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Oued El-Had and Mezouara massacre

The Oued El-Had and Mezouara massacre took place on August 2, 1997. This massacre occurred between two villages near Arib in the wilaya of Tipaza and Ain Defla, Algeria. Around 100 people were killed as a result of the massacre. This massacre was one of the bloodiest since the start of terrorism in Algeria. Algeria-Watch's timeline describes them as strange guerrillas with shaven heads and eyebrows, carrying flags emblazoned "al-ghadhibun 'ala Allah" (Angry at God).

Massacre
On the afternoon of August 2, 1997, around 100 armed unidentified men split into two groups to best execute their plan. One group started in the wilayah of Aïn-Defia, and the other group started in the wilayah of Tipaza. Both groups were following the valley that would lead to Oued El-Had.

The groups would storm the houses of these towns and would kill men, women, children, cows, goats, and donkeys. They would then only spare one adult to act as a guide for them to find and attack the next village. When the groups arrived in the next village, they would proceed in doing the same thing, except this time killing their old guide and sparing someone else to act as their new guide. The people in the villages who would try to flee would be shot down or brutally attacked with a knife or ax, as was later observed on the corpses by investigators of the massacre.

After having had countless guides, both groups eventually meet up in Oued El-Had and continue their plan to kill all citizens. After they killed the people of Oued El-Had, the total number of people killed was in the hundreds range, and around 100 others were left injured as a result of these attacks, but these numbers could be much higher. Although in the press reports, they reported only 50 casualties which is much lower than what Journalist Abed Charef had written in his book Autopsy of a Massacre. The number was lowballed as a result of authorities remaining silent on the matter and falsifying the reports to prevent a further investigation into the matter occur.

Responsibility
In the region where the attacks occurred, it has a heavy presence of both the AIS and the GIA. But, none of them ever came forward to confess that they were responsible for this massacre. Abed Charef came to his conclusion that another “new uncontrolled group had appeared in the region” and was thus responsible for the massacre. The AIS and GIA also had good relations with the local population around them and would have never committed such atrocities. The culprit of this massacre is unknown as information on the massacre has been either fabricated or erased, thus making it hard to pinpoint who exactly was responsible for this massacre.

title: Oued El-Had and Mezouara massacre


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Wikipedia:Articles for deletion/University of New South Wales Student Union Election 2004

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Joyous 03:18, Feb 23, 2005 (UTC)

University of New South Wales Student Union Election 2004

 * Non-notable event. Delete. --Spinboy 20:41, 16 Feb 2005 (UTC)
 * Delete. If the winner gets into a famous politician in some years, a reference could be added in the article about him... :) --Neigel von Teighen 20:46, 16 Feb 2005 (UTC)
 * Agreed. Delete. jdb ❋ 20:49, 16 Feb 2005 (UTC)
 * Delete, not really notable. Almost every university on the planet has one of these elections every year, this is nothing special. Rje 22:49, Feb 16, 2005 (UTC)
 * Delete. Non-notable. Carrp | Talk 22:50, 16 Feb 2005 (UTC)
 * Delete, not notable. Megan1967 05:52, 17 Feb 2005 (UTC)
 * Delete. Too parochial I'm afraid. With an electorate of less than 2000 and nothing else to render it notable this sets the precedent that all the many thousands of local and union elections that take place around the world every year deserve an entry in Wikipedia. They do not. Trilobite (Talk) 10:07, 17 Feb 2005 (UTC)
 * Delete. Too localised in interest (and even then I'll bet most students don't really care). Average Earthman 11:13, 17 Feb 2005 (UTC)
 * Delete. I've seen lots of Australian student elections close-up, and seen what passes for 'verifiable' information on them. I can hardly think of a one that would pass Verifiability - David Gerard 23:18, 20 Feb 2005 (UTC)

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

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


text: File:Budgie Squawk.jpg

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User talk:Bobman87

Welcome to the Wikipedia
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title: User talk:Bobman87


text:
Column chromatography

Column chromatography in chemistry is a chromatography method used to isolate a single chemical compound from a mixture. Chromatography is able to separate substances based on differential adsorption of compounds to the adsorbent; compounds move through the column at different rates, allowing them to be separated into fractions. The technique is widely applicable, as many different adsorbents (normal phase, reversed phase, or otherwise) can be used with a wide range of solvents. The technique can be used on scales from micrograms up to kilograms. The main advantage of column chromatography is the relatively low cost and disposability of the stationary phase used in the process. The latter prevents cross-contamination and stationary phase degradation due to recycling. Column chromatography can be done using gravity to move the solvent, or using compressed gas to push the solvent through the column.

A thin-layer chromatograph can show how a mixture of compounds will behave when purified by column chromatography. The separation is first optimised using thin-layer chromatography before performing column chromatography.

Column preparation
A column is prepared by packing a solid adsorbent into a cylindrical glass or plastic tube. The size will depend on the amount of compound being isolated. The base of the tube contains a filter, either a cotton or glass wool plug, or glass frit to hold the solid phase in place. A solvent reservoir may be attached at the top of the column.

Two methods are generally used to prepare a column: the dry method and the wet method. For the dry method, the column is first filled with dry stationary phase powder, followed by the addition of mobile phase, which is flushed through the column until it is completely wet, and from this point is never allowed to run dry. For the wet method, a slurry is prepared of the eluent with the stationary phase powder and then carefully poured into the column. The top of the silica should be flat, and the top of the silica can be protected by a layer of sand. Eluent is slowly passed through the column to advance the organic material.

The individual components are retained by the stationary phase differently and separate from each other while they are running at different speeds through the column with the eluent. At the end of the column they elute one at a time. During the entire chromatography process the eluent is collected in a series of fractions. Fractions can be collected automatically by means of fraction collectors. The productivity of chromatography can be increased by running several columns at a time. In this case multi stream collectors are used. The composition of the eluent flow can be monitored and each fraction is analyzed for dissolved compounds, e.g. by analytical chromatography, UV absorption spectra, or fluorescence. Colored compounds (or fluorescent compounds with the aid of a UV lamp) can be seen through the glass wall as moving bands.

Stationary phase

The stationary phase or adsorbent in column chromatography is a solid. The most common stationary phase for column chromatography is silica gel, the next most common being alumina. Cellulose powder has often been used in the past. A wide range of stationary phases are available in order to perform ion exchange chromatography, reversed-phase chromatography (RP), affinity chromatography or expanded bed adsorption (EBA). The stationary phases are usually finely ground powders or gels and/or are microporous for an increased surface, though in EBA a fluidized bed is used. There is an important ratio between the stationary phase weight and the dry weight of the analyte mixture that can be applied onto the column. For silica column chromatography, this ratio lies within 20:1 to 100:1, depending on how close to each other the analyte components are being eluted.

Mobile phase (eluent)
The mobile phase or eluent is a solvent or a mixture of solvents used to move the compounds through the column. It is chosen so that the retention factor value of the compound of interest is roughly around 0.2 - 0.3 in order to minimize the time and the amount of eluent to run the chromatography. The eluent has also been chosen so that the different compounds can be separated effectively. The eluent is optimized in small scale pretests, often using thin layer chromatography (TLC) with the same stationary phase, using solvents of different polarity until a suitable solvent system is found. Common mobile phase solvents, in order of increasing polarity, include hexane, dichloromethane, ethyl acetate, acetone, and methanol. A common solvent system is a mixture of hexane and ethyl acetate, with proportions adjusted until the target compound has a retention factor of 0.2 - 0.3. Contrary to common misconception, methanol alone can be used as an eluent for highly polar compounds, and does not dissolve silica gel.

There is an optimum flow rate for each particular separation. A faster flow rate of the eluent minimizes the time required to run a column and thereby minimizes diffusion, resulting in a better separation. However, the maximum flow rate is limited because a finite time is required for the analyte to equilibrate between the stationary phase and mobile phase, see Van Deemter's equation. A simple laboratory column runs by gravity flow. The flow rate of such a column can be increased by extending the fresh eluent filled column above the top of the stationary phase or decreased by the tap controls. Faster flow rates can be achieved by using a pump or by using compressed gas (e.g. air, nitrogen, or argon) to push the solvent through the column (flash column chromatography).

The particle size of the stationary phase is generally finer in flash column chromatography than in gravity column chromatography. For example, one of the most widely used silica gel grades in the former technique is mesh 230 – 400 (40 – 63 μm), while the latter technique typically requires mesh 70 – 230 (63 – 200 μm) silica gel.

A spreadsheet that assists in the successful development of flash columns has been developed. The spreadsheet estimates the retention volume and band volume of analytes, the fraction numbers expected to contain each analyte, and the resolution between adjacent peaks. This information allows users to select optimal parameters for preparative-scale separations before the flash column itself is attempted.

Automated systems
Column chromatography is an extremely time-consuming stage in any lab and can quickly become the bottleneck for any process lab. Many manufacturers like Biotage, Buchi, Interchim and Teledyne Isco have developed automated flash chromatography systems (typically referred to as LPLC, low pressure liquid chromatography, around 350 - 525 kPa) that minimize human involvement in the purification process. Automated systems will include components normally found on more expensive high performance liquid chromatography (HPLC) systems such as a gradient pump, sample injection ports, a UV detector and a fraction collector to collect the eluent. Typically these automated systems can separate samples from a few milligrams up to an industrial many kilogram scale and offer a much cheaper and quicker solution to doing multiple injections on prep-HPLC systems.

The resolution (or the ability to separate a mixture) on an LPLC system will always be lower compared to HPLC, as the packing material in an HPLC column can be much smaller, typically only 5 micrometre thus increasing stationary phase surface area, increasing surface interactions and giving better separation. However, the use of this small packing media causes the high back pressure and is why it is termed high pressure liquid chromatography. The LPLC columns are typically packed with silica of around 50 micrometres, thus reducing back pressure and resolution, but it also removes the need for expensive high pressure pumps. Manufacturers are now starting to move into higher pressure flash chromatography systems and have termed these as medium pressure liquid chromatography (MPLC) systems which operate above 1 MPa.

Column chromatogram resolution calculation
Typically, column chromatography is set up with peristaltic pumps, flowing buffers and the solution sample through the top of the column. The solutions and buffers pass through the column where a fraction collector at the end of the column setup collects the eluted samples. Prior to the fraction collection, the samples that are eluted from the column pass through a detector such as a spectrophotometer or mass spectrometer so that the concentration of the separated samples in the sample solution mixture can be determined.

For example, if you were to separate two different proteins with different binding capacities to the column from a solution sample, a good type of detector would be a spectrophotometer using a wavelength of 280 nm. The higher the concentration of protein that passes through the eluted solution through the column, the higher the absorbance of that wavelength.

Because the column chromatography has a constant flow of eluted solution passing through the detector at varying concentrations, the detector must plot the concentration of the eluted sample over a course of time. This plot of sample concentration versus time is called a chromatogram.

The ultimate goal of chromatography is to separate different components from a solution mixture. The resolution expresses the extent of separation between the components from the mixture. The higher the resolution of the chromatogram, the better the extent of separation of the samples the column gives. This data is a good way of determining the column's separation properties of that particular sample. The resolution can be calculated from the chromatogram.

The separate curves in the diagram represent different sample elution concentration profiles over time based on their affinity to the column resin. To calculate resolution, the retention time and curve width are required.

Retention time is the time from the start of signal detection by the detector to the peak height of the elution concentration profile of each different sample.

Curve width is the width of the concentration profile curve of the different samples in the chromatogram in units of time.

A simplified method of calculating chromatogram resolution is to use the plate model. The plate model assumes that the column can be divided into a certain number of sections, or plates and the mass balance can be calculated for each individual plate. This approach approximates a typical chromatogram curve as a Gaussian distribution curve. By doing this, the curve width is estimated as 4 times the standard deviation of the curve, 4σ. The retention time is the time from the start of signal detection to the time of the peak height of the Gaussian curve.

From the variables in the figure above, the resolution, plate number, and plate height of the column plate model can be calculated using the equations:

Resolution (Rs):
 * Rs = 2(tRB – tRA)/(wB + wA),

where:

 * tRB = retention time of solute B
 * tRA = retention time of solute A
 * wB = Gaussian curve width of solute B
 * wA = Gaussian curve width of solute A

Plate Number (N):

 * N = (tR)2/(w/4)2

Plate Height (H):

 * H = L/N

where L is the length of the column.

Column adsorption equilibrium
For an adsorption column, the column resin (the stationary phase) is composed of microbeads. Even smaller particles such as proteins, carbohydrates, metal ions, or other chemical compounds are conjugated onto the microbeads. Each binding particle that is attached to the microbead can be assumed to bind in a 1:1 ratio with the solute sample sent through the column that needs to be purified or separated.

Binding between the target molecule to be separated and the binding molecule on the column beads can be modeled using a simple equilibrium reaction Keq = [CS]/([C][S]) where Keq is the equilibrium constant, [C] and [S] are the concentrations of the target molecule and the binding molecule on the column resin, respectively. [CS] is the concentration of the complex of the target molecule bound to the column resin.

Using this as a basis, three different isotherms can be used to describe the binding dynamics of a column chromatography: linear, Langmuir, and Freundlich.

The linear isotherm occurs when the solute concentration needed to be purified is very small relative to the binding molecule. Thus, the equilibrium can be defined as:

 * [CS] = Keq[C].

For industrial scale uses, the total binding molecules on the column resin beads must be factored in because unoccupied sites must be taken into account. The Langmuir isotherm and Freundlich isotherm are useful in describing this equilibrium. The Langmuir isotherm is given by:

 * [CS] = (KeqStot[C])/(1 + Keq[C]), where Stot is the total binding molecules on the beads.

The Freundlich isotherm is given by:

 * [CS] = Keq[C]1/n

The Freundlich isotherm is used when the column can bind to many different samples in the solution that needs to be purified. Because the many different samples have different binding constants to the beads, there are many different Keqs. Therefore, the Langmuir isotherm is not a good model for binding in this case.

title: Column chromatography


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Gerlach

Gerlach is a male forename of Germanic origin, variations of which exist in many Germanic and Romance languages. Like many other early Germanic names, it is dithematic, consisting of two meaningful constituents put together. In this case, those constituents are ger (meaning 'spear') and /la:k / (meaning 'motion'). The meaning of the name is thus 'spear thrower'. It became a surname, and a source from which other surnames have been derived, as well.

Personal name

 * Saint Gerlach (died c. 1170), Dutch saint
 * Gerlach I of Isenburg-Arnfels, Count of Isenburg-Arnfels from 1286 (1287) until 1303
 * Gerlach I of Isenburg-Wied, Count of Isenburg-Wied from 1409 until 1413
 * Gerlach I of Nassau-Wiesbaden (before 1288-1361), Count of Nassau
 * Gerlach II of Isenburg-Arnfels, Count of Isenburg-Arnfels from 1333 until 1379
 * Gerlach II of Isenburg-Covern, Count of Isenburg-Covern from 1158 until 1217
 * Gerlach III of Isenburg-Covern, Count of Isenburg-Covern from 1217 until 1235
 * Gerlach IV of Isenburg-Limburg (died 1289), Lord of Limburg an der Lahn
 * Gerlach V of Isenburg-Limburg (died 1355), Count of Isenburg-Limburg; grandson of Gerlach IV
 * Gerlach VI of Isenburg-Limburg (died 1365), Count of Isenburg-Limburg and Lord of Limburg an der Lahn; son of Gerlach V
 * Gerlach Flicke (fl. 1545-1558), German portrait painter of the English Tudor court
 * Gerlach Cornelis Joannes van Reenen (1818–1893), Dutch politician

Surname

 * Annette Gerlach (born 1964), German TV host
 * Carl Gotthelf Gerlach (1704–1761), German organist and music director
 * Carl Ludvig Gerlach (1832–1893), Danish composer and opera singer
 * Carl R. Gerlach, mayor of Overland Park, Kansas
 * Charles L. Gerlach (1895-1947), U.S. Representative from Pennsylvania
 * Chris Gerlach (born 1964), American politician
 * Christian Gerlach, professor of modern history at the University of Bern
 * Daniel Gerlach (born 1977), German journalist
 * Dave Gerlach (1940–2020), Canadian curler
 * Elsie Gerlach, 20th century dental educator
 * Ernst Ludwig von Gerlach (1795-1877), Prussian judge and politician
 * Hellmut von Gerlach (1866-1935), German journalist and politician
 * Jim Gerlach (born 1955), U.S. Congressman from Pennsylvania
 * Joseph von Gerlach (1820-1896), German anatomist and professor
 * Kurt Albert Gerlach (1886-1922), German sociologist
 * Ludwig Friedrich Leopold von Gerlach (1790-1861), Prussian general
 * Manfred Gerlach (1928-2011), head of state of East Germany (1989-1990)
 * Otto von Gerlach (1801-1849), German theologian and pastor
 * Talitha Gerlach (1896–1995), American YMCA worker who spent most of her life as a social worker in Shanghai, China
 * Walther Gerlach (1889-1979), German physicist
 * Wim Gerlach (1935-2007), Dutch Olympic boxer
 * Irene Gerlach, fictional character in Erich Kästner's Lottie and Lisa

Place

 * Gerlach, a census-designated place in the U.S. state of Nevada
 * Gerlachovský štít also known as Gerlach, the highest mountain peak in Slovakia

title: Gerlach


text: User talk:199.181.178.37

title: User talk:199.181.178.37


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User talk:BobG

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you. violet/riga (t) 20:43, 16 Feb 2005 (UTC)

title: User talk:BobG


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User talk:Azkar

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:58, 23 November 2015 (UTC)

title: User talk:Azkar


text:
Air Europe (Italy)

Air Europe was an Italian airline based at Milan Malpensa Airport, Italy. It was, at the time of closure, part of the Alitalia group.

Air Europe suspended operations in December 2008 after Compagnia Aerea Italiana (which was going to take over as the new Alitalia) decided to close down the Air Europe brand. The airline at one time was a subsidiary of the Volare Group which had its head office in Thiene, Italy, and its commercial management and charter management in Milan.

History
The airline was established in 1989 and started operations on 19 December 1989. It started as part of the Airlines of Europe Group based in the United Kingdom, but became wholly Italian owned in 1991. In December 1997, it inaugurated its first scheduled flight to Havana, Cuba.

It eventually became a subsidiary of Volare Airlines. With this partnership, Air Europe became a major domestic and international airline, operating Airbus A320, Boeing 737, Boeing 757, Boeing 767 and Boeing 777 aircraft.

In 2004, Volare Group S.p.A. (the holding that controlled Air Europe S.p.A. and Volare Airlines S.p.A.) went bankrupt and was put up for sale by the Italian government in December 2004. Alitalia's offer for 38 million euros was the winning bid, but Air One tried to block the sale for various reasons by going to court — this happened five times and, in fact, so many obstacles were placed in front of Alitalia's acquisition of the group (including Alitalia's financial difficulties), that the affair was considered like a soap-opera by the Italians.

In the end, Air One was unsuccessful but Alitalia had to create Volare S.p.A. (also known as Volareweb.com) in order to take over the then Volare "Group" S.p.A. Finally, in May 2006, the former Volare Group employees were transferred to Volare S.p.A. and Air Europe S.p.A.

By 1 January 2008, the airline (Air Europe) was considered an integral part of the Alitalia Group. That year Alitalia used it for long-haul leisure destinations such as Mauritius.

In September 2008, Compagnia Aerea Italiana (CAI) made an offer to buy Alitalia, to save it from the bankruptcy to which it too was destined, and, on 12 December 2008, the offer was accepted. As a part of the re-branding, CAI decided that it was going to close Air Europe as there was no longer a need for it. As a partner for leisure long-haul operations, it is possible that the "new" Alitalia will use Air Italy, an airline with which Alitalia already has some agreements.

Destinations
Air Europe served the following destinations at the time of closure:

 * 🇨🇺 Cuba
 * Havana – José Martí International Airport
 * 🇮🇹 Italy
 * Milan – Milan Malpensa Airport (Hub)
 * Rome – Leonardo da Vinci–Fiumicino Airport (Secondary hub)
 * 🇯🇲 Jamaica
 * Montego Bay – Sangster International Airport (via Havana)
 * 🇲🇺 Mauritius
 * Port Louis – Sir Seewoosagur Ramgoolam International Airport
 * 🇲🇽 Mexico
 * Cancún – Cancún International Airport (via Havana)

Fleet
Air Europe operated the following aircraft throughout its existence:

title: Air Europe (Italy)


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Faten Hamama

Faten Ahmed Hamama (فاتن حمامه ; 27 May 1931 – 17 January 2015) was an Egyptian film and television actress and film producer. She was the first wife of Ezz El-Dine Zulficar. She made her screen debut in 1939, when she was only seven years old. Her earliest roles were minor, but her activity and gradual success helped to establish her as a distinguished Egyptian actress. Later revered as an icon in Egyptian cinema. In 1996, nine of the films she starred in were included in the Top hundred films in the history of Egyptian cinema by the cinema critics of Cairo International Film Festival.

After a seven-year hiatus from acting, Hamama returned in 2000 in what was a much anticipated television series, Wageh El Amar (وجه القمر, Face of the Moon). Hamama substantially helped in improving the cinema industry in Egypt and emphasizing the importance of women in cinema and Egyptian society. In 2000, she was selected as Star of the Century by the Egyptian Writers and Critics organization.

Early life and career
Faten Hamama was born in 1931 to an Egyptian lower middle class family in Mansoura, Egypt (according to her birth certificate), but she claimed to have been born in the Abdin quarter of Cairo. She has an older brother, Mounir, a younger sister, Layla and a younger brother, Mazhar. Her aspiration for acting arose at an early age. When she was six years old, her father took her to the theater to see an Assia Dagher film; when the audience clapped for Assia, she told her father she felt they were clapping for her. When she won a children's beauty pageant in Egypt, her father sent her picture to the director Mohamed Karim who was looking for a young female child to play the role of a small girl with the famous Egyptian actor and musician Mohamed Abdel Wahab in the film Youm Sai'd (يوم سعيد, A Happy Day, 1939). After an audition, Abdel Wahab decided she was the one he was looking for. After her role in the film, people called her "Egypt's own Shirley Temple". The director liked her acting and was impressed with her so much that he signed a contract with her father. Four years later, she was chosen by Kareem for another role with Abdel Wahab in the film Rossassa Fel Qalb (رصاصه فى القلب, Bullet in the Heart, 1944) and in another film two years later, Dunya (دنيا, Universe, 1946). After her success, Hamama moved with her parents to Cairo and started her study at the High Institute of Acting in 1946.

Career
Youssef Wahbi, an Egyptian actor and director, recognised the young actress's talent so he offered her a lead role in the 1946 film Malak al-Rahma (ملاك الرحمه, Angel of Mercy). The film attracted widespread media attention, and Hamama, who was only 15 at the time, became famous for her melodramatic role. In 1949, Hamama had roles in three films with Wahbi: Korsi el-e'traf (كرسى الاعتراف, Chair of Confession), Al-Yateematain (اليتيمتين, The Two Orphans) and Sitt al-Bayt (ست البيت, Lady of the House). All were successful films. The 1950s were the beginning of the golden age of the Egyptian cinema industry, and Hamama played a significant part. In 1950, she starred alongside Mahmoud Zulfikar in the fantasy film; Akhlaq lil baye (أخلاق للبيع, Virtue for Sale, 1950). In 1951, she starred in the film Lak Yawm Ya Zalem (لك يوم يا ظالم, Your Day will Come) which was nominated at the Cannes Film Festival for the Prix International award. She also played lead roles in Yousef Shaheen's Baba Amin (بابا أمين, Amin, my Father, 1950) and Sira` Fi al-Wadi (صراع فى الوادى , Struggle in the Valley, 1954)l, which was a strong nominee at the 1954 Cannes Film Festival for the Prix International award. Hamama is also known for having played the lead role in the first Egyptian mystery film Al-Manzel Raqam 13 (المنزل رقم 13, House Number 13). In 1959, she starred in the Ezz El-Dine Zulficar's romantic classic, Bain Al Atlal (بين الأطلال, Among the Ruins) with her favorite 1950s co-star Emad Hamdy and Egypt's new rising leading man Salah Zulfikar. In 1963, she received an award for her role in the political film La Waqt Lel Hob (لا وقت للحب, No Time for Love). Hamama was also able to make it to Hollywood; in 1963 she had a role in the crime film, Cairo. In 1947, Hamama married producer/film director Ezz El-Dine Zulficar while filming the Abu Zayd al-Hilali (أبو زيد الهلالى ) film. They started a production company which produced the film Maw`ed Ma` al-Hayat (موعد مع الحياه, Date with Life) in which she starred. This film earned her the title of the "lady of the Arabic screen". She divorced Zulficar in 1954. One year later, she married Egyptian film star Omar Sharif. Meanwhile, Hamama continued to act in films directed by her first husband Zulficar. In 1954, while filming a Youssef Chahine film, Struggle in the Valley, Hamama refused to have the Egyptian actor Shukry Sarhan as a co-star, and Chahine offered Omar Sharif the role. Sharif had just graduated from college then and was working for his father; she accepted him as her co-star. Hamama's marriage to Sharif in 1955 started a new era of her career, in which the couple made many films together. Omar Sharif and Faten Hamama were the romantic leads of Ayyamna al-Holwa (أيامنا الحلوه, Our Sweet Days), Ard al-Salam (أرض السلام, Land of Peace), La Anam (لا أنام, Sleepless) and Sayyidat al-Qasr (سيدة القصر, The Lady of the Palace). Their last film together before their divorce was Ezz El-Dine Zulficar's Nahr al-Hob (نهر الحب, The River of Love) in 1960.

Controversy in the late 1960s
Hamama left Egypt from 1966 to 1971, claiming that she was being harassed by Egyptian Intelligence. She had been a supporter of the 1952 Revolution, but later became an opponent of the Free Officers and their oppressive regime. She said they were "asking her to cooperate" but she apologized and refused. In consequence, she was forbidden to travel or participate in film festivals. She was only able to leave Egypt after many serious disputes, where she lived in Paris, London and Lebanon. While she was away, then President Gamal Abdel Nasser asked famous writers, journalists and friends to try to convince her to return to Egypt. He called her a "national treasure" and even awarded her an honorary decoration in 1965. However, she did not return until 1971, after Nasser's death. Following her return she played roles conveying messages of democracy. Her first film after her return to Egypt was alongside the Egyptian leading movie star Salah Zulfikar in the 1971 TV short film named Witch (ساحرة, Sahira), and in the same year, she starred in the 1971 film Thin Thread (الخيط الرفيع, Al Khait Al Rafie). She often criticized the laws in Egypt in her films. In the 1972 film Imbratoriyat Meem (إمبراطورية ميم, The Empire of M), Hamama presented a pro-democratic point of view and received an award from the Soviet Union of Women in the Moscow International Film Festival. Her most significant film was Oridu Hallan (أريد حلاً, I Want a Solution), produced by Salah Zulfikar through his production company; Salah Zulfikar Films Company. In this film, she criticised laws governing marriage and divorce in Egypt. After the film, the Egyptian government abrogated a law that forbade wives from divorcing their husbands, therefore allowing khul'.

Later career
As Hamama aged, her acting roles declined and she made fewer films compared to earlier in her career, but nevertheless her films were successful. She made her first television appearances in her late career. She starred in the TV mini-series Damir Ablah Hekmat (ضمير أبله حكمت, Mrs. Hekmat's Conscience).

After 1993, her career stalled. It was not until 2000 that she returned in the successful TV mini-series Wajh ِِal-Qamar which was broadcast on 23 TV channels in the Middle East. In this mini-series, Hamama portrayed and criticized many problems in Egyptian and Middle Eastern society. Despite some criticisms, the mini-series received much praise and acclaim. Hamama was awarded the Egyptian Best TV Actor of the Year and the mini-series won the Best TV Series Award in the Egyptian Radio and Television Festival. She entered history as the highest-paid actress in an Egyptian television miniseries until 2006, when another actress was paid more.

Before the 1950s, Hamama had leading roles in 30 films, in which she often played the role of a weak, empathetic, poor girl. After the 1950s, Hamama was in search of her real identity and was trying to establish herself as a distinct figure. During this period, her choice of material and roles was somewhat limited. However, film producers soon capitalised on her popularity with audiences in local and Middle Eastern markets. She began to play realistic, strong women, such as in Sira' Fi Al-Wadi (صراع فى الوادى, Struggle in the Valley, 1954) where she portrayed a rich man's daughter who, contrary to stereotype, was a realistic woman who helped and supported the poor. In the 1952 Mahmoud Zulfikar's production Miss Fatmah (الأستاذه فاطمه ), Hamama starred as a law student who believed women were as important as men in society.

In Imbratoriyat Meem (امبراطورية ميم, The Empire M), she played the role of a widow who takes care of her large family and suffers hardship. Her most influential film was Oridu Hallan (أريد حلا, I Want a Solution) which criticized the laws of marriage and divorce in Egypt. A law in Egypt that forbade Khul' (خلع) – a divorce initiated by the wife – was annulled immediately afterwards.

Acting style
Most critics agree that Hamama's most challenging role was in the 1959 film Doaa al-Karawan (دعاء الكروان, The Nightingale's Prayer), which is considered to be one of the best Egyptian films. It is based on the novel of the same name by the prominent Egyptian writer Taha Hussein. In this film, Hamama played the role of Amnah, a young woman who seeks revenge from her uncle for the honour killing of her sister.

After this film, Hamama carefully picked her roles. In 1960, she starred in the film Nahr Hob (نهر الحب, The River of Love) by Ezz El-Dine Zulficar which was based on Leo Tolstoy's well known novel Anna Karenina and in 1961, she played the lead role in the film La Tutf'e al-Shams (لا تطفئ الشمس, Don't Turn Off the Sun) based on the novel by Ihsan Abdel Quddous.

Death and funeral
Faten Hamama died on 17 January 2015, aged 83. Her son Tarek Sharif did not state the cause of her death.

Tributes soon poured in from across the film industry following her death, as well as from government figures. Egyptian president Abdel Fattah el-Sisi, who was on a visit abroad, mourned her death and sent an envoy to her funeral, while a statement from his office described her as a person of "high creative value." "She will remain a symbol of the genuine Egyptian art and commitment to its ethics," the statement added. The Ministry of Culture ordered a two-day period of mourning and a halt in all artistic activity. Secretary-General of the Arab League, Nabil el-Arabi, called her a "symbol of refined Egyptian and Arab art". The country's dailies gave her prominence in their front pages, with newspaper Al-Akhbar displaying "Farewell to the Lady of the Arabic Screen" as a headline.

The funeral was attended by thousands of mourners who blocked traffic around the mosque where the ceremony was being held. The event was broadcast live on a private channel. Attendees included Minister of Culture Gaber Asfour, former presidential candidate Amr Moussa, as well as several actors and actresses, but not Omar Sharif (who was suffering from Alzheimer's disease, dying at the same age less than six months later). King Mohammed VI of Morocco assigned his country's ambassador in Cairo to attend the funeral.

Personal life
While filming Abu Zayd el-Hilali (أبو زيد الهلالى) in 1947, she and director Ezz El-Dine Zulficar fell in love and wed. The marriage lasted for seven years. They divorced in 1954. Hamama has said that her love for Zulficar was little more than a student's admiration and love for a teacher. The two remained friends, and Zulficar also remarried and Hamama continued to star in his films after the divorce. They had one child, a daughter, Nadia Zulficar.

In 1954, Hamama chose Omar Sharif to co-star with her in a film. In this film, she uncharacteristically agreed to a romantic scene involving a kiss. During the filming, they fell in love. Sharif converted to Islam and married her. The couple co-starred in many films. However, after nearly two decades together, the couple divorced in 1974; they had one son, Tarek Sharif. The couple also have two grandsons from Tarek, Omar Sharif Jr. and Karem Sharif. Omar Sharif Jr. followed in his grandfather's footsteps and now acts in the U.S. in small roles and is an LGBTQ activist.

Hamama later married Mohamed Abdel Wahab Mahmoud, an Egyptian doctor. They resided in Cairo until her death on 17 January 2015 following a short illness.

Hamama was fluent in French, as she did an interview in French in Lebanon in 1963. She was a practicing Muslim.

Awards, nominations and honours
Throughout Hamama's career, she received numerous accolades for best actress, and was nominated for the Cannes Film Festival’s Prix International for her role in 1951's Your Day Will Come.

She received her first award in 1951 for her role in I'm the Past, which was presented to her by different venues, including the Egyptian Catholic Center for Cinema. The country's Ministry of Guidance also awarded her the title of Best Actress in both 1955 and 1961. These were followed by many different awards for best actress from various national and international events. International ones included special awards at the first Tehran International Film Festival in 1972 for her role in The Thin Thread, and again at the 1977 Tehran Film Festival for her role in Mouths and Rabbits. In 1973, she received the Special Award at the Moscow International Film Festival for her role in Empire M. Hamama's other international accolades included the Best Actress awards at the Jakarta Film Festival in 1963 for her role in The Open Door, and at the Carthage Film Festival in 1988 for her role in Bitter Days, Nice Days.

Hamama was also a recipient of the Lebanese Order of Merit in 1984 for her role in The Night of Fatma's Arrest. She was later presented lifetime achievement awards, including one at the Montpellier Mediterranean Film Festival in 1993, and another at the Dubai International Film Festival in 2009. In 2001, the Egyptian Writers and Critics Organization chose her as "Star of the Century" at the Alexandria International Film Festival, honouring her lengthy career in Egyptian cinema. Hamama was also honoured on several other occasions. Some of those include:
 * Decoration of Creativity of First Degree, from Lebanese Prime Minister Prince Khaled Chehab (1953)
 * Order of the Republic of First Degree for Art, from Egyptian President Gamal Abdel Nasser (1965)
 * Decoration of the State of the First Order, from Egyptian President Anwar Sadat (1976)
 * Decoration of the Cedar, from Lebanese President Émile Lahoud (2001)
 * Decoration of Intellectual Competence, from King Mohammed VI of Morocco (2001)
 * On 14 June 2013, the American University of Beirut awarded Faten Hamama with an honorary doctorate. The University President Peter Dorman introduced the Egyptian actress as an “icon, legend, and luminary.” However, “I feel a great happiness, today, greater than any gift that I have ever received. Currently, there is a massive attack on art, culture and anything related to literature. So this honorary doctorate will not only make me happy, but will bring happiness to all the artists and cultured people in Egypt and the Arab world.” said Hamama.
 * Order of Sciences and Arts, 2014
 * A Google Doodle on 27 May 2016 commemorated Hamama's 85th birth anniversary.

title: Faten Hamama


text:
AlaskaOne

AlaskaOne (or Alaska One) was a Public Broadcasting Service (PBS) member network of public television stations based in Fairbanks, Alaska from 1995 to 2012. It served communities in Alaska outside Anchorage. It was operated by the University of Alaska Fairbanks.

It comprised five stations:
 * KUAC-TV channel 9 (Fairbanks)
 * KTOO-TV channel 3 (Juneau)
 * KMXT-LP channel 9 (Kodiak)
 * KYUK-LD channel 15 (Bethel)
 * KIAL-LP/KUCB-LP channel 8 Unalaska (licensed station operated by KUCB radio) (Licensed in Dutch Harbor)

KUAC-TV was the flagship station. The other four stations were locally owned, and occasionally broke off from the main AlaskaOne feed to air local programming. KUAC's massive translator network in the Alaska Interior aired the full network schedule.

KYUK-TV originally aired on full-power channel 4 in Bethel, but reportedly ceased operation and had its license deleted by the FCC on March 20, 2009. According to KYUK's website, in 2004 its signal was moved to low-power K15AV. However, it renamed the low-powered TV station as KYUK-LP (now KYUK-LD).

KUAC-TV signed on in 1971 as the first public television station in Alaska. KYUK followed in 1972, with KTOO coming online in 1978. The three stations merged into the AlaskaOne network in 1995.

Some AlaskaOne programs were also seen on Alaska's omnibus network, the Alaska Rural Communications Service, which is partially owned by AlaskaOne.

The organization also operates a radio network, which uses material from National Public Radio, American Public Media, Public Radio International, the Alaska Public Radio Network, and CoastAlaska.

In November 2011, AlaskaOne's corporate entity, Alaska Public Broadcasting Service, voted to transfer the network's operations from KUAC-TV to KAKM effective July 1, 2012. Claiming that this arrangement would do financial harm to KUAC, UAF announced on December 8 that KUAC-TV would leave AlaskaOne and revert to being a separate station at that time. On July 1, KUAC-TV officially relaunched as a separate station, while KTOO-TV and KYUK merged with KAKM to form Alaska Public Television.

Stations
KUCB-LP, channel 8, is a low-powered station operating at 10 watts. Further information about the station is unavailable.

title: AlaskaOne


text:
Wikipedia:Articles for deletion/Alicia Rhett

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. Mackensen (talk) 05:52, 23 Feb 2005 (UTC)

Alicia Rhett
Alicia Rhett carried a part in the notable film Gone with the Wind. But this was her only film role during her career. Virtually every biography page I can locate online for this individual returns an empty HTML document or something summed up in one or two sentences. What is the protocol for this situation? If this article cannot be expanded beyond a mere single sentence, was this role really enough to justify an article on Wikipedia? GRider\talk 20:46, 16 Feb 2005 (UTC) This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Comment. Hmm...I would stop the Vfd, list the article on Requests for expansion and see what happens. If it doesn't get expanded, a new vote should be opened. --Neigel von Teighen 20:57, 16 Feb 2005 (UTC)
 * How about merge with (and redirect to) said film? Radiant! 22:17, Feb 16, 2005 (UTC)
 * Comment -- Similar problems like this one are going to turn up. The Wikipedians who have been writing articles on the various notable movies and TV shows have been creating separate articles for each and every actor. So every once in a while, there will be an actor that can only be summed up in 1-2 sentences. So what should we do about it? Zzyzx11 00:03, 17 Feb 2005 (UTC)
 * I believe there should be an official policy of expanding existing articles instead of creating new ones. Whenever new information can fit into an existing article that hasn't exceeded the 32 kb limit yet, it should be there instead of having its own article. JoaoRicardo 07:34, 17 Feb 2005 (UTC)
 * Delete. Apparently she did nothing notable after being in Gone with the Wind. JoaoRicardo 07:34, 17 Feb 2005 (UTC)
 * Keep and expand. I'll have a crack at it tomorrow Neigel. Megan1967 09:15, 17 Feb 2005 (UTC)
 * Comment expanded. Megan1967 04:59, 18 Feb 2005 (UTC)
 * Strong keep. She may have had only one role, but it was in one of the most popular films of all time. While I'm not a fan of the film myself, it is one of a handful of movies in which everyone involved is notable, all the way down to the key grip. Gamaliel 07:17, 18 Feb 2005 (UTC)
 * Keep. ComCat 02:25, 19 Feb 2005 (UTC)
 * Extreme keep. This is an exemplary article.  —RaD Man (talk) 11:25, 19 Feb 2005 (UTC)
 * Keep. What is this deletioncruft? - David Gerard 23:07, 20 Feb 2005 (UTC)
 * This 'cruft' as you call it is a small group of Wikipedians who are making a large effort to categorize thousands of articles, in this particular case the entire bio-stub category. Please be civil. Radiant! 12:06, Feb 21, 2005 (UTC)


text:
Scheila Carvalho

Scheila Carvalho Ladeira (September 24, 1973, in Juiz de Fora) is a Brazilian model, dancer, and latterly sex symbol. She rose to prominence as a dancer for axé act É o Tchan!, and has gone on to appear in numerous magazine photo shoots, including several for the Brazilian Playboy and Sexy. She is married to Jorge Antonio da Silva Santos (also known as "Tony Salles") from É o Tchan!. She left the band with Salles in 2005 and she currently hosts a TV show in Bahia. She is a Spiritist.

title: Scheila Carvalho


text:
ITC Kristen

ITC Kristen is a casual script typeface consisting of two weights designed by George Ryan for the International Typeface Corporation (ITC). It was inspired by a handwritten menu at a Cambridge, Massachusetts restaurant, and has an asymmetric structure suggesting a child's handwriting.

A TrueType version of Kristen is shipped with Microsoft Publisher 2000.

title: ITC Kristen


text:
Talk:Tábor

Twin city
AFAIK Sarajevo, Bosnia too. —Preceding unsigned comment added by 213.235.159.242 (talk) 08:03, 20 February 2008 (UTC)

Diacritics
Why don't we diacritics here? The city's name is Tábor and not Tabor; and the 'á' character doesn't collide with English wikipedia title technical limitations, because it's included in the ISO-8859-1 character set. -- Sandius 20:47, 16 Feb 2005 (UTC)
 * Done. Note, changed Tabor redirect to go to Tabor (disambiguation), because many pages link to Tabor NOT meaning the town. Matt 18:48, 3 Apr 2005 (UTC)

title: Talk:Tábor


text:
Antoine Dauvergne

Antoine Dauvergne (3 October 1713 – 11 February 1797) was a French composer and violinist.

Dauvergne was born in Moulins, Allier. He served as master of the Chambre du roi, director of the Concert Spirituel from 1762 to 1771, and director of the Opéra three times between 1769 and 1790. Dauvergne contributed both as a performer and composer to the classical music at the court at Versailles. He is most famous as the composer of Les troqueurs, a work which had a major influence on the development of French opéra comique. He died, aged 83, in Lyon.

In addition to operas and opera-ballets, Dauvergne composed a number of other works including violin sonatas (1739), trio sonatas, motets, and what he called Concerts de Simphonies (1751).

The name Dauvergne is sometimes written D'Auvergne. It means "from Auvergne," the region in the center of France covered by the volcanic Massif Central mountain range.

Operas and ballets

 * Les amours de Tempé, ballet héroïque (1752, Paris)
 * Les troqueurs, intermède (1753, Paris)
 * La coquette trompée, comédie lyrique (1753, Fontainebleau)
 * La sibylle, ballet (1753, Fontainebleau)
 * Énée et Lavinie, tragédie lyrique (1758, Paris)
 * Les fêtes d'Euterpe, opéra-ballet (1758, Paris)
 * Le rival favorable, additional entrée for Les fêtes d'Euterpe (1760, Paris)
 * Canente, tragédie (1760, Paris)
 * Hercule mourant, tragédie lyrique (1761, Paris)
 * Alphée et Aréthuse, ballet (1762, Paris)
 * Polixène, tragédie lyrique (1763, Paris)
 * Le triomphe de flore, ou Le retour de printemps, ballet-héroïque (1765, Fontainebleau)
 * La vénitienne, comédie-ballet (1768, Paris)
 * La tour enchantée, ballet figuré (1770, Paris)
 * Le prix de la valeur, ballet héroïque (1771, Paris)
 * La sicilien, ou L'amour peintre, comédie-ballet (1780, Versailles)
 * La mort d'Orphée, tragédie (unperformed)
 * Sémiramis, tragédie (unperformed)

Discography

 * Musique à Versailles - Dauvergne: Concerts de Simphonies. Performed by the Concerto Cologne. (Virgin Classics 2029-08-31 EMI 615422)

title: Antoine Dauvergne


text:
Talk:Dogs Playing Poker

Initial post
Intriguing how much those 2 paintings just sold for (over half a million US$)! In preauction estimates, they were anticipated to bring $30,000-$50,000 each. Shows how important they are to our (alleged) culture! Elf | Talk 20:51, 16 Feb 2005 (UTC)

I recently saw what I think was a Gary Larson cartoon showing a series of "prototypes" for the painting, involving snakes, chickens and cows. Can anyone confirm that I am not mistaken, I would like to add this to the popular culture section but I want to check my facts first.

A Friend In Need
It seems like, most of the time, when one of these paintings is seen in pop culture, it's A Friend In Need that they use. An example of this would be on the TV sitcom Roseanne. Perhaps this information should be included in the article.

Agreed --Magallanes 01:18, 20 March 2007 (UTC)

Computer Game
There was a computer game based on the paintings.

Which one? 200.117.37.221 23:30, 5 May 2006 (UTC)

Cheers
I seem to remember an episode of Cheers when Sam was at Robin Colcord's house and saw one of the paintings. He laughed until Robin said it was an original. No idea what episode sorry - SimonLyall 05:00, 3 June 2007 (UTC)

Ownership of paintings
Are they all in private hands, or are any on exhibit anywhere? Шизомби (talk) 23:54, 8 August 2008 (UTC)

Entire series pictures
I noticed that we only had one of the series up as a picture in the article and it is listed as PD if the rest are in the same time period and hopefully PD shouldn't we have thumbnails of the set up, obviously it's not necessary but considering that some are more famous than others (which ones are more famous is a judgment we shouldn't be making probably) encyclopedically we should show them all. Cat-five - talk 09:21, 9 August 2008 (UTC)

In popular culture section removed
in case anyone goes looking for it. I have mixed feelings about such sections. The more references there are or the more notable the things making the references, is noteworthy, though such things can start to dwarf the actual content of the article. References that are themselves notable (the references have been reported on) ought not to fall afoul of this, but may be harder to find. Шизомби (talk) 01:15, 31 July 2009 (UTC)
 * Not sure you should be removing or adding anything simply based on mixed feelings. There are probably guidelines on this that should be consulted rather than personal opinion.198.108.84.126 (talk) 16:55, 19 January 2011 (UTC)
 * I re-deleted it. It's trash. There are more professional ways to state that the series is influential without listing every damn video game or Simpson's parody. Secondary sources that discuss the more noteworthy appearances (not that merely list them as primary sources) can add understanding, but amateurish, banal listings of every mention is just stupid. Wikipedia is an encyclopedia, not a database. --Animalparty! (talk) 20:20, 6 February 2019 (UTC)
 * Some of the items are notable and worth keeping, but many are minor trivial. Maybe a removal of many and then expanding a few to focus on major or more notable mentions. Randy Kryn (talk) 21:17, 6 February 2019 (UTC)
 * how do you know they're notable and worth keeping? How is an appearance in an episode of That '70s Show any more or less noteworthy than an allusion in the videogame Undertale? How does it help the reader understand the paintings' impact? Are we making encyclopedia articles or indiscriminate waste-bins of factoids to satisfy OCD trivia nerds? Read WP:TRIVIA and WP:POPCULTURE. "In popular culture" sections, by and large, are a blight on Wikipedia (they can be done right, but mostly are not). The only popular culture appearances worth mentioning, per WP:ONUS, WP:PROPORTION, and tenets of good writing, are ones that have been significantly discussed by secondary and tertiary sources. A respectable professional-quality article would simply state something to the effect that the Dogs Playing Poker imagery has deeply permeated American culture, being widely reproduced and parodied, with a few choice examples as discussed in authoritative sources (books, not blogs).  --Animalparty! (talk) 04:29, 7 February 2019 (UTC)
 * Hello . On an important level, Dogs Playing Poker may actually have the most popular culture mentions and impact of any painting series. Monet's Water Lilies and his other series are well known, and van Gogh's series are as honored as Monet's, yet they are not repeatedly used throughout the years and across many forms of communication and entertainment as popular culture and societal reference points. Dogs Playing Poker has gained most of its notoriety from the consistent use of the paintings and the meme in popular culture. I think the only question is how many examples to use, and I'd say that quite a few should in order to give adequate examples of that portion of the overall influence of the paintings. Removing the section, as has been done twice before, or vastly reducing it in numbers or to a couple sentence descriptor, removes this important topic-related impact. Randy Kryn (talk) 11:08, 7 February 2019 (UTC)

Well, it was still here when I visited the page and I'm glad it was. In fact I was more disturbed by the suggestion that it should be removed. An encyclopedia is a source of information, and covers (clearly) matters that are of interest to people ... a wide variety of people. Some of these matters are deep, serious stuff and some, like this article, refer to items that are amusing and whimsical. The guidelines for material in one area are surely not the same as those for other areas. Please: a little less of the starch collars in corners of the 'pedia like this. 24.87.154.112 (talk) 22:18, 30 August 2020 (UTC)
 * Indeed, in my view, it's more than just the starch collars. It's the 4,000 Gucci suits, the tweed jackets with the leather elbow patches, the white shoes, the top hats, the lab coats. In other words, it's egregious bourgeois snobbery, which is shot thru the Wikipedi, and is actually class warfare, and it's time to fight back. it's the Wikipedia, not the Snobopedia. Class prejudice is of a kind with race prejudice and sex prejudice, and my support is frayed of catering only to High Culture of the attitude If an entity is mentioned in a Bejamin Britten opera then we simply must include it, musn't we Hector? Hardly anybody listens to Britten operas, but those who do are important people. RAH-THA, Cordelia! Whereas, if an entity in mentioned in a programme on the television machine that the maid watches -- well, infra dig, Bunny.

 * Well I could go on, and I will presently, but in broader venues. Herostratus (talk) 22:45, 31 August 2020 (UTC)

Inconsistency in numbers?
I noticed that in the summary it says there are sixteen paintings in the series, but then in the titles list there are seventeen paintings listed. If I knew which was right I would edit the other! —Preceding unsigned comment added by 158.180.192.10 (talk) 09:56, 6 January 2010 (UTC)

References to it in new Media ?
Would it be good to have such a section? Please feel free to add a few and then put it in the article. http://www.youtube.com/watch?v=AkMsSIjQXxo —Preceding unsigned comment added by 178.83.229.66 (talk) 19:51, 8 August 2010 (UTC)

Policy discussion in progress
There is a policy discussion in progress at the Manual of Style which affects this page, suggesting that the capitalization of "like" should be removed from the title of these paintings. Please participate on that page and not in this talk page section. Thank you. — Llywelyn II   14:44, 12 February 2016 (UTC)

In popular culture section revisited
In the discussion above, there was no policy-based argument presented that justified keeping the "In popular culture" section. There were, however, a guideline MOS:TRIVIA and a well-regarded essay WP:POPCULTURE cited as justification for removal.

While I agree with that popular culture sections are a blight on Wikipedia (having largely replaced trivia sections after a concerted effort by the community to banish them from articles), I don't agree that the section should be removed. Rather, it needs to be culled.

Recently, attempted to do just that, removing some unsourced trivial entries as well as one cited to a primary source. restored the material with an edit summary justification that amounts to hand-waving. I agreed with the removal, so I removed it again, because the WP:BURDEN for including these hadn't been met. Then Randy Kryn began edit-warring. For that material to be included, consensus needs to happen here first. The material shouldn't be restored without providing valid reasoning grounded in any policy or guideline. We don't need WP:INDISCRIMINATE lists of facts (and that is a policy). ~Anachronist (talk) 00:38, 28 September 2023 (UTC)
 * If there is an ideal article for an WP:IGNOREALLRULES celebration this is it. Almost the entire notability of the painting rests on their place in popular culture. In other articles the section provides valued societal value. Yet here it honors the continuing growth of the cultural role of these artworks. In order to maintain and not harm Wikipedia, WP:IAR would ignore the need for full citing in this section and treat it like a plot section in a film article - non-cited until proven incorrect. You know why non-cited plot editing works? Because readers and other editors catch the errors. As far as I know the existing examples have not been challenged by anyone as incorrect, and maybe on this topic they should stand until such a claim. Please read the talk discussion above which, for some reason, did not join in on. Some editors love the popular culture phenomena aspect of Dogs Playng Poker, that is evident in the above discussion. Hopefully it will be in this one as well. Randy Kryn (talk) 03:02, 28 September 2023 (UTC)
 * This isn't in any way similar to a plot section in a film (or book) article; that's a non-sequitur argument. A plot summary is verifiable simply by reviewing the primary source. A plot summary isn't a detailed description of every trivial thing that happens.
 * In my 17+ years on Wikipedia, I have never had to invoke IAR. That's a cop-out.
 * I didn't join in the prior discussion because I didn't see it until today. It's that simple. And that discussion has no consensus grounded in any policy or guideline.
 * We aren't discussing the existence of the popular culture section here. I agree it should exist.
 * Arguing about the correctness of the entries is also a non-sequitur. Nobody has said that they aren't correct.
 * We are discussing a few trivial unsourced or poorly sourced entries that violate the WP:INDISCRIMINATE policy and the WP:POPCULT guideline, which explicitly says "cultural references about a subject should not be included simply because they exist." I have not seen any valid justification for inclusion of these, or countless other trivial cases. ~Anachronist (talk) 03:37, 28 September 2023 (UTC)
 * The Far Side cartoon descriptor, and a couple others now removed, show how deep into the culture the paintings have reached. They are instantly recognizable, as people immediately "get" The Far Side joke without it having to be explained to them. Video and card games aren't my strong suit, but apparently gamers seem to find the examples important for the same reason - recognizing a societal touchstone. Randy Kryn (talk) 03:47, 28 September 2023 (UTC)
 * I'm sure you could say the same thing about several other examples that were never added. That isn't a rationale for inclusion. The fact that the paintings have reached deep into the culture isn't in dispute. We don't need to list every example, we don't even have a requirement to list such examples, but we do have actual guidelines that require us to omit such examples. The list could even benefit from further removals, by removing examples equivalent to trivial mentions, in which the painting isn't a central focus or persistent presence in the cultural work.
 * How about establishing some objective inclusion criteria for this list? All high-traffic list articles have such criteria, typically described on the talk page (List of common misconceptions comes to mind as the most visible and has the strictest criteria I know of). A mere depiction of a painting somewhere isn't sufficient. ~Anachronist (talk) 05:10, 28 September 2023 (UTC)

@randy kryn: a mostly unsourced list of the paintings' appearances is not part of a good article. ltb d l (talk) 12:19, 16 February 2024 (UTC)
 * In this case it is. As discussed above, the essence of Dogs Playing Poker is in its popular culture references, they create its traditional and recognized notability. Using known cultural touchpoints is necessary for this page, and an exception should be made for unreferenced but unarguably correct instances, per WP:IAR (using them greatly defines and improves the understanding of this topic and thus improves Wikipedia). Randy Kryn (talk) 12:23, 16 February 2024 (UTC)
 * except it doesn't greatly define and improve the understanding of the topic? ltb d l (talk) 15:43, 16 February 2024 (UTC)
 * None of the points against inclusion in this discussion have been refuted, and arguments in favor have not been grounded in any policy or guideline. We can have an "in popular culture" section, but we need inclusion criteria. I propose:
 * The entry's main topic (the videogame, novel, movie, song, whatever) has its own standalone article on Wikipedia.
 * The entry's main topic article mentions Dogs Playing Poker.
 * The entry includes a citation to a reliable secondary source, mentioning Dogs Playing Poker in the context of the entry's subject.
 * Any "in popular culture" item meeting those criteria wouldn't have anyone arguing to delete it. At the moment, none of the entries in the section that was recently removed met any of those criteria. ~Anachronist (talk) 20:52, 17 February 2024 (UTC)

title: Talk:Dogs Playing Poker


text:
In Bed with Medinner (series 3)

This is a list of episodes of In Bed with Medinner episodes in broadcast order, from broadcast series 3.

Programme one

 * Production code: 9C25409
 * First aired: 1997-01-11
 * Running time: 24:42

Summary
Part 1: titles, intro, clips: paramedics, sketch casualty man, EOP Part 2: Bop, clips: Paramedics, flatmates, credits, sketch, logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme two

 * Production code: 9C25414
 * First aired: 1997-01-18
 * Running time: 24:10

Summary
Part 1:Titles, Bob's intro, clips: Natwest Tower (reporters Anna Marie Ash, Lindsay Charlton, Alistair Stewart; features Michael Heseltine). Docklands Wildlife (Alistair Stewart & Vince Rogers), 'Police Ops'. Part 2: Health Prog (Colin Welland & Maggie Makepeace), crd, sketch, logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme three

 * Production code: 9C25407
 * First aired: 1997-02-01
 * Running time: 24:19

Summary
Part 1: Pre-titles sketch, titles, intro, clips: teacher, Sumo Wrestlers, EOP. PArt 2: Bop, Casualty Man sketch, Sumo wrestlers, credits, sketch, logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme four

 * Production code: 9C25412
 * First aired: 1997-02-22
 * Running time: 24:32

Summary
Part 1:Titles, intro, clips: ghost files (with Billy Roberts), EOP. Part 2: Bop, casualty man sketch, clips: teenage gangs, credits, sketch, logo

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme five

 * Production code: 9C25413
 * First aired: 1997-03-15
 * Running time: 24:18

Summary
Part 1: titles, intro, clips: Crime Monthly (presenter Penny Smith) Heavy Metal Doc. (Narr. Danny Baker), EOP. Part 2: Bop, clips: knife fighting (Kelly Warden), credits, Anthea Turner on stalkers, and logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme six

 * Production code: 9C25408
 * First aired: 1997-03-22
 * Running time: 24:45

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme seven

 * Production code: 9C25405
 * First aired: 1997-03-29
 * Running time: 24:25

Summary
Part 1: Titles; intro; clips; interview with Tony Fisk; Doucing and the Dodo (Energy expert Gillian Lee); Car sketch; EOP. Part 2: Bop clips; mans seeks woman; sketch; credits;, sketch; end logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme eight

 * Production code: 9C25410
 * First aired: 1997-04-05
 * Running time: 24:06

Summary
Part 1: Titles, intro, clips: Essex FM (Peter Holmes, Robbie Dee and Unnamed female DJ) sketch EOP. Part 2: Bop, sketch, clips: special force, credits, sketch, end logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme nine

 * Production code: 9C25411
 * First aired: 1997-04-12
 * Running time: 24:46

Summary
Part 1: Titles, Bob's intro, clips street traders, call of the beast, EOP. Part 2: Bop Bob's intro, clips, call of the beast and animal practice, credits, sketch and logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme ten

 * Production code: 9C25406
 * First aired: 1997-05-02
 * Running time: 24:46

Summary
Part 1: titles, intro, clips: vet, policeman, EOP. Part 2: Bop, sketch Casualty Man, clips: Ghost File (with Billy Roberts) end credits, sketch and logo.

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme eleven

 * Production code: 9C25416
 * First aired: 1997-05-09
 * Running time: 24:32

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twelve

 * Production code: 9C25417
 * First aired: 1997-05-16
 * Running time: 24:16

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme thirteen

 * Production code: 9C25418
 * First aired: 1997-05-23
 * Running time: 24:24

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme fourteen

 * Production code: 9C25415
 * First aired: 1997-05-30
 * Running time: 24:38

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme fifteen

 * Production code: 9C25420
 * First aired: 1997-06-06
 * Running time: 24:10

Summary
Full of third-party footage

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme sixteen

 * Production code: 9C25419
 * First aired: 1997-07-26
 * Running time: 23:41

Summary
Clips: Police - dodgy driver - breath test, Miss TV Times

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme seventeen

 * Production code: 9C25429
 * First aired: 1997-05-02
 * Running time: 24:15

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme eighteen

 * Production code: 9C25430
 * First aired: 1997-05-08
 * Running time: 24:21

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme nineteen

 * Production code: 9C25423
 * First aired: 1997-08-23
 * Running time: 24:30

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty

 * Production code: 9C25427
 * First aired: 1997-05-22
 * Running time: 24:30

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-one

 * Production code: 9C25424
 * First aired: 1997-05-29
 * Running time: 24:45

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-two

 * Production code: 9C25421
 * First aired: 1997-06-05
 * Running time: 24:23

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-three

 * Production code: 9C25426
 * First aired: 1997-06-12
 * Running time: 24:27

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-four

 * Production code: 9C25425
 * First aired: 1997-06-19
 * Running time: 24:35

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-five

 * Production code: 9C25428
 * First aired: 1997-06-26
 * Running time: 24:13

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

Programme twenty-six

 * Production code: 9C25422
 * First aired: 1997-07-03
 * Running time: 24:35

Summary
Full of third-party material

Credits

 * Host – Bob Mills
 * Director – Tony Gregory
 * Producers – Jeff Pope, Beverley Taylor
 * Production assistants – Amanda Church, S Scott
 * Researchers – Dan Clapton, Conrad Green, Tim Quicke
 * Film researcher – Nick Ray
 * Production manager – Jackie Penn
 * Vision controller – Luke Chantrell
 * On-line editors – Danny Davies, Malcolm Dunnett, Mark Goodwin, Alex Maddison
 * Sound supervisor – Charles Fearnley
 * Lighting director – Warwick Fielding
 * Lighting camera persons – Ian Goff, Alun Knott
 * Floor manager – Ken Hounsom
 * Designer – Margaret Howat
 * Vision mixer – Alison Jones
 * Camera person – Mike Patterson

title: In Bed with Medinner (series 3)


text:
Harold C. Schonberg

Harold Charles Schonberg (29 November 1915 – 26 July 2003) was an American music critic and author. He is best known for his contributions in The New York Times, where he was chief music critic from 1960 to 1980. In 1971, he became the first music critic to win the Pulitzer Prize for Criticism. An influential critic, he is particularly well known for his encouragement of Romantic piano music and criticism of conductor Leonard Bernstein. He also wrote a number of books on music, and one on chess.

Early life
Harold Charles Schonberg was born in Washington Heights, Manhattan in New York City, New York on 29 November 1915. His parents were David and Minnie (Kirsch) Schonberg, and he had a brother (Stanley) and a sister (Edith). His aunt, Alice Frisca was an early influence and his first music teacher; she was a former concert pianist, and had studied with Leopold Godowsky. He started piano lessons with Frisca at four years old, and "discovered early on that he had a superb musical memory that allowed him to remember pieces in great detail after a single hearing". Schonberg himself cited the first performance he saw at the Metropolitan Opera around age 12 as particularly formative to his musical upbringing. A performance of Richard Wagner's Die Meistersinger von Nürnberg with the conductor Artur Bodanzky, he would later write on the experience 39 years later, reflecting on the opera's opening chord that it "rose to the dress circle, and he felt as though he could reach out, touch it, caress it. He had been to concerts before, but somehow, in this vast dark auditorium, there was a different feeling to the texture and even the organization of this chord. It sounded warm and cozy. It covered him like a blanket." In his recounting of the event, Schonberg claimed the experience as having inaugurated his desire to be a music critic.

Schonberg received a Bachelor of Arts at Brooklyn College (1937), during which he published his first music criticism in the Musical Advance journal. He then studied as a graduate student at New York University, receiving a Master of Arts in 1938 while studying under the composer Marion Bauer. His dissertation concerned Elizabethan songbooks, which he studied in both musical and literary contexts. In his early life, Schonberg was also interested in the visual arts, studying drawing at the Art Students League of New York and sometimes illustrating his music criticism with caricatures of the musicians they featured. In 1939, Schonberg received his first post as a music critic: he was associate editor and critic at the American Music Lover.

During World War II, Schonberg was a first lieutenant in the United States Army Airborne Signal Corps. He had hoped to enlist as a pilot, but was declared pastel-blind (he could distinguish colors but not shadings and subtleties) and was sent to London, where he was a code breaker and later a parachutist. He broke his leg on a training jump before D-Day and could not participate in the Normandy landings; every member of his platoon who jumped into France was ultimately killed. He remained in the Army until 1946.

At The New York Times
Schonberg joined The New York Times in 1950. He rose to the post of senior music critic for the Times a decade later. In this capacity he published daily reviews and longer features on operas and classical music on Sundays. He also worked effectively behind the scenes to increase music coverage in the Times and develop its first-rate music staff. Upon his retirement as senior music critic in 1980, he became cultural correspondent for the Times.

Schonberg also wrote articles for Harper's and High Fidelity magazine, among others.

Schonberg was an extremely influential music writer. Aside from his contributions to music journalism, he published 13 books, most of them on music, including The Great Pianists: From Mozart to the Present (1963, revised 1987)—pianists were a specialty of Schonberg—and The Lives of the Great Composers (1970; revised 1981, 1997) which traced the lives of major composers from Monteverdi through to modern times. Schonberg wrote a biography of Vladimir Horowitz, one of the most famous pianists of the 20th century, entitled Horowitz: His Life and Music (1992).

Criticisms of Bernstein
Schonberg was highly critical of Leonard Bernstein during the composer-conductor's eleven-year tenure (1958–69) as principal conductor of the New York Philharmonic. He accused Bernstein of showing off by using exaggerated gestures on the podium and of conducting a piece in a way that made its structure overly obvious to audiences (e.g., slowing down during the transition from one main theme to another).

One of Schonberg's best remembered criticisms of Bernstein was written after the famous 6 April 1962, performance before which Bernstein announced that he disagreed with pianist Glenn Gould's interpretation of Brahms' Piano Concerto No. 1 but was going to conduct it anyway because he found it fascinating. Schonberg chided Bernstein in print, suggesting that he should have either refrained from publicizing his disagreement, backed out of the concert, or imposed his own will on Gould; Schonberg called Bernstein "the Peter Pan of music".

After Bernstein's regular tenure at the New York Philharmonic ended, however, Schonberg seemed to mellow in his attitude toward him and actually began to praise his conducting, stating in his book The Glorious Ones that "with age, came less of a need to prove something", and that "there were moments of glory in his conceptions."

Later life and death
In 1984, Schonberg taught music criticism at McMaster University in Hamilton, Canada.

In 1987, it was announced that Schonberg was assisting Vladimir Horowitz in the preparation of the pianist's memoirs. Although the project was never completed, Schonberg's biography of Horowitz was published in 1992. Also in 1987, he served on the jury of the Paloma O'Shea Santander International Piano Competition.

Schonberg died in New York City on 26 July 2003, at the age of 87, of an unspecified cause. In his obituary notice in The New York Times the next day, Allan Kozinn wrote that Schonberg "set the standard for critical evaluation and journalistic thoroughness." The University of Maryland Libraries have a Harold C. Schonberg collection in their International Piano Archives at Maryland; it contains a substantial collection of correspondences between Schonberg and fellow critics, musicians and readers.

Other interests
A devoted and skilled chess player, Schonberg covered the 1972 championship match between Boris Spassky and Bobby Fischer held in Reykjavík, Iceland. One of Schonberg's books not on music was Grandmasters of Chess. He also reviewed mysteries and thrillers for The New York Times under the pseudonym Newgate Callender from 1972 to 1995.

Schonberg was an avid golfer, though a poor one by his own estimation. He co-authored the book How To Play Double Bogey Golf (1975) along with Hollis Alpert, founder of the National Society of Film Critics, and fellow author Ira Mothner. Schonberg, Mothner and Alpert frequently played golf together, according to the book.

Books
Source:

title: Harold C. Schonberg


text: User talk:12.37.112.158

title: User talk:12.37.112.158


text:
User talk:168.9.41.100

September 2023
Hello, I'm Crystallizedcarbon. I wanted to let you know that I reverted one of your recent contributions—specifically this edit to Opposite (semantics)—because it did not appear constructive. If you would like to experiment, please use the sandbox. If you have any questions, you can ask for assistance at the Teahouse or the Help desk. Thanks. Crystallizedcarbon (talk) 16:07, 28 September 2023 (UTC)

title: User talk:168.9.41.100


text: User talk:67.120.148.62

title: User talk:67.120.148.62


text:
Kashani

Kashani or Qashani, often shortened to Kashi or al-Kashi , is a surname meaning a person who comes from Kashan, Iran. It is also used as a feminine given name. Notable persons with that name include:

Surname

 * Abū Zayd ibn Muḥammad ibn Abī Zayd (died 1219), called Abu Zayd al-Kashani, Persian potter
 * Abu al-Qasim Kashani (died after 1324), Persian historian, author of the History of Öljaitü
 * Abd al-Razzaq Kāshānī, 14th-century Sufi mystic
 * Mahmud ibn Ali al-Qashani (died 1335), Sufi scholar
 * Abbas Hosseini Kashani (1931-2010), Iranian Grand Ayatollah
 * Abol-Ghasem Kashani (1882–1962), Iranian Ayatollah and politician
 * Afdal al-Din Kashani (died c. 1214), Persian poet and philosopher
 * Ali Hojjat Kashani (1921–1979), Iranian military officer and politician
 * Dariush Kashani, American-Iranian actor
 * Eliezer Kashani (1923–1947), an Irgun member in Mandatory Palestine
 * Firoozeh Kashani-Sabet, American-Iranian historian
 * Habib Kashani, Iranian businessman and football administrator
 * Jafar Kashani (1944–2019), Iranian footballer
 * Jamshīd al-Kāshī (c. 1380–1429), Persian astronomer and mathematician
 * Khalil Mobasher Kashani (born 1951), Iranian Grand Ayatollah
 * Mahmoud Kashani (born 1942), Iranian politician and academic
 * Mehran Kashani (born 1969), Iranian engineer and screenwriter
 * Mohammed Emami-Kashani (born 1931), Iranian Ayatollah and politician
 * Mohsen Fayz Kashani (1598–1680), Iranian poet, philosopher and muhaddith
 * Muhtasham Kashani (1500–1588), Persian poet
 * Sarmad Kashani (c. 1590–1661), Persian mystic, poet and saint in India of Jewish or Armenian origin
 * Shahrum Kashani (1971–2021), Italian-Iranian pop singer

Given name

 * Kashani Ríos (born 1991), Panamanian athlete

title: Kashani


text:
User:Gaidheal/Awesome books

BOOKS THAT I HAVE READ AND JUDGED TO BE WICKED AWESOME: Nervous Conditions by Tsitsi Dangarembga The Divine Comedy by Dante Alighieri The Martian Chronicles by Ray Bradbury The Jungle by Upton Sinclair Bury My Heart at Wounded Knee by Dee Brown A Concise History of Byzantium by _¯_¯_¯_¯_¯_¯_¯ The Stranger by Albert Camus 1984 by George Orwell The Dictionary of the Khazars: a lexicon novel by Milorad Pavic Animal Farm by George Orwell Hagakure by Yamamoto Tsunetomo The Awakening by Kate Chopin The Scarlet Letter by Nathaniel Hawthorne Mere Christianity by C. S. Lewis The Communist Manifesto by Karl Marx & Friedrich Engels A Doll's House by Henrik Ibsen Ender's Game by Orson Scott Card John Adams by David McCullough Fahrenheit 451 by Ray Bradbury Great Expectations by Charles Dickens The Harry Potter series by J. K. Rowling The Lord of the Rings by J. R. R. Tolkien The Adventures of Huckleberry Finn by Mark Twain Smilla's Sense of Snow by Peter Høeg Ghostly Tales and Eerie Poems of Edgar Allan Poe American Colonies by Alan Taylor The Japanese Experience by W. G. Beasley Cry, the Beloved Country by Alan Paton Complete Poems of John Keats edited by Jack Stillinger The Screwtape Letters by C. S. Lewis The Cambridge Encyclopedia of Language Ender's Shadow by Orson Scott Card The Prince by Niccolò Machiavelli The Meditations of Marcus Aurelius De Amicitia by Marcus Tullius Cicero The Merchant of Venice by Shakespeare Anton Chekhov

i don't even know if this kind of thing is allowed so delete at will.

title: User:Gaidheal/Awesome books