovered by Vladimir Bliokh, a world-famous Russian global photojournalist and premier performing-arts photographer. Hamilton stopped dancing at the age of 21 and decided to pursue a career as a model. Hamilton later said, "Dancing was too confining and regimented for me. [...] I became a model not because I was interested in fashion or styles, but because I knew it was a good way to see the world. [...] It gave me independence. [..] The money was good too."

After signing with a London modelling agency, he worked extensively as a model in Europe, America, Asia and Africa, becoming a favourite subject of world-famous photographers as Richard Avedon and Bruce Weber, often working with designers such as Gianni Versace, and frequently appearing in magazines such as Vogue and GQ.

Acting
While modelling, Hamilton began taking acting classes in an effort to expand his career. His first major role was as Samson in the 1984 television film Samson and Delilah. Later that year, producers of the crime drama series Cover Up offered Hamilton the leading role after the series' previous star, Jon-Erik Hexum, died after an on-set accident in October 1984. Hamilton had known Hexum, having previously met him at an acting class when they both lived in New York. They shared the same acting coach and competed for the same roles. Both were up for the role in Samson and Delilah, which Hamilton won. Hamilton initially had misgivings about taking the role, but ultimately accepted it.

Producers also had misgivings about having the lead be found out to be a gay man, still taboo in the 1980s. Hamilton's first episode aired on 24 November 1984. After Hexum's death, the series struggled in the ratings. CBS cancelled Cover Up the following year.

After the cancellation of Cover Up, Hamilton was in talks to replace Roger Moore as the new James Bond in the 007 film series. Bond producer Albert R. Broccoli was reportedly hesitant to cast Hamilton as the womanising James Bond because, in real life, Hamilton was gay. Timothy Dalton was ultimately cast as James Bond. In 1986, Hamilton had a small role in the comedy film Jumpin' Jack Flash starring Whoopi Goldberg. He guest-starred on several television series including The Hitchhiker, The Twilight Zone, The Charmings and L.A. Law.

In 1988, Hamilton landed the role of Impossible Missions Force agent Max Harte, a former ANZAC commando, in the 1988 revival of Mission: Impossible. The series aired for two seasons before being canceled due to low ratings in 1990. In 1991, he guest-starred on two episodes of crime drama series P.S. I Luv U. Hamilton's final role was in the 1992 thriller Fatal Instinct.

Death
On 29 March 1995, Hamilton died from AIDS-related pneumonia in Los Angeles. His family requested that contributions be made in his name to AIDS Project Los Angeles. Hamilton was cremated and his ashes were scattered off the coast of Malibu.

In popular culture
Author Joel Rothschild recalls his friendship with Hamilton and his final years in his 2001 book Signals: An Inspiring Story of Life After Life.

title: Antony Hamilton


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Western People

The Western People is a weekly local newspaper published in Ballina, County Mayo in Ireland. It was first published in 1883.

The newspaper was part of the Thomas Crosbie Holdings group. Thomas Crosbie Holdings went into receivership in March 2013. The newspaper was acquired by Landmark Media Investments. In December 2017, a sale was agreed to The Irish Times pending regulatory approval; in July 2018, this sale was completed.

The Ballina Herald newspaper (1844 – 28 April 1962), later named Ballina Herald and Mayo and Sligo Advertiser, merged with the Western People in or around 1962.

According to the Audit Bureau of Circulations, it had an average weekly circulation of 18,242 in 2008 (ABC Jan-Dec 2008; 12 month figure). Circulation fell to 13,236 for 2012.

title: Western People


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Montenegro, Quindío

Montenegro is a municipality in the western part of the department of Quindío, Colombia. It is located 10 km west of the departmental capital Armenia. In 2023 it had an estimated population of 38,240.

History and Geographic information

Montenegro (literally: Black Mountain) was named for the dark green color of the trees that originally covered the hill above the current-day site of the township, which was visible from other parts of the region as it rose above the surrounding guadua forests. Between 1897 and 1904, Montenegro was officially known as Villa Quindío.

The boundaries of Montenegro are principally formed by three rivers. To the north, the Roble River forms the limit with Quimbaya; to the east and south, the Espejo River forms the limit with Armenia and La Tebaida; and to the west La Vieja River is the limit with the neighboring department of Valle del Cauca. There is also a short boundary with Circasia in the northeast of the municipality.

Located in the heart of the Colombian coffee growing axis, the center of Montenegro was made part of the "Coffee Cultural Landscape" UNESCO World Heritage Site in 2011. Montenegro is also home to the National Coffee Park. Founded by the Colombian Coffee Federation, the park hosts numerous thematic attractions based on Colombian history and the country's thriving coffee culture. The rural landscape of Montenegro is typical of the coffee zone, and the hotel and posadas infrastructure has increased dramatically in the 2000-2005 period. It is an important tourism and convention destination for a relaxed vacation featuring nature-watching and cultural trips (related to the coffee-growing techniques).

Climate
Montenegro has a subtropical highland climate with an average annual temperature of 21 °C.

Touristic sites

 * Coffee Park (Parque del Café): It consists of two main areas: by the main entrance are the buildings housing the museum and exhibitions detailing the history, culture and process of growing and producing coffee in the region; and in the valley beyond is an amusement park with rides and shows. The two areas are linked by two gondola lifts and a chairlift: it is also possible to walk between the two areas via an ecological trail that passes through a plantation of many varieties of coffee bushes.

History
The first people to arrive in Montenegro in the modern era were treasure hunters (Spanish: guaqueros), attracted by reports of gold artefacts in indigenous burial sites in the area. In the 1880s more than 1,500 people arrived from as far away as Antioquia in search of treasure. One of the earliest settlers was María Antonia "Toñíta" Granada, a widow originally from Pácora, Caldas. In 1884 she built a house in what is now the center of the township, close to the River Roble. She became the first woman registered as a founder of a town in Quindío.

Miguel Duque Betancourt bought the land for the township for a price of 300 pesos, from Agapito Herrera, the municipal judge in Salento. Along with his parents, Duque had arrived in the area from Salamina, Caldas. They settled in what would later become the vereda La Esmeralda.

Although he was only 25 years old, Duque became the president of the municipal council, which met for the first time on October 17, 1890. This date is now considered the foundation date for Montenegro. Seven years later, on September 10, 1897, Montenegro was recognized as a town (corregimiento) of the municipality of Filandia. It became a separate municipality on April 6, 1911.

title: Montenegro, Quindío


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Walter Koerner

Walter Charles Koerner, (July 21, 1898 – July 21, 1995) was a Canadian businessman and philanthropist.

Born in Nový Hrozenkov, Moravia, he emigrated to Canada in 1938 after serving in World War I. His family had been involved in the forest industry and continued the tradition in Canada founding the Alaska Pine and Cellulose company. After the company was sold to Rayonier Canada in 1954, Koerner became the president and chairman and retired in 1972. Koerner had a long association with the University of British Columbia including helping the University library, chairing the Board of Governors from 1968 to 1972, and donating his European ceramic art collection to the University in 1987 or 1988. His collection now occupies a small wing of the Museum of Anthropology at UBC. The Walter C. Koerner Library, opened in 1997, is named in his honour. Dr. Walter Koerner was also the serving chairman of the UBC Health Services Centre from 1971 to 1980.

In 1967, he was made a Companion of the Order of Canada. In 1990, he was awarded the Order of British Columbia. Walter Koerner died on his 97th birthday in 1995.

title: Walter Koerner


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Greatest Hats

Greatest Hats is the first compilation album by the Canadian new wave/synthpop group Men Without Hats, released in 1996.

A slightly modified version of the album was released in the US in 1996, entitled Collection. It dropped the tracks "Freeways (Euromix)", "On Tuesday" and "Sideways" in favor of "Messiahs Die Young", "Moonbeam", "Hey Men" and an extended version of "I Got the Message".

The two compilations have ten tracks in common, these being "The Safety Dance", "Living in China", "Antarctica", "I Got the Message", "I Like", "Where Do the Boys Go", "Pop Goes the World", "Editions of You" and the club mixes of "The Safety Dance" and "Where Do the Boys Go?". The Canadian version adds "Freeways", "On Tuesday" and "Sideways", while the US version includes "Messiahs Die Young", "Moonbeam", "Hey Men" and the club mix of "I Got the Message".

"Editions of You" was recorded in March 1985 and had not been previously released. A different version of the track was recorded in 1983, during the Folk of the 80's (Part III) sessions.

Track listing

 * 1) "The Safety Dance" - 2:43
 * 2) "Living in China" - 3:01
 * 3) "Antarctica" - 3:25
 * 4) "I Got the Message" - 4:39
 * 5) "I Like" - 4:12
 * 6) "Where Do the Boys Go?" - 3:53
 * 7) "Freeways" (Euromix) - 5:45
 * 8) "Pop Goes the World" - 3:44
 * 9) "On Tuesday" - 4:08
 * 10) "Sideways" - 4:53
 * 11) "Editions of You" - 3:53
 * 12) "The Safety Dance" (Extended version) - 4:32
 * 13) "Where Do the Boys Go?" (Extended version) - 6:17

Collection

 * 1) "The Safety Dance"
 * 2) "Living in China"
 * 3) "Antarctica"
 * 4) "I Got the Message"
 * 5) "I Like"
 * 6) "Where Do the Boys Go?"
 * 7) "Messiahs Die Young"
 * 8) "Pop Goes the World"
 * 9) "Moonbeam"
 * 10) "Hey Men"
 * 11) "Editions of You"
 * 12) "The Safety Dance" (Extended Club Mix)
 * 13) "I Got the Message" (Dance version)
 * 14) "Where Do the Boys Go?" (Extended version)

title: Greatest Hats


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Mount Edgecombe

Mount Edgecombe or Mt Edgecombe is a town in KwaZulu-Natal, South Africa, situated just north of Durban, which forms part of eThekwini, the Greater Durban Metropolitan area. Much of the suburb is cordoned off as a gated settlement comprising resorts, golf courses and a retirement home. It was previously a sugar growing area. The population increased by 89% between 2001 and 2011 from 3,874 to 7,323. Its name is derived from Mount Edgcumbe House in Cornwall, England, the family seat of the Earls of Mount Edgcumbe.

Geography
Mount Edgecombe is situated in a hilly area just 4 km inland from the coastal resort of uMhlanga Rocks and approximately 14 km northeast of the Durban CBD. It is bounded to the east by the N2 freeway, to the north by the M41 freeway and to the west by the R102. Neighbouring towns include uMhlanga to the east and Phoenix to the west.

Mount Edgecombe encompasses three distinct areas - the Mount Edgecombe Country Club Estate, the industrial area to the west and the retail precinct to the north.

Culture and contemporary lifestyle
Mount Edgecombe Country Club Estate has long held its reputation as the most expensive estate in the Greater Durban metropolitan area and comprises two smaller golf estates, numbered 1 and 2 which contain their respective championship golf courses.

Sugar
With a long history as a sugarcane growing area, today Mount Edgecombe is essentially the centre for the South African sugar industry, home to the corporate headquarters of the South African Sugar Research Institute and the South African Sugar Association.

Although much of the sugarcane farms that once surrounded Mt Edgecombe have now been absorbed into the town, it is roughly as far as one can go within the Greater Durban metropolitan area before it dissolves into rolling sugarcane fields.

Industries
Mt Edgecombe is one of the smaller industrial centres in the Greater Durban metropolitan area mainly housing various light industries such as hardware and logistics – notably the regional distribution centres of Spar (for perishables) and Freedom Stationery.

Retail
Although Mount Edgecombe is primarily a residential suburb, it does have a retail precinct situated along Flanders Drive, on the northern border, lined by the Flanders Boutique Mall and a wide variety of automotive and technological businesses.

A notable landmark in Mount Edgecombe is the Cornubia Mall, a 65000 m2 shopping centre opened on 27 September 2017, which forms part of Cornubia City, a planned smart city north of the town developed on former sugarcane land by Tongaat Hulett.

Healthcare
Mount Edgecombe is served by the Life Mount Edgecombe Hospital, a private hospital owned by Life Healthcare Group located in the suburb of Rockford (falls under Phoenix), on the boundary between Phoenix and Mount Edgecombe.

Rail
Mount Edgecombe is served by the Mount Edgecombe Railway Station which lies on the main commuter line between Durban (via Phoenix) and KwaDukuza (via Verulam), known as the North Coast Line, operated by Metrorail.

Roads
The N2 Outer Ring Road is a north/south freeway, connecting Mount Edgecombe with Durban to the south and with King Shaka International Airport and KwaDukuza to the north, while the M41 is an east/west freeway, connecting Mount Edgecombe with uMhlanga to the east.

The R102 is a north–south regional route connecting Verulam with Durban that by-passes Mount Edgecombe to the west as North Coast Road. The M26 is an east/west metropolitan route connecting Mount Edgecombe with Phoenix as Phoenix Highway.

Developments

The Mount Edgecombe Interchange, recently upgraded in October 2019 serves as the interchange between the N2 and M41 freeways and has become a notable landmark in Mount Edgecombe especially with one of the flyovers being the longest incrementally launched bridge in South Africa, at a length of 948 metres.

title: Mount Edgecombe


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Cadsden

Cadsden is a hamlet in South Buckinghamshire, England, two miles north east of Princes Risborough. At the time of the 2011 Census, the population of the hamlet was included in the civil parish of Lacey Green.

History
The origin of the name, which also appears as Cadsden, is doubtful and it is unknown when it was first used. If it dates back to Anglo-Saxon times, when most of the other local place names first appeared, it probably meant 'valley frequented by wild cats'.

It is said that in 1643 a wake was held in Cadsden for John Hampden by his beloved Greencoats, whilst escorting his body back to the family home at Great Hampden from Thame, where he died following the Battle of Chalgrove Field.

On 30th January 1943 a Royal Air Force (RAF) Avro Anson Mk1 serial no. L7964 was on a Night Navigation Training exercise from the Central School of Navigation, flying from RAF Cranage, Cheshire. The weather conditions were poor and at 0250 hours the Anson crashed at Longdown Farm in Cadsden, killing all four crew members. The accident was witnessed by an instructor in a second aircraft. The names and positions of the deceased were: Sgt Edward A. Merry, Pilot; Sgt James R. Craven, Pilot; Sgt Kenneth R. Blaskey, Pilot; and Sgt Albert C. Poulton, Wireless Operator and Air Gunner.

Transport
The railway service in the area was improved in 2011 with the Chiltern Mainline project. The two nearest mainline railway stations are Princes Risborough (2 miles, 33–40 mins to Marylebone) and Great Missenden (9 miles, 40 mins to Marylebone), with a branchline station at Monks Risborough (1 mile, 52 mins to Marylebone).

Local amenities and traditions

Every year on the first Sunday in August there is a Cherry Pie Festival, which has been a tradition in Cadsden for over 100 years.

Grangelands and Pulpit Hill, which stretch from Cadsden to Kimble, are a Site of Special Scientific Interest (SSSI) with an array of wildlife including glow worms and the bee orchid. Up on Pulpit Hill, set within Pulpit Woods, are the remains of an Iron Age hill fort, a scheduled ancient monument.

In 2010, several sites in Buckinghamshire, including Pulpit Hill, were chosen to help conserve the common juniper, due to a 40% decline in the plant's local population. The project is partly funded by Buckinghamshire County Council. It is unclear what is causing the juniper plant's decline in the area. Threats possibly include foraging species, such as deer and rabbits, as well as Phytophthora root rot and Phytophthora austrocedrae. The county council's conservation programme, in partnership with Plantlife International, uses pens created to support juniper growth.

Whiteleaf Golf Course, which occupies the land between Whiteleaf and Cadsden, is a 9-hole course established in 1907. During the winter months when it snows, the Cadsden end of the course is used for tobogganing.

Local issues are addressed and events organised by the Whiteleaf and Cadsden Resident's Association.

Sarah Harding from Girls Aloud was a resident of Cadsden between 2008 and 2017.

Relationship with Prime Ministers
Chequers, the Prime Minister's country residence, is the first property encountered along The Ridgeway path north east from Cadsden. This walk was featured in an article published by The Sunday Times in June 2010.

The Plough at Cadsden is a country pub which is used by Prime Ministers due to its proximity to Chequers. There is a picture of Edward Heath at the bar, which can be seen on The Plough's website.

In November 2015, former Prime Minister David Cameron visited The Plough with Chinese President Xi Jinping for a pint of real ale and fish and chips.

Millionaires Row
Cadsden is colloquially known as "Millionaires Row," since the average house price on Cadsden Road is over £1 million. The average property price, as of 2022, is £1,295,000, which is nearly double the average in London.

TV location
Cadsden was featured in the Midsomer Murders episode "Down Among the Dead Men" where it was called Cadsden Ridge for TV purposes.

Cadsden Road was used in an episode of Hammer House of Horror, where Warren Clarke crashed his car there.

title: Cadsden


text:
HQ-10

The HQ-10 is a short range surface-to-air missile designed by China Aerospace Science and Technology Corporation (CASC), currently in service as a point defense missile system aboard PLA Navy warships.

Development
The system was first adopted by the Liaoning aircraft carrier and the Type 056 corvette in 2011.

Design
The design of the HQ-10 places it in a similar role to the American Rolling Airframe Missile, both serving as point defense missile systems.

Each HQ-10 missile has a length of around 2 m and a width of around 0.12 m. The missile has a range of 9 km against subsonic targets and 6 km against supersonic targets, and a flight altitude as low as 1.5 meters.

The guidance system is said to be an advanced matrix imaging infrared (IIR) seeker. However, it appears to have a pair of horn like protrusions at the front of the missile which may indicate the existence of passive radar seekers or semi-active radar seekers.

The launcher is designed to be customisable in terms of number of missiles carried. Possible different configurations include 8, 15, 18 and 24 missiles, which can be deployed on different warships based on size and suitability. It is claimed that the system can launch missiles in about 10 seconds.

Variants

 * HQ-10
 * HHQ-10
 * PLA Navy designation for naval version

FL-3000N
The FL-3000N is a missile that commonly replaces the HQ-10 on ships exported to other countries, hence it is commonly dubbed the export version of the HQ-10. However, that is not an official designation. Although the FL-3000N shares many characteristics with the HQ-10, they are not the same missile.

The FL-3000N was developed by China Aerospace Science and Industry Corporation (CASIC), and was intended to be a competitor to the HQ-10, which was developed by China Aerospace Science and Technology Corporation (CASC). The FL-3000N lost the tender to the HQ-10 and thereafter obtained export authorisation, leading to its current status as a de facto export version of the HQ-10.

There are some notable differences between the FL-3000N and the HQ-10. It has different missile fins which are triangular in shape compared to the rectangular fins of the HQ-10. The launchers come in the same 24 missile loadouts as the HQ-10, but its design is slightly different and missiles are differently arranged. The FL-3000N missile uses a combined guidance system that incorporates both imaging infrared (ImIR) guidance and millimeter wave radar (MMW) guidance. There are a pair of horn like protrusions mounted on the ImIR seeker at the tip of the missile, and these two protrusions are the passive radar seekers. An optional ImIR only guidance is also available and the missile is a fire and forget weapon. The fire control system (FCS) of FL-3000N can simultaneously control two launchers, and can be integrated into other FCS on board ships. Alternatively, FL-3000N is also capable being directly controlled by other FCS on board ships. The system is usually fully automatic without human intervention, but manual operation can be inserted when needed. An optional extra magazine with automated loading system is available for larger warships when there is enough space provided. On smaller surface combatants where space is limited, the extra magazine with the automated loading system is eliminated and the reload is done manually. To further use confined space, an 8-cell launcher and a quadruple launcher are also available. Additionally, a single-cell launcher is available for mounting on existing naval gun mounts.

Deployment
The HHQ-10 naval version is currently deployed aboard various PLA Navy warships, such as the Type 056 corvettes, Type 054 frigates, Type 956E destroyers (refit), Type 052D class destroyers, Type 055 class destroyers, Liaoning aircraft carrier, Shandong aircraft carrier and in the future, the Type 075 LHD.

The FL-3000N has been exported to countries such as Bangladesh and Nigeria.

Current operators

 * 🇩🇿 Algeria
 * 🇨🇳 China
 * 🇧🇩 Bangladesh
 * FL-3000N
 * 🇳🇬 Nigeria
 * FL-3000

title: HQ-10


text:
Talk:Language poets

Link error
Apologies if this is in the wrong place, but I am experiencing loading errors for a link in the external links section of this page: http://english.utah.edu/eclipse/projects/LANGUAGE/language.html. That would be the Language online archive link.

If this is happening for other users it should be removed, however it could be my OpenDNS acting up.

Shed light if you can

Redlion145 (talk) 01:31, 4 October 2009 (UTC)

Examples
Any chance anyone can give us a short example of what one of these L=A=N=G=U=A=G=E poems looks like? I feel that would go further than any amount of abstract definition in giving us an idea of what one of this "non-referential" poems could be like. - PaulHammond 15:46, Feb 6, 2005 (UTC)

 * There are copyright and other problems here. If you look at the online archive of L=A=N=G=A=G=E magazine, from the external links, you'll find loads of examples. Filiocht 11:01, Feb 7, 2005 (UTC)

The article as it now stands simply does not say what this type of poetry is. It is, as PH indicated, too abstract and too much directed at insiders.Kdammers 03:50, 25 May 2005 (UTC)

I disagree. One of the difficulties of discussing poetry is that while the poems are concrete, anything you have to say about them is necessarily somewhat abstract. These poets use a wide variety of techniques to make their poetry. Its not as though you could say "language poets write short lines" or "language poets use informal language" or "language poets stress line breaks". Any of these things might be true of some language poets sometimes, but are hardly unifying. Opposite assertions could be just as validly argued.

What the language poets do have in common is that they all started writing poetry around the same time and share, to one extent or another, a certain number of beliefs about how poetry should be written. I think the article does an excellent, unbiased job describing both counts. ---Ryan
 * That is only true if you buy into the coterie definition of genre, which is extremely problematic. Firstly, it means genres die and cannot be resurrected — because the specific people are the genre not the writing style itself! This is an automatic massive devaluation of anyone working in that genre later (since they can't actually be doing that at all, according to the coterie lovers) and also of the writing itself — arguing that it's impossible for it to have value/interest without being tied to the biographical information of the writers and location/culture historical interest. As someone who has been historically sympathetic to so-called New Criticism (although seeing its limits) it didn't take long for me to find this definition of genre fairly foolish. Secondly, it requires partitioning those who are in the coterie from those who are not. Who makes that decision? It reeks of high school. It makes poetry a matter of politics not art, even though it tries to look anthropological. What makes more sense is to situate subgenres within historical/cultural/geographical/coterie context. So, a subgenre of language poetry can be L=A=N=G=U=A=G=E magazine writers and those closely associated, while the broader genre would not be a country club that morphs into a mausoleum.
 * I just occurred to me that the way people seem so ready to fall into the coterie trap may be reflective of the frequency with which the "necro" irrationalism pops up in Internet forums, and in the behavior of people with regard to the Internet. This is the problem, identified by the creator of the Internet Archive, as the incessant blithe destruction of IP. Humanity seems to be increasingly content to destroy what it creates, even to the point of becoming furious when people don't do exactly that (see all the crying about "necro" posts/topics from so-called moderators on forums and their toadies, for example). Some forums even automatically lock and delete topics according to an arbitrary set time limit (or "archive" them to accomplish basically the same thing). Most aren't that honest about their frivolous censorship and mask the process with a lot of illogical window dressing. The coterie definition of genre fits nicely with the "disposable knowledge" know-nothing society we are increasingly becoming. Perhaps this is because knowledge is the biggest threat to the increasing economic stratification we are seeing and policy that is leading us off the ecological cliff. What is more attractive than genres that are partitioned by moderators (country club) and are locked by moderators (mausoleum)? Leona Helmsley set aside millions to keep her dog's tomb dust-free, in a macro-sized microcosm of our contemporary experience and training. Yes, of course, history matters in terms of being able to discuss things like artistic progress. However, it's not as linear and as narrow as many would like to portray it as. History may be written by the victors but history is more than their writing. — Preceding unsigned comment added by 107.77.194.217 (talk) 18:49, 22 January 2019 (UTC)

This is a beautiful example of an article that uses hundreds of words to say absolutely nothing at all. Having read through the article twice, I'm still none the wiser as to what in Erith this is all about. 10:27, 28 February 2006 (UTC)

I would love to add on to this article, but I'm not sure what people expect. An article on a specific branch of poetry shouldn't have to first expain all the poetic and philosophical positions that may or may not underpin it--they have their own sections. Everything in the article seems to have a link, so if you want to know what a Black Mountain Poet is, you can link to it and find out. The best analogy I can think of, if it helps, is that the Language poets are like the Bloomsbury Circle (Virginia Woolf and her pals, for those of you who don't know)--they are a grouping that has as much to do with history and association as any sort of concrete link between their actual work. If the article seems to be a bit loaded with big academic-type words and ideas, that's because the language poets approach IS loaded that way. If you want the author to unpack all that stuff, it's going to take countless pages of discussion regarding Postmodern Philosophy and 20th century poetry to do so. I just read what the Norton Anthology of Postmodern Poetry had to say about the language poets and it seems to cover pretty much the same territory, at about the same level of discourse. If it's good enough for Norton, it's good enough for me.71.139.51.5 06:39, 7 March 2006 (UTC)
 * I made some changes to the poetics section that I think clarifies as much as possible, but really, I agree with you. In order to understand Language Poetry in the abstract, there's a certain amount of basic information about poetry that one needs to have. I think the article should exist and it is as specific as it can get without delving into a long winded discussion of Postmodern philosophy in general. The links are there, so a reader doesn't have to search out the information, they just have to do the work.JFQ 22:07, 29 March 2006 (UTC)

There has been a bunch of new activity on this entry, and I note the very rough, not very careful, and partisan discussion of *The Grand Piano* project. As this publication project is still in the production phase--part 4 is just out, and six more volumes are planned--it seems premature to draw conclusions about it. A mention and a simple description seems appropriate, but what is involved here is a spillover from blog comments lines--inappropriate to Wikipedia. I note also that the Finkelstein comment is absolutely minimal and of no value as a cite. Bwatten 14:20, 17 September 2007 (UTC)

Wittgenstein connection ... what evidence is there?
What sources do we have for the statement that "The language poets also drew on the philosophical works of Ludwig Wittgenstein, especially his idea of language as game"? On the face of it this seems a little odd — unless the poets were labouring under something of a misconception — as Wittgenstein's Sprachspiel or language-game was intended "to bring into prominence the fact that the speaking of language is part of an activity, or a form of life." Wittgenstein's language-games were not about play with language, but in the vein of the Gedankenexperiment, a way of illustrating how the bedrock of language's meaning is not a reference but that meaning derives from the fact that language is an integral part of human activities. — Stumps 11:13, 7 March 2006 (UTC)

Yes, good point--I think the idea here is that the language poets are interested in what it means to write a poem--a language structure--once one assumes (via Wittgenstein) that meaning is unstable. No more author speaking down from the mount of absolute truth. No more poem as object with an absolute, unarguable meaning. Maybe. I'm having a hard time finding good sources for alot of the content (especially stuff that would be accesible to the lay-reader), even though my gut reaction is that what the author wrote is true and unbiased. It seems like the only good way to make a totally unquestionable article would be to strip it of much of its content: Here are the writers, this is what they wrote, the end. This would make it even less enlightening.

As for a summary that might shed some light on the subject for those who are unfamiliar with the movement, I've failed entirely. Here's a quote from the Norton. Since it's an introductory kind of book, it might provide a good general summary. Maybe someone can work some of these ideas in, although they seem to me to be already pretty well represented:

"[Language Poetry] emphasizes textuality and therefore a degree of difficulty. Strongly based in theory, it requires an initiated reader.  In its difficulty and literariness, language poetry is reminiscent of the High Modernism of T. S. Eliot and Ezra Pound.  Yet language poetry is Marxist and feminist in theory and disdains Pound and Eliot for their politically conservative themes." --Norton Anthology of Postmodern American Poetry, introduction pg. xxxv, Ed. Paul Hoover, ISBN 0-393-31090-6.

Does that help any? Thanks.71.139.51.5 00:55, 8 March 2006 (UTC)
 * The meme is also a feature of language poetry, particularly those that use broken English. Are meme writers and those who enjoy them at the top of the ivory tower of academe? e.e. Cummings is a language poet, in my view, as well — primarily due to his unconventional formatting. (Dickinson may be the prototype forerunner, with her peculiar punctuation and other strategies) Elementary-age kids, at least when I was in school, were given poems like Cummings' in just to read. Therefore, I'm not certain that language poetry, when it is defined as "putting particular pressure on the mechanics of language" is necessarily strongly obscurantist, requiring an ivory tower toolset to unpack. Yes, kids like me wondered what Cummings was taking when he wrote in just and why we're supposed to think it's well-crafted and important rather than being fairly frivolous gimmickry. Aside from the exaggerated formatting, I thought things like "puddle wonderful" were corny. However, many of us were raised on things like the Seuss "B Book" so we could handle language games. Regardless, the formatting of poems like that, in particular, had a strong impact and put significant pressure on English-language conventions. I think memes like the cat has cheeseburger are language poetry, in a minimalist (and humorous) visually-aided form. Memes are not a new thing. They were not invented by the Internet generation. They aren't all language poetry, though. Some are more conventional, such as political cartoons (a joke + usually some fairly dry-appearing prose). Although I resist classifying myself as a language poet, mainly due to the nebulousness of the category, I can see why two writers classified me that way. Not coincidentally, much of my early output was meme-ish. There is an anomic element of Dada inherent in "putting pressure" on language. The concepts and history related to Dadaism and anomie should be included in this article.

 * Thanks ... yes that does help ... poetry is a language-game, and the meaning of the words is inextricably bound up with the fact that they are being used in a poem. That makes some sort of sense to me from a philosophy angle.  I think the articles phrase "language as game" glosses over this and sets a false trail along the lines of "it's all a game" and that meaning isn't a central idea, whereas I think Wittgenstein was very much concerned with meaning and showing that it was much more complex than a simple referential model suggests.  Someone, I can't remember who, maybe it was Don Cupitt, gave the example of cricketers shouting 'Howzat!' ... to know how to use that piece of language correctly you have to understand all the complex rules of cricket; 'Howzat' has a very definite meaning as it is immediately apparent if someone uses it incorrectly, but it is almost impossible to define it adequately in a dictionary.  I'm keen to see that Wittgenstein (as opposed perhaps to later interpretations of Wittgenstein) is not misrepresented in the article. — Stumps 08:37, 8 March 2006 (UTC)
 * for more information, you can look to Marjorie Perloff's book Wittgenstein's Ladder, which discusses the influence of Wittgenstein on several LangPoets in depth. The reference to wittgenstein in the article as it currently stands is confusing and misleading, both about language poets and wittgenstein, neither of whom would call language "just a game," which is the implication. User:JFQ
 * I went ahead and cleared up some of the Wittgenstein stuff. User:JFQ
 * Thanks. Good job! Stumps 10:13, 23 March 2006 (UTC)

Should maybe be noted that the poets themselves were keen on mentioning Wittgenstein - see 'The L=A=N=G=U=A=G=E Book', etc. Compass tom

The Wittgenstein influence in the Language school precedes Perloff's noticing it and can be found in numerous locations. I would point to the chapter on Conceptual Art and Art-Language in my *Total Syntax* (1985) and the publication of *Poetics Journal* 3, "Poetry and Philosophy" (1983). The form of the "New Sentence" discussed in the critical collection of that name by Ron Silliman, and used in practice by myself, Steve Benson, Carla Harryman, Lyn Hejinian, Silliman, and many others in the Language school, is directly attributable to Wittgenstein's influence, both in substance and style. Silliman's *The Chinese Notebook*, with its numbered propositions, closely resembles the form of Wittgenstein's *Tractatus*. There is much more that could be said carefully here, but I would generalize that before poststructuralism became widely disseminated in the U.S., Wittgenstein was the most important philosophical influence of the Language school Bwatten

I haven't read the entire oeuvre of all Language Poets -- with the exception of Rosmarie Waldrop's work -- she used Wittgenstein's Philosophical Investigations as source text for Reproduction of Profiles, which is quite clear if your read them side by side. Karxpava

Name of group
I've seen "langpo" used informally/casually or, sometimes, sarcastically/belittlingly, mostly via email, but I don't think it's quite as settled an abbreviation as the final part of the article implies. ND 20:16, 2 April 2006 (UTC)
 * It's pretty settled as an informal label, and doesn't have to be pejorative, i don't think. perhaps the article should just reference it as an informal abbreviation?JFQ 18:35, 3 April 2006 (UTC)

"Langpo" is a slang term for Language poetry, often used on blogs and listservs. It is a casual usage that can have a pejorative slant, so it is better used not to name the group. The name, properly, should be "Language poetry"--the Wiki heading should be changed to reflect the practice of most writers of the movement.

Aggggh.... I see that some well-meaning person has spent ages rewriting every instance of "Language" -> "L=A=N=G=U=A=G=E". I don't think anyone but pedants uses the hyphens anymore--should this be reverted? (Or edited, anyway, as it looks like much straightforwardly useful stuff was added, at least.) ND 03:30, 28 August 2006 (UTC) is it pedantic or just a sign of affection for these aging poets? I am more fond of the ampersand usage by poets of the earlier part of the 20th century. karxpava

"relatively high number of female poets"
Er, relative to what, exactly? It's a meaningless claim unless the basis of comparison is stated. ND 21:43, 4 April 2006 (UTC)

Re: Citations
It seems to me that a few of the sections bearing the "citation needed" stamp have been changed or adequately verified, for instance the Wittgenstein paragraph (lots of info on the talk page). Can some of them be removed? The final sentence in the "This Magazine" paragraph seems self-evident (almost tautologicaly so)--it says, in essence, that the poetic contributions to an influential poetry magazine were influential to the kind of poetry that (as is stated earlier in the paragraph) it influenced--as opposed to just the quoted essay. Perhaps the wording is a bit strange. Unless there is some question about the role of This Magazine, I personally don't see a problem. Maybe it could use a rewrite for clarity's sake....Thanks.--Staple 01:05, 6 April 2006 (UTC)

 * How about: "Of course, the genesis of language poetry can be traced to no single declaration. Instead, it was the range of contemporary poetries focusing on "language" in the first issue of This that established the consensus that would develop into a school of poetry.".  Or: "Of course, the range of contributions to the first issue of This that focused on "language" influenced the establishment of language poetry as much as any single declarative statement.".  Any better?  Thanks.--Staple 03:26, 8 April 2006 (UTC)
 * that is better. i say go with it. I pulled out a few of those myself yesterday, since i was the one who put them there in the first place and i felt like the "where did this information come from?" nature of certain statements had been resolved. I think your rewrites of that given sentence do solve that problem there as well, so get down with your bad self and do it.:)JFQ 03:08, 9 April 2006 (UTC)
 * Rereading the article this morning, i'm going to kill the last of those Fact tags. I also think we're at the point where the cleanup notice can be removed. thoughts?JFQ 17:42, 14 April 2006 (UTC)

New attention from interested editors & Naming conventions for American poetry movments
Am i to take it from the user names of the folks who've taken an interest in this article that a couple of the language poets have themselves been updating the article? I think that's a fascinating turn up and just wanted to say thanks for taking an interest. Re: User:Bwatten's comment about the need for a Black Mountain school page, a lot of that information is currently covered under Black Mountain poets although I agree it needs a lot of work. AFAIK, the convention that editors have been using so far to discuss specific movements is to title the page after the group, for example this page is called 'Language poets' rather than 'Language poetry' although it could really go either way. Perhaps that convention needs to be changed, and I think i'd be in favor of it, but i think we should avoid having articles duplicating themselves.JFQ 17:47, 7 April 2006 (UTC)

What's missing?
I really like how much improvement has happened to this article recently. to my thinking, what is currently missing in order to make this article approach the asymptote of completion are some images and the cultural context for the movement, which is one of the goals of Wikiproject:poetry. I don't have the resources or background to do that, but i hope that someone else does. Does anyone else have any other suggestions for items that should be included in the article that aren't currently present?JFQ 21:35, 7 April 2006 (UTC)

I've become quite interested in this project and have written a post on my homepage on the process, which I hope to continue to participate in as I learn more about how the editing interface works. I hope this discussion will be of interest to those working on this entry; it's at . Bwatten
 * I finally got around to reading this. It's a useful reflection. I'm considering adding a section to the article about the name of the article for this very reason. I'm also tempted to speculate about what happens to wikipedia's holy grail of NPOV when the article and the movement start to interplay with eachother. Unfortunately the stuff i find really interesting about it would qualify as Original research. Maybe i'll write it up on my litblog and then link to it from the references page.JFQ 17:12, 3 May 2006 (UTC)

Very interesting development in this project for sure. And Barrett Watten's article is fascinating. Rigorous, but if you re-read it or give over to its scrutiny and analysis, it is very rewarding. Probably should add it as a link here or to the Watten page...certainly interesting to consider how this corroborates some of what's going on, but in this post-modern "moment", what becomes of this Language poets wikipedia article article and its final shape we won't know, I suppose.

Interesting that this Language poets article is or is not--- or more pointedly, may or may not be--- a palimptext, I believe is the word, because the article is written over, and yet we truly can see every version of this thing as it occurred here, instead of the impossible task of erasing the painting to catch a glimpse of the original...so it isn't a palimptext in that sense...just some quick responses after reading Watten's post, and other items here. Need to add some covers of those various magazines that appeared in the 70's & 80's, but there are some copyright issues that perhaps Mr. Watten could approve, ie. a cover of "This" mag, etcChristian Roess 11:00, 12 April 2006 (UTC)

The idea of adding graphics is a good one, and I can scan covers and very likely arrange some permissions. How are they added, where would they go? BW
 * A good example of how images could be incorporated into the article would be theImagism article. Images are uploaded using Special:Upload. A full writeup of how to upload images is at Uploading images.

If you want help loading images, let me know and I will send you an email address you can send them to and will upload them for you. I'd love to see images on this article; it is a wonderful example of the many roles an article on Wikipedia can play. Once we get some images, I'd like to get some footnotes and links added to this (especially links that take us to poetry) and then see it go on the Portal:Poetry as a featured article to get more visibility. BW, I rather like the post on your homepage. One other interesting aspect that can give some fodder for thought is the time-based aspect of Wikipedia. It is quite easy to flip through and see the article as it has developed over time, and none of the comments are ever lost, even the typos. Sam 12:57, 1 July 2006 (UTC)

continuity and rupture
I removed this sentence: Both continuity and rupture are important to this moment of literary evolution. from the overview section because i don't think it's very clear, and the stubs linked to are not particularly helpful. I'd like to see this idea expanded and the hyperbolic phrase "moment of literary evolution" toned down a bit, but i don't really have a clear understand what the editor who added it meant by this sentence, so don't want to take the job on myself and get it wrong.JFQ 23:28, 14 April 2006 (UTC)

Name of group and origins
There is no stable name for this group and indeed it continues to be referred to with and without equal signs; indeed, Google seach gives about 50,000 uses for the term with the equals and as number of the key critical articles use the equal signs. In the current version, the name is given differently in different contexts. History has been revised to reflect multiple perspectives and to increased range of reference; nothing taken out, additional contexts added.

Controversial topic
I am disputing the reversion of this article back to the use of a magazine title to NAME an entire movement. This was argued and debate over the Spring and Summer of 2006, and an anonymous user as added the equal sign again without giving sufficient context for that change. Once again, this article needs revision or reversion to the earlier version which it seems the Wikipedia community has begun to reach a consensus.Christian Roess 07:45, 29 August 2006 (UTC)

The RETURN of the Hyphen; or is it an "equal sign"?
or ===the most boring shit you'll ever read in your life===

Well, an "anonymous" editor (at the IP address 71.233.90.233) has added the "hypen" back throughout the article...Me (user:Christian Roess) and (user: ND) are having a discussion about it here>User_talk:71.233.90.233.

In a few weeks I am going to REMOVE the "equal sign", folks. Now, I understand fully that Wikipedia is about Consensus. It is not about what I want in particular. Maybe its a search for some kind of "plurality" (albeit an "agonistic plurality").

If this is what is agreed upon...OK...The "ethos" of Wikipedia is not (necessarily) about "truth", or "feelings"..."right" or "wrong"..

BUT: there is a long term consequence to something as seemingly "innocent" or "inconsequential" as adding an "equal sign" between the letters of the word "Language"

As Barrett Watten points out somewhere ( and I mention it here to fellow wikipedians so you can think about it y'all): there is a sense of "accomplishment" by sitting down and writing the word "Language" separated by "hyphens". But what is really going on here?

(...and so wikipedians think about what you're doing here. Think about the process itself or be mindful of the procedure which might go something like this:

 *  I just love to sit at my typewriter and insert the equal sign between the letters...L=A=N=G=...and it is a curious indulgence, in the sense that there must be some reason that this designation, this habit, continues to inhabit the discussion from the head thru the heart down the arm by the hand VIA the writing I=N=S=T=U=M=E=N=T...)

I mean there MUST BE SOME REASON??? Right????

An argument can be made for the "visible", maybe even the "actual"? & physical & pleasurable indulgence of the "hypen". But does such a "desire", in all its facets and designations, justify its continued use to name an entire "school" of poetics?

What is the big deal, you ask?

Anyhow, check out Barrett Watten's article ''On First Looking into Wikipedia's "Language" for an interesting discussion. Rather frustatingly, Watten points out some reasons against the use of "hypens" or the "equal sign". Indeed, such a "practice" is misleading and is damaging ... And Watten's discussion is pertinent for a different reason than you may believe. Its a thoughtful, fully self conscious piece. It would be easy to for Watten to succumb to self-aggrandizement...But the integrity of the thinking here comes through.

In other words, Watten (as a "founding" member & a "precedent figure" of the Language school itself) could have (would have) a personal axe to grind, or he could have some kind of "agenda" hidden or otherwise. That being said, Watten's article about this article on the Language poets here at Wikipedia communicates something else. And that "something else" is far from being self-serving.

Its a much needed, and refreshing counter balance to the banter that masquerades as "thought" or "discourse" on both the cable TV & radio talk show circuit Christian Roess 14:07, 30 August 2006 (UTC).

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Three points about so-called language poetry
1) Although this article says the movement is characterized by being highly decentralized, I was told that I could not possibly be writing language poetry by Catherine Wagner. She said that, as I was not part of the coterie of language poets, I couldn't become one. This is an example of arguing that it is a group of people, like a clique, rather than being a style/genre. The article also appears to resist this claim by listing a variety of people outside of the original coterie. I had been told by two writers (one, the fiction writer Brett Singer, and the other the poet Joel Lipman) at two different universities, prior to our conversation, that my work reminded them strongly of language poetry. Lipman even wrote it on his blackboard, around 1997, with the equals signs in-between the letters when he brought it up (the first time I had heard of it). Who decides what style a writer is writing in and who decides who is allowed to be part of a style/genre? It's clearly very debatable. I found the coterie argument unpersuasive at the time and the current state of this article reinforces that impression. However, the caveat is that if one specifically sticks to the magazine title, with its equals signs, then one could choose to locate that coterie as being a restrictive subset of the more general style of language poetry.

2) There is the bit about narcissism at the end of the article. Narcissism is mildly interesting in relation to this style in more ways that that. For instance, is it narcissistic to claim that only a specific group of people can own a style/genre? I would say so. It also suggests that genres/styles automatically die when the writers stop writing or pass away. It's allegedly dangerously narcissistic for obscure poets to promote themselves via "self-definition" but it's not narcissistic to call one's work "language poetry" in the first place? (I don't know if anyone can cite a source that tackled that question but it would improve the paragraph with the reference to narcissism.) Firstly, is this "language poetry" encompassing all of the world's languages, historic, contemporary, and synthetic? If not, then it's "English language poetry". That is a broad category, isn't it? I found the name "language poetry" intriguing when I was introduced to it but it also smelled of gimmickry because it implied that the poetry is about language (in general, not in terms of specific theoretical points) more than other poetry, a highly-controversial claim, clearly. Even the most "non-language poetry" poetry changes drastically when translated. The equal signs reminded me of something like Pop Art. Pop Art is fun, of course. However, it's also gimmicky and hollow, comparatively. Duchamp urinals are utterly fascinating, particularly in terms of philosophical informativeness, for a few moments and then something with more artistic craftsmanship, like a good Van Gogh, one (or, at least many, such as myself) finds, has more (aesthetic) lasting power, due to there being more (artistic) data embedded in the product. Point of all this is that the article should have something about the narcissistic nature of the style title itself: "language poetry". It's nice to justify it by talking about putting pressure on the mechanics of language. Sure, why not? Well, why not call it, then, "linguistics poetry", "language mechanics", "linguistical poetry", or something similarly more to-the-point? Narcissism is also an easy catch-all label, often a type of ad hominem, that can be stuck onto just about anything one wants to complain about. It's rather vacuous a concern, particularly for avant-garde artists. Poetry is narcissistic. Art is narcissistic. The human mind is narcissistic. Etc. When poets stop attaching their names to their work and publish under Anonymous exclusively (also eschewing all types of fortune/fame, including career-building/recognition) then, perhaps, complaints about narcissism will carry more authority.

3) Are authors really so trapped by style/genre? Is a person a "language poet" simply because a portion of their work either intends to be in that mode or is recognized by enough others to be classified as such, regardless of authorial intent? This seems to be a general problem with the categorization of authors. I cannot speak for all writers but I have more than one clear mode of writing, at least three. Having more or fewer is an arbitrary issue, in terms of value, but it's not in terms of classification. It's noteworthy to note when writers have multiple genre/style classifications. People seem to really enjoy pigeonholing people with simple categories but it may be a good idea to put some pressure on the results of that. — Preceding unsigned comment added by 107.77.194.217 (talk) 02:04, 12 April 2018 (UTC)
 * English-language mechanics-oriented poetry. Clunky but clearer. — Preceding unsigned comment added by 107.77.194.217 (talk) 02:21, 12 April 2018 (UTC)
 * ELMO. It's catchier as an acronym. — Preceding unsigned comment added by 107.77.194.217 (talk) 02:23, 12 April 2018 (UTC)
 * Or, to avoid the wrath of infinite copyright (or general silliness), one might call it E-L M-O, or ELMOP. I suppose it could be argued that this suggestion is overly-broad, since "mechanics" can be something like Shakespearian sonnets. However, what is broader than "language" for a genre of poetry — particularly one that is English-language specific? I can definitely see the usefulness of the equals signs to differentiate/discriminate, given that broadness. However, even with them, the name is obtuse. — Preceding unsigned comment added by 107.77.194.217 (talk) 02:32, 12 April 2018 (UTC)
 * nano — machine code (binary)
 * micro — assembler
 * low-level — C, Forth
 * medium — Pascal?, C++?
 * higher-level — Objective C?
 * scripting — Python, Ruby
 * natural language (NLP) — e.g. English

 * “Language poetry” may be best situated, in comparison with other forms, using something very similar to this computer science software design hierarchy, one that moves from the smallest kernels of language to the highest. This, in conjunction with a renaming of “language poetry” to be more accurate, such as by embedding its English-language nature into an acronym. Compare P. Inman with Frost, using this, for instance. Also, I should mention that I don't take issue with the magazine name, as a magazine name and as a historical group. However, as a general genre/style, the name "language" is too problematic for the reasons I mentioned. Also, if we want to not always specify the English language, as this kind of writing can be done in other languages, then a larger acronym could contain ELMOP (or E-L M-O, depending upon one's preference). I didn't mean to imply that only the English language can support a type of poetry. However, if everyone who has done it has done it in English that's noteworthy, at least in terms of the history. — Preceding unsigned comment added by 107.77.194.63 (talk) 12:14, 12 April 2018 (UTC)

title: Talk:Language poets


text:
James McCulloch

Sir James McCulloch, (18 March 1819 – 31 January 1893) was a British colonial politician and statesman who served as the fifth premier of Victoria over four non-consecutive terms from 1863 to 1868, 1868 to 1869, 1870 to 1871 and 1875 to 1877. He is the third longest-serving premier in Victorian history.

Early life
McCulloch was born in Glasgow, Lanarkshire, Scotland. He was the son of George McCulloch, a quarry master and contractor, and Jane Thomson, a farmer's daughter. He had only a primary education and as a young man worked in shops, eventually becoming a junior partner in a softgoods firm. On 11 May 1853 McCulloch arrived in Melbourne aboard the Adelaide (John Everard being a fellow passenger) to manage the mercantile firm of Dennistoun Brothers in Melbourne. Following closure of the Dennistoun office in 1861, James McCulloch started his own business McCulloch, Sellar and Company in partnership with fellow Scot Robert Sellar. In the boom conditions following the Victorian Gold Rush, he soon became a wealthy man and a director of several banks and other companies. He was President of the Chamber of Commerce 1856–1857 and 1862–1863.

Political career
McCulloch was appointed a member of the Legislative Council on 1 August 1854, replacing Andrew Aldcorn. When Victoria gained responsible government in 1856, he was elected to the Legislative Assembly for Wimmera, which he represented from November 1856 to around August 1859, when he shifted to East Melbourne from October 1859. He later represented Mornington from March 1862 to around March 1872 and Warrnambool from May 1874 to around May 1878.

The historian Raymond Wright describes McCulloch as a "cautious liberal." He served as Commissioner for Trade and Customs 1857–58 under William Haines and as Treasurer 27 October 1859 to 26 November 1860 under William Nicholson. When John O'Shanassy's conservative government resigned in June 1863 McCulloch became Premier and Chief Secretary for the first time. He was also Postmaster-General of Victoria 9 May 1864 to 6 May 1868.

McCulloch's liberal government was the strongest Victoria had yet seen and proved to be the longest-lived so far, surviving for nearly five years. Much of its reforming zeal came from the Attorney-General, George Higinbotham, a crusading radical. The McCulloch government fought a series of battles with the conservative landowners who dominated the Legislative Council. The most important was over the tariff issue: McCulloch was a protectionist while the Council was controlled by free traders.

In 1865, the Council sought a confrontation with the Assembly by rejecting the government's tariff bill and then denying supply to McCulloch's government. McCulloch, who was a director of the London Bank, then took the extraordinary step of lending his own government 860,000 pounds to meet its debts and running expenses. After a conference between the two Houses broke down, McCulloch called an election in February 1866, at which his supporters won a large majority in the Assembly. When the Council again rejected his tariff bill, he resigned, leaving the Governor, Charles Darling, unable to find anyone else who could form a government. Finally, after prolonged negotiations, McCulloch agreed to resume office and the Council passed a modified tariff bill and granted supply. Both sides claimed victory, but most of the concessions were made by the Council.

In 1867 another crisis blew up when the Council again rejected the government's budget because it contained a clause granting a pension to the retiring Governor Darling, which conservatives said was a payment for his collusion in McCulloch's unorthodox methods of financing the government. McCulloch called another election for February 1868, which he won comfortably. But in May word came that the Colonial Secretary in London, the Duke of Buckingham, had instructed the new Governor, Sir John Manners-Sutton, to support the Council in blocking the grant to Darling.

McCulloch at once resigned, and the Governor commissioned a conservative member of the Council, Charles Sladen, to form a government which did not have a majority in the Assembly. This negation of democracy provoked widespread protests and produced a dangerous situation, which was resolved only in July when the Colonial Office changed its mind about Darling's pension and the Council agreed to a moderate reform bill broadening its electoral base. McCulloch resumed office, but without Higinbotham, who disapproved of this compromise.

McCulloch remained in office until September 1869, and was Premier again from 9 April 1870 to 19 June 1871 and from 20 October 1875 to 21 May 1877, but these periods in office were relatively uneventful. His main achievement in this period was to pass a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans since it freed church schools from government supervision. McCulloch's government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it.

McCulloch grew increasingly conservative after 1870 and in 1875 he had a political falling out with Higinbotham. Tired and disillusioned, he resigned from Parliament in 1878.

Late life and legacy
After politics, McCulloch focussed on business life, he had several directorships including the Bank of New South Wales. McCulloch was knighted in 1870 and made KCMG in 1874. In 1886, he retired to England, and died in Epsom, Surrey on 31 January 1893; he is buried in the Glasgow Necropolis. He married first Susan Renwick and second Margaret Boak Inglis, but had no children.

Family
A young cousin, George McCulloch, was manager of the Mount Gipps sheep run for McCulloch, Sellar and Co. This country was later the site of the fabulous silver mines of Broken Hill and Silverton, and by good fortune George was one of the original investors and became wealthy from its discovery.

title: James McCulloch


text:
Liverpool One

Liverpool ONE is a shopping, residential, and leisure complex in Liverpool, England. The project involved the redevelopment of 42 acres (170,000 m2) of land in the city centre. It is a retail-led development anchored by the department store John Lewis. Debenhams had previously been an anchor tenant until the closure of its Liverpool One store in March 2021, with Marks & Spencer taking its place in mid-2023. Additional elements include leisure facilities (such as a 14-screen Odeon cinema and 36-hole mini golf centre), apartments, offices, public open spaces, restaurants, and transport improvements. The completion of Liverpool ONE significantly boosted the local economy, while lifting Liverpool into the top five most popular retail destinations in the UK.

Liverpool ONE is the largest open-air shopping centre in the UK and the tenth-largest shopping centre overall. Each store was created by a different architect, leading to stark differences between some buildings, one way in which Liverpool ONE differentiates itself from other shopping centres. The majority of the development was opened in phases on 29 May 2008 and 1 October 2008, during Liverpool's year as the European Capital of Culture, whilst the final residential units opened in early 2009. The cost of construction associated with the project was £500 million, with a total investment value of £920 million.

Construction
Work began in Spring 2004 with the excavation of Chavasse Park, and construction began in Autumn the same year. Early works incorporated archaeological investigations, as Chavasse Park covered the ruins of buildings destroyed in World War II bombing, and the Canning Place car park was on the site of the Old Dock, the world's first wet dock.

The first parts of the development to be completed were the multi-storey car park on Liver Street, and the bus station on Canning Place.

Both opened in November 2005, allowing the old bus station and car park on Paradise Street to be demolished in January 2006.

This cleared the way for construction of the new buildings on the west side of Paradise Street, as the Moat House Hotel had already been demolished in May 2005.

In July 2006, Herbert's Hairdressers became the first business to move into new premises in the development, in his uniquely styled "Bling Bling Building" on Hanover Street. At the same time, BBC Radio Merseyside moved into new premises also on Hanover Street, allowing the demolition of the remaining buildings on Paradise Street. In August 2006, the traditional Topping out ceremony was held on what would become the top floor of the John Lewis store on the corner of Paradise Street and Canning Place.

In March 2007, following the completion of the main underground car park, works on re-instating Chavasse Park started, using polystyrene blocks to build up the height of the park.

Stores and services
With around 170 stores and services, Liverpool ONE is the largest shopping centre in the city, the second largest in North West England (after the Trafford Centre) and the fifth largest in the United Kingdom.

Liverpool ONE also features the UK's first Pull & Bear. In Summer 2009, the largest Topman/Topshop store outside London opened on Church Street.

ODEON Cinema
The Odeon Liverpool ONE cinema was opened on 1 October 2008 following its relocation from London Road. The new cinema is located within the Liverpool ONE shopping complex on South John Street and with over 3,000 seats and 14 screening rooms, it is the biggest cinema in Liverpool.

Hotels
Liverpool ONE is home to two large hotels. The Hilton Liverpool is located at Thomas Steers Way. It contains numerous conference rooms, the Exchange Restaurant and the Pima a Cocktail Bar. The 12-storey Novotel on Hanover Street was built between 2007 and 2009; it contains 209 rooms, a gym, swimming pool and the Elements Restaurant and Bar. Alongside the Hilton and Novotel hotels are the BridgeStreet serviced apartments.

The six districts
On 1 November 2005, Grosvenor unveiled Liverpool ONE as the new brand for the regeneration. Liverpool ONE consists of six distinct districts, mixing retail, leisure and accommodation.

Hanover Street
An informal district, re-using old buildings, some formerly derelict, for homeware shops and street markets.

Peter's Lane
Fashion retailers on arcades, streets and squares. Linking the existing Church Street area to the new district. Shops on Peter's Lane include; Ted Baker, Fat Face, Karen Millen, Radley, Ghost, Jigsaw, Cafe Nero and Dune. The entrance to the new district is behind Paradise Street near to Starbucks, John Lewis and the entrance of Waterstones. A separate arcade called "Keys Court" links this area of the development to the traditional shopping heart of Liverpool, Church Street. Along Keys Court, there are shops such as Topshop (the largest outside London), Tie Rack and Lollipops Paris. Masterplan: Peter's Lane

In October 2011 Harvey Nichols opened a pop up concept of their Foodmarket and Wine Shop for the festive period which closed on 7 January 2012. Since closing the unit has been taken over by French fashion brand The Kooples which is the company's third standalone store outside London after Manchester and Bristol.

New Manesty's Lane

Originally was due to house either a Selfridges or Harvey Nichols store, but was deemed unsuitable for Liverpool ONE. The third anchor unit was then split – half of which was the city's second and also its flagship branch of Flannels until its relocation to Parker street in 2022 along with the first-ever stand alone branch of Ermenegildo Zegna outside London. This unit operates as its own store but backs onto the far left side of Flannels with its own entrance, specialised staff and carrier bags similar to that of Louis Vuitton in Manchester – a store which shares a similar concept. This makes this Flannels more like a Department Store than a regular Flannels store such as seen in the Metquarter (another shopping centre within Liverpool). Stores also on this lane include Onitsuka Tiger which is again the first outside London, Gym + Coffee, Vincentius and also a Fred Perry. Other Retailers such as Muji, Simon Carter, Whistles and Mulberry are reportedly looking for possible sites in NML or the immediate area such as Hanover Street or Peters Lane.

In January 2012, Harvey Nichols Signed for 20,000 sq ft former Habitat Unit for their "Beauty Bazaar" store in the UK after Birmingham which opened in the Autumn of 2012.

In 2023 Red Run Activewear announced plans to open a flagship store on Manesty’s Lane.

Paradise Street

A wide pedestrianised shopping street, with flagship store John Lewis, also on this street; Pret a Manger, EE (formerly Orange), Morphe, JD Sports, Footasylum, Tessuti, Starbucks, Waterstones (the entrance is at the back), Urban Outfitters, Hugo Boss, The North Face, etc.

South John Street
The heart of the new shopping area, two levels of high-street shops and links to the park, with anchor stores John Lewis and Debenhams at each end. There are many shops on South John Street such as 3, Adidas, AllSaints, Ann Summers, The Body Shop, Disney Store, Game, Gap, HMV, Hollister Co., Mango, Monsoon, Pull and Bear, Republic, SportsDirect.com, Vodafone, Zara and Zara Home. Liverpool Football Club opened their second club shop in Liverpool city centre on South John Street, whilst Everton Football Club also opened up a new club shop on the street named 'Everton Two', chosen so that the store's address, "Everton Two, Liverpool ONE", would resemble a football scoreline. The 'Leisure Level' of the South John Street district is home to the Odeon multiplex cinema alongside a number of restaurants, including Barburrito (Mexican), Café Rouge (French), Dinomat (American grill/general dining), Gourmet Burger Kitchen (Burgers/general dining), Jungle Rumble Cafe (general dining), Las Iguanas (Latin American), Nando's (Portuguese/African/general dining), Pesto (Italian), PizzaExpress (Italian/general dining), Pizza Hut (Italian/general dining), Red Hot Buffet (general dining), Sblended (Milkshakes), Wagamama (Japanese), Yee Rah (Grill/ general dining), Yo! Sushi (Japanese), Zizzi (Italian).

The park
A reinstated Chavasse Park, rising in terraces from Strand Street to pavilions on a terrace high above South John Street – this is where the Odeon is located along with Wagamama, Pizza Hut, Yo Sushi!, Café Rouge and other eateries. The park conceals a 3,000-space underground car park, accessed by ramps and tunnels from Strand Street. The park is named after member of the Chavasse family, including Noel Chavasse, a local war hero and one of only three holders of the Victoria Cross and Bar.

Point of arrival
Includes a bus station and a multi-storey car park at the edge of the main shopping district.

The new multimillion-pound Paradise Street Interchange (renamed Liverpool One bus station in September 2009), is a public transport interchange built in November 2005 to replace Paradise Street Bus Station which was demolished to make way for the new Liverpool ONE shopping district.

As one of the first stages of Liverpool One scheme and a main access point to the Liverpool One shopping centre, the interchange includes ten bus stops each designed to take up to 20 departures an hour serving ten million people a year.

Criticism
The Open Spaces Society has criticised the removal of public rights of way in the development area and fears that universal access to Liverpool's central streets may be denied to citizens in future. However, the streets that make up Liverpool ONE still exercise public rights of way in agreement with the city council, for as long as this agreement stands. Liverpool ONE has not removed any public rights of way, and all streets within Liverpool ONE are subject to the bylaws of the city council in relation to the Highways Act.

The centre has also been criticised for alienating local businesses (such as Lewis's, Rapid Hardware, and the stores on Bold Street), and for shifting Liverpool's shopping district (noting empty units around Lime Street and Ranelagh Street). However, the project won a MAPIC Award in 2009.

title: Liverpool One


text:
Scleroderma citrinum

Scleroderma citrinum, commonly known as the common earthball, pigskin poison puffball, or common earth ball, is the most common species of earthball fungus in the UK and occurs widely in woods, heathland and in short grass from autumn to winter. Scleroderma citrinum has two synonyms, Scleroderma aurantium (Vaill.) and Scleroderma vulgare Horn.

Earthballs are superficially similar to, and considered look-alikes of, the edible puffball (particularly Apioperdon pyriforme), but whereas the puffball has a single opening on top through which the spores are dispersed, the earthball just breaks up to release the spores. Moreover, Scleroderma citrinum has much firmer flesh and a dark gleba (interior) much earlier in development than puffballs. Scleroderma citrinum has no stem but is attached to the soil by mycelial cords. The peridium, or outer wall, is thick and firm, usually ochre yellow externally with irregular warts.

The earthball may be parasitized by Pseudoboletus parasiticus.

Scleroderma citrinum can be mistaken with truffles by inexperienced mushroom hunters. Ingestion of Scleroderma citrinum can cause gastrointestinal distress in humans and animals. Some individuals may experience lacrimation, rhinitis and rhinorrhea, and conjunctivitis from exposure to its spores.

Pigments found in the fruiting body of Scleroderma citrinum Pers. are sclerocitrin, norbadione A, xerocomic acid, and badione A.

title: Scleroderma citrinum